How do I write two-part counterpoint and a ground bass for the Composing A technical exercises?
The two-part counterpoint and ground bass technical exercises (Composing A): writing a second independent line against a given part with good contrapuntal motion, and composing varied music over a repeating bass with implied harmony.
A focused answer to the two-part counterpoint and ground bass technical exercises in OCR A-Level Music Composing A. Covers writing an independent second line against a given part (consonance, contrary motion, avoiding consecutives, imitation), and composing varied, coherent music over a repeating ground bass with clear implied harmony, plus the common errors.
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What this dot point is asking
Two of the three Composing A technical exercises are two-part counterpoint (writing an independent second line against a given part) and the ground bass (composing varied music over a repeating bass). This dot point sets out the rules and approach for each, contrary motion and consonance in counterpoint, clear implied harmony and variety over a ground, and the errors to avoid, applying your harmony knowledge to two more writing tasks.
Two-part counterpoint
Writing a good counterpoint line
The ground bass
How the exercises are assessed
Both exercises assess technical craft. Counterpoint rewards an independent, shapely, consonant second line without consecutives; the ground bass rewards coherent harmony fitting the bass plus genuine variety and development across statements, with stylish dissonance. Like the chorale, they apply the harmony and voice-leading you study for listening as writing skills, so practising them deepens your harmonic understanding as well as your composing craft.
Try this
Q1. What kinds of motion give two-part counterpoint its independence, and what is the cardinal error to avoid? [Knowledge recall]
- Cue. Contrary and oblique motion give independence; the cardinal error is consecutive (parallel) fifths and octaves (and direct fifths/octaves into perfect intervals).
Q2. What two demands must be balanced when composing over a ground bass? [Short explanation]
- Cue. Clear, functional harmony that fits the repeating bass, and variety and development across the repetitions (changing melody, rhythm, texture and register so the music develops).
Exam-style practice questions
Practice questions written in the style of OCR exam questions on this dot point, with worked answer explainers. The year tag is the paper they imitate, not the source.
OCR (Composing A exercise, style)6 marksCompose a second part above or below the given melody in two-part counterpoint. (Composing A technical exercise)Show worked answer →
Up to six marks. Write a line that is independent yet consonant with the given part: use mostly consonances (thirds, sixths, perfect fifths and octaves, and unisons at structural points) on strong beats, with passing and auxiliary dissonances on weak beats; favour contrary and oblique motion for independence; and shape a melodic line of its own (good contour, some imitation of the given part). Crucially, avoid consecutive (parallel) fifths and octaves and direct (hidden) fifths and octaves into perfect intervals. Markers reward an independent, shapely, consonant counterpoint without consecutives. They penalise parallels, a line that merely shadows the given part, or excessive dissonance.
OCR (Composing A exercise, style)6 marksCompose a passage of music over the given repeating ground bass, with clear implied harmony and variety. (Composing A technical exercise)Show worked answer →
Up to six marks. Over the repeating ground bass, compose upper music that implies a clear, functional harmony consistent with the bass each time, while creating variety across the repetitions, changing the melody, rhythm, texture or register, and increasing activity, so the music develops rather than simply repeating. Use suspensions and passing notes for expressive friction over the bass. Markers reward coherent harmony fitting the ground, genuine variety and development across statements, and stylish dissonance. They penalise harmony that clashes with the ground, static repetition with no variation, or parallels with the bass.
Related dot points
- The composing components (Composing A, H543/03, and Composing B, H543/04): their briefs, technical exercises, durations and weightings, and how the two routes differ, as the framework for the composing assessment.
A focused answer to the OCR A-Level Music composing components. Explains Composing A (H543/03, 105 marks, 35 percent, at least 8 minutes including an OCR brief, a learner brief and three technical exercises) and Composing B (H543/04, 75 marks, 25 percent, at least 4 minutes, an OCR brief and a learner brief), how the routes differ, and what each requires.
- Composing to the OCR-set and learner-set briefs: interpreting a brief's requirements, developing musical ideas with coherence and craft, and structuring, scoring and refining a composition that satisfies the brief.
A focused answer to composing to a brief in OCR A-Level Music. Covers interpreting the OCR-set and learner-set briefs, developing and structuring musical ideas with coherence and craft (melody, harmony, texture, form and instrumentation), and the process of drafting, scoring and refining a composition that genuinely satisfies its brief.
- The Bach chorale harmonisation technical exercise (Composing A): harmonising a given melody in four parts with functional harmony, correct cadences, good voice-leading and Bachian style, and the common rules and errors.
A focused answer to the Bach chorale harmonisation technical exercise in OCR A-Level Music Composing A. Covers harmonising a given chorale melody in four parts: choosing functional chords and cadences, voice-leading the SATB parts smoothly, using passing notes and suspensions, capturing the Bach style, and avoiding the common errors (parallels, poor spacing, weak cadences).
- Triads and seventh chords, their qualities and inversions, Roman-numeral and figured-bass labelling, and functional harmony (tonic, subdominant, dominant function and common progressions), as the harmonic vocabulary for analysis and the composing exercises.
A focused answer to chords and functional harmony for OCR A-Level Music. Covers triads and seventh chords, major, minor, diminished and augmented qualities, inversions and their figured-bass and Roman-numeral labelling, and functional harmony (tonic, predominant and dominant function, common progressions and the cycle of fifths), for analysis and the composing technical exercises.
- Harmonic devices and dissonance, the pedal point and drone, suspensions, passing and auxiliary notes, sequences, chromatic chords (secondary dominants, diminished and augmented sixths) and their resolution, as examined in analysis and used in the composing exercises.
A focused answer to harmonic devices and dissonance for OCR A-Level Music. Covers pedal points and drones, suspensions and their resolution, passing and auxiliary notes, harmonic sequences, and chromatic chords (secondary dominants, the Neapolitan and augmented sixths), explaining how dissonance creates and resolves tension, for analysis and the composing technical exercises.
Sources & how we know this
- OCR A Level Music (H543) specification — OCR (2016)