Fourth and Fifth Species Counterpoint Flashcards

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1
Q

displacement or fourth species counterpoint

A
  • the mos common form of a displacement is the suspension
  • a pitch is held over the bar line (suspended on former pitch above the expected tone. this suspension resolves down a step
  • the note before the suspension is the preparation and the note after is the resolution
  • the most noticeable attribute of this species is the alternating entrances
  • this creates dissonance on the downbeat
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2
Q

the different types of suuspensions

A
  • there are only three types of suspensions because they must resolve to a consonant interval
  • 4-3 (a 4th resolves down to 3rd in upper voice)
  • 7-6 (7th resolves down to a 6th in upper voice)
  • be careful when using this one. you CANNOT use it correctly when you are using the tonic in the lower voice so don’t do that
  • 9-8 (9th resolves down to an 8th in upper voice)
  • there can be suspensions in the lower voice but most of the suspensions becomes consonant skips. if the tied note is consonant to both notes, it does not have to resolve. the only dissonant suspension in the lower voice is the 2-3 suspension
  • consonant suspensions
  • 6-5 upper voice
  • 5-6 in lower voice, ascending
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3
Q

fifth species counterpoint

A
  • combines all other counterpoint into one
  • we must have learned all other techniques to be able to pick and choose which technique would be appropriate in composing counterpoint
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4
Q

fourth-species counterpoint is based on rhythmic displacement, created by a tied pitch over a bar line. this embellishment is known as a:

A
  • suspension
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5
Q

there are three parts to a dissonant suspension, a ______ consonant pitch tied to the _______ harmony and _______ down by step

A
  • prepared; dissonant; resolved
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6
Q

which of these is NOT one of the three types of dissonant suspensions in the upper voices?

A
  • 2-1
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7
Q

which type of suspension is unique to the bass line?

A
  • 2-3
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8
Q

fifth-species counterpoint is a combination of all the species. the cantus continues to be in whole notes with the counterpoint part in varied rhythms

A
  • true
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