further rhythmic diminution; Three voice chorale prelude
Part I - Further Rhythmic Diminution
Here, it is possible to have 3:1, 4:1, and even up to 6:1 rhythmic diminutions. Often this takes the form of eighth or sixteenth notes against a dotted half, or half note.
Part II - Three-voice Chorale Preludes
Organ chorale preludes are often in four voices, although some have only three. Most often the highest voice is the cantus, playing the melody. And the lowest voice is a diminished note value of the cantus (usually twice as long) meaning that the lowest voice is the exact same as the cantus but playing it at a longer note value.
The inner voice of the chorale prelude uses imitation and diminution to provide counterpoint to the other two voices.
Here is a three voice chorale prelude by Johann Kuhnau. Listen for the entrance of each voice. And notice that the lowest voice is hust an elongated version of the cantus.
Here, it is possible to have 3:1, 4:1, and even up to 6:1 rhythmic diminutions. Often this takes the form of eighth or sixteenth notes against a dotted half, or half note.
Part II - Three-voice Chorale Preludes
Organ chorale preludes are often in four voices, although some have only three. Most often the highest voice is the cantus, playing the melody. And the lowest voice is a diminished note value of the cantus (usually twice as long) meaning that the lowest voice is the exact same as the cantus but playing it at a longer note value.
The inner voice of the chorale prelude uses imitation and diminution to provide counterpoint to the other two voices.
Here is a three voice chorale prelude by Johann Kuhnau. Listen for the entrance of each voice. And notice that the lowest voice is hust an elongated version of the cantus.
