Counterpoint and Melody

Overview

This 10-minute lesson focuses on analysis and creative exploration of counterpoint and melodic structure in Bach’s Andante from Sonata No. 2 for Solo Violin. Year 8 students will deepen their understanding of polyphonic textures by examining how Bach maintains independence of voices within a single melodic line. Students then apply this knowledge by crafting their own melodies using classroom instruments or vocal improvisation, employing similar contrapuntal techniques.

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Curriculum Links

This lesson aligns with the National Curriculum for Music, Key Stage 3 (Years 7-9), specifically:

• NC Attainment Target: Performing
  • Pupils should sing and play instruments with increasing accuracy, fluency, control and expression.
• NC Attainment Target: Composing and Improvising
  • Pupils create and develop musical ideas in a variety of forms and styles, using musical structures, symbols, and terminology confidently.
• NC Attainment Target: Listening and Appraising
  • Pupils listen to, analyse and evaluate a wide range of live and recorded music from different traditions and periods and use musical vocabulary to describe this.

Learning Objective(s):

• Understand and identify the use of counterpoint and melodic independence in Bach’s Andante.
• Develop skills in creating melodic lines that demonstrate independence of voices within a melody via contrapuntal techniques.
• Recognise how Baroque melodic structures can inspire contemporary improvisation and composition.

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Learning Outcomes

By the end of this lesson, students will be able to:

• Describe the contrapuntal texture evident in Bach’s Andante.
• Identify key features of melodic independence in solo violin writing.
• Compose or improvise a short melody exhibiting counterpoint principles on classroom instruments or vocally.

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Resources Needed

• Audio recording of Bach’s Andante from Sonata No. 2 for Solo Violin (clean, clear, approx. 1-2 minutes excerpt)
• Printed score excerpt or projected digital score of the Andante (highlighting contrapuntal lines if possible)
• Keyboard, recorders, or classroom percussion instruments for student use
• Whiteboard/chalkboard with space for notation
• Paper and pencils for notation or sketching melody ideas

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Lesson Plan

1. Introduction & Listening (3 minutes)

• Activity: Play the excerpt of Bach’s Andante once through.
• Teacher Talk: Briefly explain the concept of counterpoint—multiple, independent melodic lines played simultaneously that create harmony. Highlight that although this piece is written for solo violin, Bach uses techniques to imply several ‘voices’ or melodic strands at once.
• Engage: Ask: Can you hear more than one melody happening? How does Bach make a solo violin sound like it's playing two different parts?
• Visual Aid: Show the score excerpt pointing out where the lines twist and overlap, indicating separate melodies.

Link to NC: Supports listening and appraising skills by identifying texture and structure in a Baroque piece.

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2. Analytical Exploration (2 minutes)

• Teacher Explanation: Discuss how Bach uses implied counterpoint through melodic contour, articulation, and rhythmic independence, even though it is a single instrument. Give examples from the score: descending bass-like lines vs. ornamented upper melodies which move independently.
• Write 1-2 short melodic fragments on the board demonstrating these ideas:
  • Example 1: A melody with a steady bass pattern implied by longer notes.
  • Example 2: A second melody overlaying the bass pattern with quicker passing notes or ornamentation.
• Highlight the melodic independence and how the ‘voices’ don’t always move together.

Link to NC: Develops musical vocabulary and analytical skills through direct engagement with score and terminology.

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3. Creative Task: Composition/Improvisation (5 minutes)

• Task Setup: Students will work individually or in pairs to create a short melodic fragment (4-6 bars) using the contrapuntal techniques discussed: creating two “independent voices” within a single melody.
• Options:
  • Use a classroom instrument (keyboard, recorder, percussion) to explore phrasing and layering.
  • Use vocal improvisation to sing a melody that implies two voices by alternating longer and shorter notes.
• Encourage them to think about:
  • How to keep both voices clearly distinguishable.
  • Using rhythm, pitch leaps and rests to create independence.
• Teacher Support: Circulate to guide ideas, prompt use of the examples/model phrases.

Link to NC: Encourages composition and improvisation, and applying knowledge of musical elements practically.

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4. Quick Sharing & Reflection (Last minute)

• Invite 2-3 volunteers to perform or sing their created melodies.
• Ask the class to identify how the students maintained melodic independence and contrapuntal style.
• Summarise: Emphasise how Bach's skillful manipulation of melody inspires creative exploration today.

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Assessment for Learning

• Formative assessment through observation of student engagement during creative task.
• Checking understanding via questioning during listening and analysis.
• Peer feedback in quick sharing session focusing on use of counterpoint techniques.

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Extension Ideas (if time or for future lessons)

• Analyse other movements from Bach’s Sonata No. 2 focusing on further contrapuntal devices.
• Arrange student melodies for two performers to explore polyphony live.
• Compose short pieces inspired by Baroque counterpoint on music software.

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This tightly structured, immersive lesson helps Year 8 students engage with Baroque counterpoint in a hands-on, stimulating way that perfectly aligns with the National Curriculum’s emphasis on performing, composing, and appraising.