Imitative counterpoint to 4

4-voice imitative counterpoint to my second book of exercises ...These counterpoints are made less strict, more free.Imitative counterpoint is to be adaptively copying an idea or subject ... this in turn may shift as the work progresses. This technique originated the ricercare and thus the Fugue....The shade roams between D minor and F majorYou have to copy this link and paste into the address bar to listen to the audio. Below you have the score.http://www.goear.com/listen/9c20bd1/contrapunto-imitativo-a-4-

Imitative counterpoint to 4

I don't hear any imitative counterpoint at all in this - nor do I see it in the score. I see a lot of basic counterpoint, canonized counterpoint, but no real imitative counterpoint at all. That said, the work sounds very nice and christmasy.

Thanks for your feedback .... tell, if it is an imitative counterpoint because it will tell you: If you look closely at the score, there is a repetitive motif (imitated) and most often mutated, and with only this comment is imitative, imitative counterpoint is also characterized by always start with one voice and switching the supposed reason for the mimic each other's voices. It is an imitation mutated due to the technique of paraphrasing that used the great Palestrina. This paraphrase, is responsible for altering or gloss over the subject a little, to give variety, but always without losing its essence. Imitative counterpoint is without mimic a free-form idea, with few restrictions, hence it is a good year of study. In the treaty of Fux (treatise Viennese Baroque composer) makes it clear that it is imitation, or simple but not least wikipedia.

Greetings ..

This is a work of Palestrina clearly showing mutated and imitated a reason (imitative counterpoint) also voices alternate and begins a continuous and more ...

I think most of us know what imitative counterpoint is. But when you compare Palestrina with your score you'll see that Palestrina keeps his motive for a longer time intact, before altering it, and has that entry (almost fugue/canon-like) in all voices.

Looking at your score (guessing it starts where there is "37" in the score) I see the soprano starts. The tenor imitates the first four notes. After that it is altered beyond recognition. The alto entry omits the first note (which may be fine, but is less imitative), and is more true to the soprano-entry, until the high F. The Bass looks a little like the soprano entry. The Bb (in stead of the C) is a little destroying the imitative feel. However the run from A to F up high is sort of restoring that.

But compared to Palestrina I see more differences than likeness. For instance his soprano and tenor, and the alto and bass way more alike, a tool to increase the imitative idea. Bottom line is Palestrina is altering his motive at a fixed point, and is more consequent, true to his original, whereas you alter at more points and more random, although a mutilated original can be recognised, its less convincing than the Palestrina example you brought up.

Exactly! hence to be called "imitation mutated. " Given that my intention was to make harsh or strict, rather modern.

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