The final exercise of Project 3 is about completing two examples given from the Renaissance repertoire in imitative counterpoint. The two examples are adapted so that the exact imitation of the given voice will lead to harmony and texture falling into place. I will not give any analysis, since this exercise is quite straight-forward.
Here is my solution for example 1 from Palestrina’s Missa Brevis, the beginning of Sanctus movement:
Finally, here my solution for example 2, also from Palestrina’s Missa Brevis, this time the opening of Benedictus movement:
In conclusion, I really enjoyed all the exercises for Project 3, which brought me a great refreshment of my old knowledge about the counterpoint species devised by Fux. I should mention that it is this exercise that I found particularly interesting, since the examples are based on the actual pieces from the repertoire, which I never had the experience of working with before, but would only write counterpoint for the melodies written by my teachers for the purpose of practicing. Finally, take a look at my assignment solutions and the listening log, where I list the mass music I’ve listened to.
