Be able to describe the most significant difference
between a passacaglia and a chaconne.
Be familiar with the term quodlibet.
Be able
to describe what the ground bass or basso ostinato is.
Be able to enlighten re the purpose of the chorale prelude.
We examined eight types of chorale preludes. Be prepared to
describe their characteristics.
Vorimitation
anyone?
Be able to distinguish a double fugue
from a fugue with two subjects.
Fughetta
anyone?
Know what the episode of a fugue does.
Know what a middle entry is.
Stretto
anyone?
Be able to name the three main sections of a
fugue.
Countersubject anyone?
Know what makes voice entries "regular" in a 3-voice fugue.
You will be given a fugue excerpt and asked to identify whether the
answer is real or tonal, and in which measure the
exposition ends.
Know the purpose of a link.
Know the typical pitch level assignment for a fugue subject and
answer.
Be familiar with the usability of the P4 as a
stable interval in 3-part writing.
In 3-part
counterpoint, know what chord factor of a seventh chord is usually
omitted.
In 3-part writing, know in which voice
repeated notes are permissible.
In terms of 2-part
inventions, know the two possible intervals at which the second
voice may be imitated.
In terms of inventions, know
what a countermotive is.
Be familiar with the
most common inversion intervals in invertible counterpoint.
Know why the inversion of the 10th is infrequently found.
Know what distinguishes a canon from a fugue.
Be
familiar with the three voice-entrance intervals that are commonly
found in canonic writing.
In two-part forms, be
familiar with the usual harmonic schemes in major and minor.
Be able to list commonly-used 18th-century suspensions.
Be able to describe a chain suspension.
Know
how nonharmonic tones should typically be resolved.
Be familiar with the underlying stylistic reason why parallel fifths
are avoided in 2-part writing.
You will be asked to
identify the best type of melodic behavior in terms of step/leap,
same/opposite direction.
