Chapter 2 Introdution To Melody and Two-voice Counterpoint

Question 1

Melodic Cadence

Answer 1

The approach to the final pitch

Question 2

Range

Answer 2

The total span of pitches

Question 3

Guidelines

Answer 3

If necessary try to avoid it

Question 4

Rules

Answer 4

Can never be broken

Question 5

Conjuct motion

Answer 5

MOving primarily by step.

Question 6

Discount motion

Answer 6

Skips such as thirds, fourths, and fifths

Question 7

Voices

Answer 7

A way of dividing how many individual members are on a song. For example in singing there’s soprano, alto, tenor, and bass.

Question 8

Outer Voices

Answer 8

Lowest and highest sounding pitches heard

Question 9

Counterpoint

Answer 9

The relationship between adn movement of two or more voices

Question 10

5 rules of first species counterpoint

Answer 10

Rule 1: Harmonic intervals must be consonant. This means m3, M3, P5, m6, M6, P8.
Rule 2: Parallel perfect intervals are forbidden. (Remember what Greg said when you have perfect fifths you can’t tell what key a piece is in)
Rule 3: Approach perfect Constance’s using contrary motion; the single context in which similar motion is permitted occurs when the upper voice moves by step to the octave or fifth.
Rule 4: Begin and end your counterpoint on I.
Rule 5 In minor, use the lower dform of 6 an 7; raise 7 to create a leading tone only in the penultimate measure, and raise 6 when it precedes the leading tone.

Question 11

5 guidelines for first species counterpoint

Answer 11

Guideline 1: use step motion as much as possible in onctrapuntal voice, with occasional skips or leaps to add interest. Change direction and move by step after a leap.
Guideline 2: Since the goal of counterpoint is voice independence, use contrary motion as much as possible. Parallel l motion is restricted to imperfect; limit to three consecutive uses.
Guideline 3: use imperfect consnaces as verticalities when possible. Restrict the use of octaves and fifths to only one or two within the exercise.
Guideline 4: Avoid two perfect consonance in a row since they crate a hollow sound.
Guideline 5 Label every vertical interval

Question 12

Contrapuntal MOtion

Answer 12

The contours produced between two or more voices.

Question 13

6 Rules for second species counterpoint

Answer 13

Rule 1: STrong beats must be consonant.
Rule 2: Avoid parallel perfect intervals between successive strong (beats) weak beat and strong beat.
Rule 3: Avoid direct motion to perfect intervals from weak to strong beats.
Rule 4:The only permitted dissonance is teh weak-beat passing note (i.e., must fil the space of a melodic third by step between two downbeats)
Rule 5: The added voice must begin on 1 when it appears below teh CF, but it may begin on 1. 3 or 5 when it appears above the CF. You may begin with a half rest, adn teh penultimate measure may contain either one or two measures. The final measure must contain a whole note
Rule 6: In minor, use the lowered form fo 6 and 7: raise 7 to create a leading tone only in the penultimate measure, adn raise 6 if it precedes the leading tone.

Question 14

Guidelines for second species counterpoint

Answer 14

Guideline 1: Incorporate as many dissonant passing tones as possible.
Guideline 2: Use consonant leaps to balance dissonant passing tones
Guideline 3: Place leaps within, rather than between, measures.
label every interval, and mark each dissonant passing tone with an asterisk.