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Chapter 9 - First Species Counterpoint Flashcards | StudBud
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Chapter 9 - First Species Counterpoint
Chapter 9 - First Species Counterpoint
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Music theory test on first-species counterpoint.
Flashcards
33 cards
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Practice quiz
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Questions
33
Answers
1
The distance between the CF and the CPT should normally be no larger than a(n):
Eleventh
Twelfth
Tenth
Octave
2
The following excerpt from the middle of a counterpoint illustrates which voice-leading problem
cross relation
hidden octaves
parallel octaves
voice crossing
3
Which one is
not
an acceptable first harmonic interval in 1st Species CP in the key of D major?
A
C
D
B
4
A cross relation occurs when:
the upper voice crosses below the cantus firmus
Le from natural min. is followed immediately by La in the CP
Le or Te from the nat min. in the CF then La or Ti in the CP
interval is immediately followed with an inversion of itself
5
1st species counterpoint exercises can use dissonant melodic intervals larger than a M2
False
True
6
In first species CP, perfect intervals are best approached and left by which type of motion?
Oblique
Parallel
Contrary
Similar
7
It is acceptable to write a P8 followed by a P5 in a first species counterpoint.
True
False
8
Which of the types of harmonic motion should you use most frequently?
Parallel
Contrary
Oblique
Similar
9
This excerpt from the middle of a counterpoint illustrates which voice-leading errors?
voice exchange and voice crossing
voice crossing
voice crossing and voice overlap
voice overlap
10
The following excerpt from the middle of a CP illustrates which voice-leading problem?
Oblique Fifths
Parallel Fifths
Hidden Fifths
Unequal Fifths
11
The only ending intervals in note-against-note counterpoint are an octave or unison.
False
True
12
A melodic “leap” consists of the interval of a third.
True
False
13
Conjunct motion occurs when a line moves primarily by step.
False
True
14
Similar motion to P intervals is ok in strict 1st species CP if the upper voice moves by step
False
True
15
How many imperfect consonances of the same size may be used in a row?
5
4
2
3
16
Which type of melodic motion is used most commonly in contrapuntal melodic lines?
Leaps
Spins
Steps
Skips
17
Leaps should be followed by steps in the opposite direction.
True
False
18
If one voice moves by leap in note-against-note counterpoint, so should the other voice
True
False
19
A leap should be approached and left by step.
True
False
20
In note-against note counterpoint, you should use as many dissonances as possible.
True
False
21
In a first species CP which of these intervals may be used
melodically
but not
harmonically
?
m3
M2
P5
M6
22
In strict first species counterpoint, the two lines should never cross.
True
False
23
Which of the following is an acceptable closing gesture in strict first species counterpoint?
6–8 and 3–U
6–10 and 10–8
10–6 and 10–8
6–10 and 3–U
24
Which
harmonic
interval may not be used in first species (note-against-note) counterpoint?
8
3
4
6
25
Parallel motion between two P5s or octaves is not permitted in two-voice counterpoint.
True
False
26
Which of the following is
not
a guideline for writing a good contrapuntal line?
Avoid more than two skips in a row.
Use an equal number of steps and leaps.
Use mostly stepwise motion, with a few skips and leaps
Follow leaps with steps in the opposite direction.
27
You should use as many leaps as possible in 1st species CP because promotes independence line.
False
True
28
Similar motion to a perfect interval is only acceptable when:
both voices move by step
the upper voice moves by leap, the bottom voice by skip
Upper voice moves by step, the bottom voice by skip or leap
Both voices move by step
29
Which scale degree cannot be part of the first harmonic interval in a first species CP?
1
6
5
30
The only phrase ending in strict note-against-note counterpoint is a(n):
Third
Fifth
Sixth
Octave or Unison
31
In note-against-note counterpoint, use perfect intervals less often than thirds and sixths
False
True
32
Disjunct motion occurs when a line moves primarily by step but contains a few skips.
False
True
33
Which of the types of contrapuntal motion should you use most frequently?
Parallel
Contrary
Similar
Oblique
