18th-Century Melodies
Know
the normal maximum range of a melody.
Know which is
preferable: stepwise motion followed by a leap or a leap
followed by stepwise motion.
Know how active tones
should resolve.
Two-Voice Compositions
Know which factor of a triad is omitted, if necessary.
Be familiar with the guideline for harmonic succession
(approach/departure) in regard to the bass of a 6/4 chord.
Be able to list some of the uses of a 6/4 chord.
In
regard to authentic cadences, be familiar with the position of the
dominant chord.
Know whether the P4 is generally
considered to be an essential or unessential interval?
The three perfect intervals (P1, P5, P8) should not be approached by
a certain type of motion. Figger it out. ;-)
Know what not to double.
Know which parallel
intervals should be avoided.
Know what can disturb
harmonic rhythm if a pattern of frequent harmonic change has been
established.
Know which intervals should appear with
greatest frequency.
Our friend the P5 can
occur on occasion. Know how it is typically surrounded in
terms of intervals.
Be able to name the spots where
the octave is chiefly employed in a composition.
Too
much of a good thing can ruin any party. Know what the
guideline is in terms of the number of times an interval may appear
in succession.
Know what the the maximum distance
between two voices is in most situations.
Know what
error would result in altering the rhythmic ratio between voices (a
baaaaad thing).
You will be given a few examples with
problems and various solutions. You will be asked to select
the best solution to the problem. Problems may include things
such as undesirable parallelisms.
