JOHANN KRIEGER MINUET PDF
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Counterpoint without a leading tone? Note the raised 7th in the previous bars before the cadence. Yeah, the octave bounce on 5 in the bass is pretty standard as well.
Johan Krieger – Menuet
The point here is that this krieegr not Renaissance polyphony which is what species counterpoint deals withit’s Baroque harmonic writing in a two-part framework. In this example, I’d consider the 2nd beat E to 1st beat A to be the functional perfect authentic cadence in the bass the lower E would be considered an “embellishment” in a way. When I was looking at counterpoint, you were always supposed to have one voice going re do and one voice doing ti do.
Johan Krieger – Menuet sheet music download free in PDF or MIDI
Home Questions Tags Users Unanswered. The relatively disjunct movement that Krieger used here means that there is a strong suggestion of compound melody when ti is left hanging. Ascending fourths are common enough in perfect cadences: The upper E in the bass is sustained, btw – I held on to the original edition’s notation in this transcription although I substituted a treble clef for the RH’s soprano clef.
Look at Bach’s Inventions for more examples. Although it’s typically analyzed as a iv 6 -V e.
baroque period – Counterpoint without a leading tone? – Music: Practice & Theory Stack Exchange
The half note in the bass part in bars 7, 15, 23, etc is a mistake, yes? Here there is no bouncing bass, just the requirements of fingering.
The delayed octave of the tonic root in the last bar is outside the 4-voice framework. The first half of the Allemande ends with a perfect cadence on the relative major. The upper note is held while the lower octave sounds.
There is a delayed resolution implied here. Yeah, and lest we both forget, plagal cadences also lack the lower leading tone.
Okay so it just needs to have some unresolved ti’s and then a do at the end? What are the rules to this? The use of the lower octave of E in the penultimate bar is also typical – it has a centering effect on the tonic. In this case, you could, perhaps, argue that he had no need to bounce the root of the dominant to a lower octave, but that is the centering motion I mentioned in my answer. For the upper voice: Patrx2 would you be able to provide an example of where an ascending fourth used in a perfect authentic cadence was necessary?
Is this a common cadence? Post as a guest Name. For the lower voice: You’ll see a couple in the Froberger suite I referenced. I imagine that it would therefore be sufficient for Baroque as well. Having done so, he needed to state the tonic up a fourth to bring everything beneath the hands.
As far as your question asks about “other cadences without a raised 7th in baroque music”, I would be remiss if I failed to mention the Phrygian Cadence, which was often used at the end of slow movements in minurt keys. This isn’t species counterpoint; it’s rather more pragmatic, and less conjunct.