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Chapter 10 Test PDF

The document contains a series of questions about second species counterpoint and its differences from first species counterpoint. It asks about acceptable dissonant intervals, resolutions, neighbor tones, suspensions, and more. It also contains assignments to write second, third, fourth, and fifth species counterpoints for given cantus firmus examples.

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Brian Williams
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139 views6 pages

Chapter 10 Test PDF

The document contains a series of questions about second species counterpoint and its differences from first species counterpoint. It asks about acceptable dissonant intervals, resolutions, neighbor tones, suspensions, and more. It also contains assignments to write second, third, fourth, and fifth species counterpoints for given cantus firmus examples.

Uploaded by

Brian Williams
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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Name:_______________________________________________ ______ / 263

1. Describe second-species counterpoint and how it differs from first species? (5)

2. Explain metrical accent as it relates to second-species counterpoint? (5)

3. What dissonant harmonic intervals are acceptable in 2nd species counterpoint?


(5)

4. True or False: A dissonant harmonic interval may sometimes fall on the


accented part of the measure, provided it is approached by a consonant step.
(5)

5. What is a resolution? (5)

6. True or False: Neighbor tones can be on the accented part of a measure. (5)

7. What is the result of using too many neighbor tones in 2nd species counterpoint?
(5)

8. What is the desired range of a 2nd species counterpoint? (5)

9. How does 3rd species counterpoint differ from 2nd species counterpoint? (5)

10.What is a double neighbor? (5)


11.What is a suspension? How is it approached and left? (5)

12.What are the acceptable dissonant suspensions? (15)

13.True or False: It is acceptable to write a chain of suspensions when the cantus


firmus ascends by skip. (5)
NAME

Assignment 7O.2
L Writing a 2:7 counterpoint
Write a 2:1 counterpoint for each given cantus firmus in strict style, using two half notes for each cantus
whole note. Include passing tones, neighbor tones, and consonant skips, and write the harmonic interval
numbers between the staves. Circle the number for each harmonic dissonance.

A. Above a given line

(1) Cr)
___ / 24

CF1

10

d
e

___ / 22
(z) f,)

aJ

CF4

AJ

Chapter 1O Melodic and Rhythmic Embellishment in Two-Voice Composition 717,


Assignment 10.5
I. Writing fourth - sp eeie s e ounterpoint
Write a fourth-species counterpoint in strict sryle for each given cantus firmus, two half notes tied over the
bar line for each whole note. Write the harmonic interval numbers between the staves, and circle the
number for any harmonic dissonance.

A. Above a given line


___ / 24
(1) f) 1

rl
5 @3
CF1

10

aJ

___ / 24
(2) fi)

aJ

CF4

10 11

Ghapter 1O Metodic and Rhythmic Embellishment in Two-Voice {lil.


Compositionj:iiridjlir:;.t:t:i:: ,
Below a given line
(1) o
___ / 22
CF3
U o \-,
8

10

a)
t , e

(2) c;

CF2
a) t,u
c

AJ
rL, \-,

,.:{18,: Part I Elements of Music


C. In the examples of fifth-species counterpoint below, write in the harmonic intervals between the staves.
Circle each dissonance, and identifi, as a passing tone (P), neighbor tone (N), suspension (sus), or combination.

(r) Fux
___ / 24
CF\

(z) Fux ___ / 24

(3) Jeppesen ___ / 24


CF

..*ii Part I Elements of Music


-1 point for each error.

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