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Why does Schoenberg think of "'semi-contrapuntal treatment' of the accompaniment" as a way of adapting a motive's melody to changes in its harmony?
Schoenberg says that the melody of a motive may be adapted to changes in the harmony "[b]y transposition," "[b]y addition of passing harmonies," or "[b]y 'semi-contrapuntal' ...
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How to go about writing a second countersubject?
I have written a subject and countersubject. Here is how I went about writing the countersubject:
1st iteration: Restricted to D, G, and A(answer is is D major), all quarter notes
2nd iteration: A ...
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