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Below is some counterpoint I wrote for a small fugue exposition...

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...I have a concern with the cross relationship of F♯ and F♮ at the first beat of measure 3.

I looked about in Bach for a similar example and found this...

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...where something similar happens with D♯ and D♮ in m.3.

The sinfonia is in E minor but the scale tones and harmony are the same as what I tried. The tone changes from a raised leading tone in the initial key to the minor mediant of the key of the minor dominant. Harmonically, it's a very quick change from Em:V to Bm:i. In both the raised minor ^7 and ^6 are used in a descending line. The only thing I can see that is different is mine is a cross voice relationship.

Does anyone see a problem with my counterpoint? Am I making an inappropriate comparison to the Bach example?

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  • Does it count if it's acceptable to me? :-)
    – Aaron
    Commented Mar 29 at 21:03
  • Yeah! Personally, I like the cross relationship, but I want to work through the options and go with what seems most characteristic of the Baroque.
    – Michael Curtis
    Commented Mar 29 at 23:04

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By definition, a cross relation happens across two different voices, so m. 3 in the Bach does not contain one. However, m. 5 does: the middle voice's G# on b.1.75 against the low voice's G-natural on b.2.5. I find it a little bit jarring, but the "excuse", I think, is that the harmony has already changed on b2 by the introduction of the A natural. Thus, the subsequent G-natural is part of that new harmony. That's also why the G natural in the top voice at b.2.5 is "acceptable".

In the case of your cross relation, I find it quite jarring. Based on the Bach, I'd say the problem is that there isn't a change of harmony. I'd say you've run into a compositional puzzle here. The simplest solution would seem to be having the bass voice enter in the dominant major, which seems acceptable even though the subject is minor.

If a bass entry in major isn't an option, then the subject may need to change, because there's no other interval level at which the bass can enter effectively. For example, perhaps instead of the leap from Bb to G, the leap could be a full octave, then come down the scale A-G-F (natural). That would fit with the current bass entry in minor.

It also might work to change the bass's entry point, such as entering a measure later and adjusting the counter-subject to suit.

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  • Isn't the obvious solution to change the first note of m.3 to F-natural?
    – Alexander Woo
    Commented Mar 29 at 22:48
  • @Aaron, I will try some of the alternatives you suggested. After all, this is a study.
    – Michael Curtis
    Commented Mar 29 at 23:06
  • @AlexanderWoo, I did try F natural as my first solution. Most of the similar cases I could find did exactly that, make the countersubject continue in the key of the minor dominant, the effect sounds sort of like dorian when the countersubject is played alone. But then I found the sinfonia example and wondered if there really is a problem at all. Although, I admit it would have to be called, at best, a rare case.
    – Michael Curtis
    Commented Mar 29 at 23:43

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