JBF Counterpoint

Question 1

Counterpoint

Answer 1

In music, counterpoint is the relationship between two or more musical lines (or voices) which are harmonically interdependent yet independent in rhythm and melodic contour. The term originates from the Latin punctus contra punctum meaning “point against point”, i.e. “note against note”.

Question 2

Final Note

Answer 2

The final note must be approached by step. If the final is approached from below, then the leading tone must be raised in a minor key (Dorian, Hypodorian, Aeolian, Hypoaeolian), but not in Phrygian or Hypophrygian mode. Thus, in the Dorian mode on D, a C♯ is necessary at the cadence.

Question 3

Permitted melodic intervals

Answer 3

Permitted melodic intervals are the perfect unison, fourth, fifth, and octave, as well as the major and minor second, major and minor third, and ascending minor sixth. The ascending minor sixth must be immediately followed by motion downwards.

Question 4

two skips in the same direction

Answer 4

If writing two skips in the same direction—something that must be only rarely done—the second must be smaller than the first, and the interval between the first and the third note may not be dissonant. The three notes should be from the same triad; if this is impossible, they should not outline more than one octave. In general, do not write more than two skips in the same direction.

Question 5

Skip in one direction

Answer 5

If writing a skip in one direction, it is best to proceed after the skip with step-wise motion in the other direction.

Question 6

No tritone

Answer 6

The interval of a tritone in three notes should be avoided (for example, an ascending melodic motion F–A–B♮)[16] as is the interval of a seventh in three notes.

Question 7

Climax

Answer 7

There must be a climax or high point in the line countering the cantus firmus. This usually occurs somewhere in the middle of exercise and must occur on a strong beat.

Question 8

No outlining of a seventh

Answer 8

An outlining of a seventh is avoided within a single line moving in the same direction.

Question 9

Begin and end

Answer 9

The counterpoint must begin and end on a perfect consonance.

Question 10

Contrary motion

Answer 10

Contrary motion should dominate.

Question 11

Perfect consonances

Answer 11

Perfect consonances must be approached by oblique or contrary motion.

Question 12

Imperfect consonances

Answer 12

Imperfect consonances may be approached by any type of motion.

Question 13

interval of a tenth

Answer 13

The interval of a tenth should not be exceeded between two adjacent parts unless by necessity.

Question 14

Bass up

Answer 14

Build from the bass, upward.