Notes on each lesson

1 – GIVEN MELODY (monteverdi)

Very expressive. Do not fear appogiaturas. Close entries at each pause in the melody. Author’s
working-out: bars 20 to 26. The consecutive fifths between soprano and contralto in this style
(the first being diminished, the second perfect)

2 –GIVEN MELODY - PASSAPIED – RAMEAU

A special mould: 2 sections of 6 bars each, then 2 sections of 4 plus 7 bars. Author’s working out:
bar 9, a run in the soprano, common at the line. The sevenths are embelished at lengh before
their resolution.

3 – GIVEN BASS – Bach chorales

Frequent use of passing notes. The leading note may descend at cadences.

4 – GIVEN BASS – Bach chorales

Numerous imitations of the initial motif. Beginning in three parts. Author’s working out: bar 9,
the soprano superimposes a new line over the entries of the initial motif. Bar 15 the soprano
effects a delaying embellishment peculiar to Bach; normally, however, the part would be written
thus:

Imagem

5 – GIVEN BASS – in three parts organ trio sonata – bach

Must be composed for three voices, “designing” more than in four part writing, the melodic
outline of each part. The A in the initial motif must be considered a passing note (IMAGEM)
being the arpeggio formo f (IMAGEM).

The lesson is constructed of na alternation of theme and episodes as practised in Fugue. The
student must be reminded that the episode is a disguised harmonic step the entries of which
are reproduced al symmetrical intervals: example in the Author’s working out: in the seconde
episode (bar 24), the episodes follow each other al intervals of fourths: the first parto n a B, the
second on na E, the third on an A,the fourth on a D. Again in the Authors working out: bars 29
and 32: the soprano using the arpeggio form of the theme, the direct octave between the outer
parts is good.