While prolongational analysis reveals underlying counterpoint in music from a wide range of styles, with Britten, prolongational analysis reveals a frequent lack of middleground counterpoint. Rather than two independent parts, all parts are dependent on the structurally superior melody. This realization invites a comparison between Britten's music and medieval organum. This comparison manifests itself in two ways. First, extensive parallel motion of thirds, fourths, fifths, octaves and complete triads can be seen across structural levels in Britten's music, challenging common-practice definitions of contrapuntal independence. Second, many passages of Britten's work can be shown to employ a drone bass, above which all other parts subordinate themselves to the melody. This drone may be present on the surface or revealed through analysis to govern middleground structure. Felix Salzer's discussion of twelfth-century organum offers a useful model for describing middleground structure in Britten's War Requiem. In my analyses, I take a modified-Schenkerian approach with the goal of illustrating the structural levels of Britten's primary voice in the War Requiem.