MUS 311 Counterpoint

Study Guide, Test One, Chapters 2-4

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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. 

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