2 Part Writing

[ajspiano]

For some time I've been quietly fiddling with improvisation in the baroque style, lately part of it has been involving really getting my head further around "invention" - meaning creating memorising and varying a set motif(s) through improv..  and that has involved writing a few inventions slowly and surely rather than improvising.

I've attached a copy of a 2 part invention I wrote a few days ago with a pretty basic motif.This wasn't written in reference to any strict theoretical constructs about harmony and voice leading. Its just by ear, and using common baroque devices..  motif, counter motif, inversion etc.

Anyway, I'm hoping there's someone here that has studied contrapuntal writing properly that may offer any thoughts on the construction or offer ideas about different directions it could've taken at different points within the piece. Really the only guide I'm using is bach's works so it'd be interesting to hear from someone else who's written pieces in the baroque style.

Edit:
I might add, you are equally welcome to comment if you are not well versed in contrapuntal writing..

[j_menz]

Hmm.. not really qualified here in the sense you may be after. But hey, why should that stop me. 

I assume you have, or at least know of, the two volumes of Mann/Fux (The Study of Counterpoint and The Study of Fugue). If not, they are a recommended read.

There are a number of contrapuntal devices that you have left out of your repertoire. This is, of course, fine -  in that no one work (at least a short 2 part invention) should try and cram too many in.

You have been pretty conservative harmonically (and melodically too). Again, fine for this. If you are looking for ideas on where you might like to take it as you become more adventurous, I'd recommend a look at the Shostakovich and the Kapustin Prelude and Fugue sets and Hindemith's Ludus Tonalis.  Three quite different approaches, and plenty of ideas to go on with. Not suggesting you start on a fugue (yet). Looking forward to when you do, though.

[ajspiano]

I assume you have, or at least know of, the two volumes of Mann/Fux (The Study of Counterpoint and The Study of Fugue). If not, they are a recommended read.

Yeh I have a scanned pdf copy of fux, as well as a pdf workbook of species counterpoint exercises from it.

There are a number of contrapuntal devices that you have left out of your repertoire. This is, of course, fine -  in that no one work (at least a short 2 part invention) should try and cram too many in.

Cramming them all in is the challenge i guess, though not a necessary one. There's obviously no retrograde in there..  (unless I did it by accident and didnt realise )

I wrote another one the same day that has an extended semiquaver accompaniment voice that works as a melody in canon as a middle section.

You have been pretty conservative harmonically (and melodically too).

Trying to get overly familiar with easier to create patterns so that it can be processed fast enough to do it on the fly rather than have to "compose" it. Will certainly branch out soon though. This one has such a plain motif..  The trouble I find with more interesting motifs is that its harder to immediately remember and vary them properly for improv...  this one is simple, but still far to complex for me to improvise sometime decent with..

I'm sticking to kind of straight forward modulations..  relative minor/major and/or dominant.. 

Not suggesting you start on a fugue (yet).

Think I probably could do it without too much difficulty, but it would take quite a long time to complete. I plan on doing quite a few more 2 voice examples, then the same with 3 voices before I start trying to write a fugue.

Will check out the Shostakovich, Kapustin etc. I am vaguely familiar with them but haven't given it any real time/study like I have with bach.

..

Thanks for the reply by the way..  I was getting concerned.. 19 downloads and no responses..