Theory Orals: Counterpoint & Sonata Theory

Question 1

What did 18th century composers learn from species counterpoint?

Answer 1

How to control dissonances, metric accents vs. unaccented based on Species Counterpoint, Non Chord Tones, the use of suspensions, how to fill in space in the opposite direction. Also, what is correct based on style.

Question 2

What type of motion works best in invertible counterpoint at the 10th?

Answer 2

• -Avoid 5ths and 6ths on strong beats, using them only as passing tones.
• -Avoid Parallel 3rds also, because they invert to octaves.
• -This is the most difficult invertible counterpoint in which to write, as everything will invert to a dissonance. All parallel motion must be avoided.
• -Suspensions are great to write in CP at the 10th.

Question 3

What type of motion works best in invertible counterpoint at the 12th?

Answer 3

• -Avoid 6ths and 7ths on strong beats, using them only as passing tones.
• -3rds and 10ths are great to use in passing motion.

Question 4

Describe the Type 1 Sonata.

Answer 4

• -Sonata with Exposition and Recapitulation, but without Development.
• -Two Rotations

Question 5

Describe the Type 2 Sonata.

Answer 5

• -Sonata with Development, but without Recapituation

- -1 full rotation, development, and followed by the S theme, but not a 2nd statement of the P-theme.

Question 6

Describe the Type 3 Sonata.

Answer 6

–Standard “Textbook” Sonata with Exposition, Development, and Recapitulation.

Question 7

Describe the Type 4 Sonata.

Answer 7

• -Sonata-Rondo Form
• Hybrid with elements of both a sonata and rondo.
• Could be a combination of Type 1 Sonata and 5 Part Rondo or Type 3 Sonata with 7-part rondo.

Question 8

Describe the Type 5 Sonata.

Answer 8

• Concerto form with ritornello in between the soloist sections.
• -opening section with orchestra tends to not modulate, or modulate too far.
• -most complicated of all the forms.