Chapter 5 - Simple Species

Question 1

1st Species, 2 lines - rhythmic format

Answer 1

whole notes, on beat, begin end simultaneously

Question 2

1st Species, 2 lines - what are the main considerations when it comes to rules?

Answer 2

1) Intervals between consecutive notes
2) Intervals between simultaneous notes
3) Forbidden Forms of motion

Question 3

1st Species, 2 lines - What are the rules governing consecutive notes in a line?

Answer 3

1) Same as 4.1
2) No skips of fourth in bass line, unless simultaneous sounding note in upper line forming 2nd or 7th with other member of 4th.

Question 4

1st species, 2 lines - what are the two considerations regarding simultaneous sounding notes?

Answer 4

1) Dissonance

2) Sonority

Question 5

1st Species, 2 lines - what are the rules governing dissonance between simultaneously sounding notes?

Answer 5

No dissonance allowed, including no fourths.

Question 6

1st Species, 2 lines - what are the rules governing sonority between simultaneously sounding notes?

Answer 6

1) Maintain sonority, except to clarify structure.

2) No unisons except for last measure.

Question 7

1st Species, 2 lines - what are the considerations regarding forbidden forms of motion?

Answer 7

1) Parallel motion
2) Similar motion
3) Overlapping, crossing, or cross relations.

Question 8

1st Species, 2 lines - what are the forbidden forms of parallel motion?

Answer 8

1) No parallel octaves, fifths, unisons
2)No parallel non-consecutive unions/octaves
EXCEPT between U/8, one of the lines has a pitch dissonant with one of the first U/8

Question 9

1st Species, 2 lines - what is the exception to the forbidden non-consecutive parallel unisons/octaves?

Answer 9

If between the non-consecutive parallel U/8, there is a note in one of the lines that is dissonant with one of the pitches forming the first U/8.

Question 10

1st Species, 2 lines - what are the forbidden forms of similar motion?

Answer 10

1) No similar motion to/from unison

2) No similar motion to octave
EXCEPT
i) Upper approached by step
ii) Both final notes in basic structure

3) No similar motion to fifth
EXCEPT
i) Upper approached by step
ii) Upper note of interval either dom or 2nd

Question 11

1st Species, 2 lines - what is exception to the no similar motion to an octave rule?

Answer 11

i) Upper approached by step

ii) Both notes final in basic structure

Question 12

1st Species, 2 lines - what is the exception to the no similar motion to a fifth rule?

Answer 12

i) Upper approached by step

ii) Upper note of interval either dominant or 2nd.

Question 13

1st Species, 2 lines - what are the rules regarding crossing, overlapping, and cross relations?

Answer 13

No crossing, overlapping, or step motion allowed.

Question 14

1st species, 3 lines - what are the rules regarding consecutive notes in a line.

Answer 14

As per 4.1.

No skips of 4th in bass line unless simultaneous 2/7 in another line.

Question 15

1st species, 3 lines - rules regarding dissonance in simultaneous sounding notes

Answer 15

-no dissonance,
-fourth in upper 2 lines okay.
Exception - aug4/dim5 in upper two lines ok, if forms
6 and 3 with bass.

Question 16

1st species, 3 lines - what is the exception to the ‘no dissonance’ rule regarding simultaneous sounding notes.

Answer 16

An aug4/dim5 is permitted in the upper 2 lines, provided that it forms a 6 and 3 with the bass line.

Question 17

1st species, 3 lines - what are the sonority considerations regarding simultaneous sounding notes .

Answer 17

where possible:

• maintain sonority, except to clarify structure
• save only perfect sets of begin/end
• keep upper two lines together

Question 18

1st species, 3 lines - forbidden forms of parallel motion

Answer 18

• no parallel consuctive octaves, fifths, unisons
• no non consecutive parallel u/8 resulting from parallel structure, unless between u/8 pitch occurs in any of the three lines that is
  a) dissonant with pitches of first u/8
  or
  b) member of same pitch as second u/8.

Question 19

1st species, 3 lines - forbidden forms of similar motion

Answer 19

• no similar motion to/from unison
• no similar motion to octave except where upper note approached by octave, and both notes final notes in structures.
• no similar motion to fifth, except where upper note approached by step and
  a) upper note is dom or 2nd, OR
  b) fifth is the upper two lines and bass is different pitch class

Question 20

1st species, 3 lines - cross relations allowed?

Answer 20

no cross relations allowed, except where third line moves by step same moment second CR pitch occurs.

Question 21

2nd Species, 2 lines - what are the three new considerations regarding the new rhythmic format?

Answer 21

• interest and ambiguity
• passing tones / dissonant neighbours
• non consecutive parallels

Question 22

2nd Species, 2 lines - off/on beat - interest and ambiguity?

Answer 22

regarding a notes conceptual priority in relation to it’s position in the rhythm

better to understand
strong / strong
weak / weak relationship

more interest
strong /weak
weak / strong relationship

Question 23

2nd Species, 2 lines - off/on beat - passing tone / dissonant neighbour?

Answer 23

on weak beats, dissonance okay as notes perceived in context of strong beats.
- must be neighboured on both sides by structure

Question 24

2nd Species, 2 lines - off/on beat - non consecutive parallels

Answer 24

in 2nd species, 2 types of motion
- both lines move, only one line moves

but new type of movement - strong beat / strong beat
weak beat / weak beat

• consequences of this relationship to be examined in rules section

Question 25

2nd Species, 2 lines - rules consecutive intervals?

Answer 25

• same as first species
• new exception - B1 may be used but no direct repetitions may occur in final line
• skips of fourth in bass
  a, b,c

Question 26

2nd Species, 2 lines - what is the new exception to rules regarding consecutive intervals?

Answer 26

• B1 may be used, but no direct repetitions may occur in final species line.

Question 27

2nd Species, 2 lines - what are the situations regarding a skip of a fourth in the bass?

Answer 27

a. half notes in bass, skip of fourth in a measure.
not permitted.

b. half notes in bass, skip of fourth between measures.
as in first species. 2/7 in other line, okay.

c. whole notes in bass.
permitted where there is a half note in the upper line forming 2/7 with one of 4th notes, simultaneous and consonant with other and either
i) falls on the beat
ii) is approached by step
iii) is contiguous with note it forms 2/7 with.

Question 28

2nd Species, 2 lines - what are the rules regarding simultaneous sounding notes?

Answer 28

on the beat - must be consonant

off the beat - may be dissonant where half note is a passing tone or neighbour, provided the dissonant half tone is note approached or left by skip.

Question 29

2nd Species, 2 lines - forbidden motion - different categories?

Answer 29

on beat to off beat
off beat to on beat
on beat to on beat
off beat to off beat

Question 30

2nd Species, 2 lines - forbidden motion

on beat to off beat?

Answer 30

all motion is oblique,

only restriction is bass crossing

Question 31

2nd Species, 2 lines - forbidden motion

off beat to on beat?

Answer 31

• as in first species

- except - cross relations allowed if half notes approach CR form steps

Question 32

2nd Species, 2 lines - forbidden motion

on beat to on beat

Answer 32

• no parallel unisons
• no parallel octaves
• no parallel fifths except where second note is interior element of step motion moving in opposite direction

no cross relations between on beat half note and next measure whole note unless half note displaced by step

Question 33

2nd Species, 2 lines - off beat to off beat

Answer 33

• no parallel unisons
• parallel octaves by seconds only if the two off the beat notes approached by different directions
• other parallel octaves okay if
  a. two off beat half notes are approached opposite directions
  b. the first off beat note left by step

Question 34

2nd Species, 2 lines - sonority?

Answer 34

on beat - same as first species

off beat - any interval, dissonance preferred.