On Double Counterpoint

Inversion at the Twelfth

These are the two rows of figures which should be compared together for obtaining the inversions of double counterpoint at the twelfth:

Counterpoint 1 2 3 4 5 6 7 8 9 10 11 12
Inversion 12 11 10 9 8 7 6 5 4 3 2 1

It will be seen that the unison or octave changes, in counterpoint of this kind, into a twelfth, the second into an eleventh, etc.

The sixth, which by inversion becomes a seventh, should be prepared either in the upper part, or the lower; and the bass should then descend one note or degree.

Examples from Marpurg

This is an extended example of double counterpoint at the twelfth:

1st manner of inverting: Transpose the counterpoint a fourth below, while the theme remains in its place

2nd manner of inverting: Transpose the theme a twelfth below, while the counterpoint remains in its place

3rd manner of inverting: Transpose the theme an octave below, and the counterpoint a fifth below

4th manner of inverting: Transpose the theme a fifth above, and the counterpoint an octave below

This counterpoint is one of the most used, and one of the most fertile in resources.

  • cherubini_counterpoint_and_fugue/on_double_counterpoint/inversion_at_the_twelfth.txt
  • Last modified: 2018/08/10 19:55
  • by brian