"Gradus ad Mikrokosmom"

30 uncommented examples of Béla Bartók's counterpoint from Mikrokosmos 1 - 4

Selected by Bartók forever
 Contents

C = Canon S = Subject-centered D = Double Counterpoint Q = Quodlibet F = Four-part

1 Reflection
2 Contrary Motion (1)
3 Imitation and Counterpoint
4 Imitation and Inversion (1) D
5 Pastorale Q
6 Imitation and Inversion (2) D
7 Repetition C
8 Canon at the Octave C
9 Imitation Reflected
10 Canon at the Lower Fifth C
11 Dance in Canon Form C
12 In Dorian Mode Q
13 In Phrygian Mode Q
14 Chorale
15 Free Canon C
16 Staccato and Legato (Canon) C
17 Minuetto Q
18 In Transylvanian Style S
19 Accents S
20 In Oriental Style C
21 Major and Minor Q
22 Hommage à J. S. B. Q
23 Wandering Q
24 Two Major Pentachords S Q
25 In Four Parts (1) F
26 Chromatic Invention (1) S
27 Chromatic Invention (2) S
28 In Four Parts (2) F
29 In Folk Song Style S
30 Theme and Inversion S

2
 1 Reflection
(1,12)

                
  
 = 100

                   

   
                    
7

                        

                   
   
13

      
                

3
 2 Contrary Motion (1)
(1,17)

         
           
 = 96

    
                

              
    
9

            
      

4
 3 Imitation and Counterpoint
(1,22)

        
      
 = 136


           
    


   
         
8

         
      

5
 4 Imitation and Inversion (1)
(1,23)

         
         
 = 96

       
           


                    
7

                  

6
 5 Pastorale
(1,24)

 
            
 =120

      
     



            
 
6

     
       

 
             
12

 
          
 

 
       
      
18

   
       
   
  

7
 6 Imitation and Inversion (2)
(1,25)

 
        
 
    
 = 150

         
       


 
      



       
10

        
          
 

   
             
21

                 

 
           
 
30

               



         
 
  
39

               


8
 7 Repetition (2)
(1,26)

 
                
 = 128

   
             



            

9

         
     

9
 8 Canon at the Octave
(1,28)


               
 = 112

              



                
7

              


10
 9 Imitation Reflected
(1,29)


               
 = 112

             



                  

7

      
     

11
 10 Canon at the Lower Fifth
(1,30)


          
Moderato, = 112

 
         


       
     
9

       
     

 
            
17

 
            

12
 11 Dance in Canon Form
(1,31)

  
                   
Allegro, = 160

  
     
 
        


         
            
9

    
                     
 

13
 12 In Dorian Mode
(1,32)

               
 
Lento, = 104


          
, legato

    
        
4

                

                   
7

        
       

         
       
11

             
  

14
 13 In Phrygian Mode
(1,34)

  

                
Calmo,  = 80

  
           
, legato 


             
7


        

      


                
 
13

             
cresc.

          
     
19


                
 dim. 

 

15
 14 Chorale
(1,35)


  
            
Largamente, = 88

       
      
legato 

  
            

5

               


                
10

                 

   
              
16

    
          

 
             
22

              

16
 15 Free Canon
(1,36)

               
    
Teneramente, = 132

             
     

, legato

        
        
7

     
            

         
      
14

        
     

                
22

            
   


17
 16 Staccato and Legato (Canon)
(2,39)


                   
Comodo, = 88

            



                 
     
4

                      


                       
 
8

 
     
            


    

18
 17 Minuetto
(2,50)

                           
   
Tempo di Minuetto, = 100

                   
    
 



                     
   
  
6

        
             


         
     
12

        
  
 
 

              
15

        
 


 

19
 18 In Transylvanian Style
(2,53)


              
Risoluto,  = 108

   
 


 
 
    
6

  
   
   
più 


       
   
11

  
             

 
        
16

             


 


20
 
   
      
22

           

più 

 
           
27

                 

21
 19 Accents

                  
(2,57)


    
    
Non troppo vivo,  = 112

 
    
            

, molto marcato

 
        
             
8

                           
      


        
            
 
   
16

           
                  


                              
  
23

    
         
      
    
  


22
           
             
 



30

                     
   


  


     
              
     
37

       
          
        

23
 20 In Oriental Style
(2,58)

   
             

Assai lento,   = 46

                        
     
, espr.

 
, espr.

               
          
6

   
  
        





                      
       
11


        
   
              
 



       
          
poco ritard.

 
16

         
  

   

24
 21 Major and Minor
(2,59)

  
                       
Lento, = 76

  
               
   




  
                
  
5

   
 
   
          
  


                 

10


       
      
 

                  
14

 
         


25
 22 Hommage à J. S. B.
(3,79)


          
 
 
 

Calmo, = 69

             
 
         
, legato

         
 
   
 
 
  
  

4

    
     


 
     

 


        
             

7
poco rit.


   
                
 cresc.

                 
 
10


     
                  

26
               

        
12 a tempo

  
               

 dim.

                  
14
ritard.

           
         

             
16

               


27
 23 Wandering
(3,81)

            
       
Non troppo lento, = 76

 

 
                      





               
        
 
7


                  
   




                      

14


                  
 
 più 

  
 più 


                     
21

                           
 
 


 

 
                          
28
ritard.

           
                  
più   

 
più   

28
 24 Two Major Pentachords
(3,86)


         
Andante, = 84

            
   



  
         
5

              


              
9 Più andante, = 120

                
  

             

13

            
   

29
               



17

         

cresc.

               
21
 

                  

              
25

            
    
      



 
             
Tempo I. 


29

  
                      
 

30
 25 In Four Parts (1)
(3,89)

      
            
Largo,  = 48

          
     


  
               
poco rit.
Un poco più mosso

 
6



             
   



              
   
   
11



             

       
 

 



            
      
       
allarg.
16

                
   
        
 

 

31
 26 Chromatic Invention (1)
(3,91)

 
                      
Lento, = 71

        
         

, espr.

   


       
     
        



4

                       


  

            


           
  

7

 
   
                
 
dim.

   

 


           
                      
10
 più 

        
              
    

     
 più 

    
                     

14
 rallentando

   
                      
smorzando



32
 27 Chromatic Invention (2)
(3,92)

  

                          
Allegro robusto, = 138

  
                          
, marcato

  
    
                      
 

4

    
                      


  
               
         
7

            
  
         




                       
10


                          


 



                      
13


                       




33
     
 
                          
16

                                   



più 

 

      
  
                  
20

                        


               
           
   
23

                        

      
                     
 

 
26

                       
   


               
           


 
29

           
 


               

34
 28 In Four Parts (2)
(3,93)

   
           
Molto moderato, sonoro, = 66 - 69

 

              
    


 


   
                       
5

 
           
              


                  
         
9


         
              
  

                          
12

                        


35
 29 In Folk Song Style
(4,100)

             
     

     
Andante,  = 152

     
          
tutte le due voci con molta espressione, sempre legato

   


                 
   
5

      
 
          


               
     

 
 

9

          
                 
   

                    
       

14


                            
   
 

         
   
                       
 
19 calando


                       


       


36
 30 Theme and Inversion
(4,114)


          
      
Molto moderato,  = 60 a tempo
rallentando

          
           
      
  
 

                        
     
4

      
      
    
       


            
         
      

6

            

           
  

    

  
                        
 
rallentando

 
8

 
   
       
           
 

   
dim.

 

37
  a tempo     
            
11

          
       




      
          
      
    
       
13

           
           
                

    
                  
 
15

          
       
dim.

  
      
rallentando


17

        
 
        


38