Honors Music Theory 2 Final (9, 11, 12)
10th
Distance between cantus firmus and counterpoint should normally be no larger than a...
Both parts move at the same time to the next harmonic interval
First Species cp is also called note-against-note cp because...
Parallel Fifths
Following Excerpt from middle of CP illustrates which voice-leading problem (G3D4 to B3F4)
V
Half Cadences typically end on ___?
In First inversion with the 3rd doubled
How do diminished triads frequently appear?
3
How many imperfect consonances of same size may be used in a row?
False
In 4-part voice-leading, if leading tone is in the bass, it must be doubled in an inner voice
voice crossing
In 4-voice texture, when a pitch is higher or lower than the pitch in an adjacent voice part within a single chord, it is called
Octave
In a keyboard setting, what is the largest harmonic interval you should write to be played by one hand?
Contrary
In first species CP, perfect intervals are best approached and left by which type of motion?
Upper voice moves by step, bottom by skip or leap
Similar motion to a perfect interval is only acceptable when:
Soprano and Bass
Which 2 voices contain an objectionable motion? (FCAC — CEGG)
A3 and C4
Which is the best opening interval for a phrase in A major that begins with a C# scale degree 3 in the melody?
3 (GDFF — CEC)
Which of the following dominant seventh chords lead to a PAC?
4 (EbEbDGA — AECA)
Which of the following indicated dominant-to-tonic progressions sis a PAC
G3F4 contrary motion to C4E4
Which of the following is NOT an acceptable chordal dissonance and resolution in note-against-note counterpoint in key of Bb major?
Dissonances do not require resolution
Which of the following is NOT true about chordal dissonance treatment in note-against-note counterpoint?
6-8 and 3-U
Which of the following is an acceptable closing gesture in strict first species CP?
EBGD —> AAAC
Which of the following progressions is an imperfect authentic cadence (IAC) in the key of A major?
Voice Crossing
Which of the following voice-leading problems is shown in this example? (EBEG — BBDF — EBEG)
scale degree 6
Which scale degree canNOT be part of the first harmonic interval in a first species note-against-note cp exercise
Contrary Octaves
Which voice-leading violation occurs between the 2 voices marked with red lines? (FF — BB)
Both 1 and 2 (voice exchange between bass and soprano in 1 and 2)
Study the opening measures of Beethoven's Piano Sonata in C Minor, op. 13/i. Which measures contain a voice exchange?
both tonic and dominant prolongations with voice exchanges
Study this excerpt from the opening of Beethoven's Piano Sonata in Ab Major, op. 110/i. What principle is illustrated here?
True
T/F: A Half cadence often features scale degree 2 in the soprano
False
T/F: A half cadence contains scale degree 1 in both the bass and soprano voices
True
T/F: A leap should be approached and left by step
False
T/F: All passing tones are dissonant
False
T/F: An inconclusive phrase does not contain a dominant area.
True
T/F: An inconclusive phrase may cadence in the dominant area
True
T/F: Basic phrase model begins by establishing the tonic.
parallel fifths
Which voice-leading violation occurs between the two voices marked with red lines? (FC - CG)
True
T/F: Certain dissonances may be used in 18th century style note against note counterpoint if they're part of the dominant seventh chord
False
T/F: Conclusive phrase ends on the dominant
True
T/F: Conjunct motion occurs when a line moves primarily by step
True
T/F: Diminished triads typically appear in first inversion.
False - resolves to 6th
T/F: Dissonant interval of an A4 resolves by moving into a 3rd
False
T/F: Dominant triad provides the strongest pull towards tonic when it is in first inversion.
False
T/F: First species cp exercises can use dissonant melodic intervals larger than a major second
True
T/F: Fourth is considered a dissonant harmonic interval in two-voice CP.
True
T/F: If a triad is in 2nd inversion, the bass must be doubled.
False
T/F: If a triad is in first inversion, any chord member may be doubled.
False
T/F: If one voice moves by leap in note against note cp, so should the other voice.
True
T/F: In 18th-century note-against-note counterpoint, the opening harmonic interval frequently establishes the tonic chord.
False
T/F: In 2 and 4 voice writing, parallel motion between imperfect consonances is not common
False
T/F: In Root position triad, it is best to double the third of the triad.
True
T/F: In a I6 chord, the bass may be doubled
True
T/F: In a I6^4 chord, the fifth of the triad should be doubled
False
T/F: In a V6 chord, you may double the bass of the chord
False
T/F: It is acceptable to double a tendency tone in a triad
False
T/F: It is acceptable to double the leading tone in dominant harmony
False
T/F: It is acceptable to write a P8 followed by a P5 in first species cp
True
T/F: Leading tone is a tendency tone
True
T/F: Leaps should be followed by steps in the opposite direction
False
T/F: Motion in beats highlighted in this example are acceptable according to rules of 18th century CP (EB to BF)
True
T/F: Motion in beats highlighted in this example are acceptable according to rules of 2:1 counterpoint (GE E — BF A)
False
T/F: Motion in beats highlighted in this example are acceptable in 18th century counterpoint (FF — AA)
True
T/F: PAC Consists of a root-position V or V7 progressing to a root-position I or i.
True
T/F: Parallel motion between 2 perfect fifths or octaves is not permitted in 2 voice cp
True
T/F: Perfect authentic cadence contains scale degree 1 in both soprano and bass voices.
True
T/F: Similar motion into perfect intervals is acceptable in 18th century counterpoint if the upper voice moves by step.
True
T/F: Similar motion to perfect intervals is acceptable in strict 1st species cp if upper voice moves by step.
False
T/F: The active tone in dominant-functioning triads is scale degree 5.
False - they're repeated
T/F: The fifths in this example are forbidden (AECA —> AEEC)
False
T/F: The red lines indicate an example of contrary octaves. (C-C and F-C)
True (GDGB — DDF#A)
T/F: This excerpt from Chopin's Polonaise in G Minor ends with a half cadence.
False - parallel octaves
T/F: This is an excerpt in 2:1 (second species) counterpoint (F AA to BB)
False
T/F: Tonic triad is frequently incomplete at the beginning of a phrase
True
T/F: When 2 chords share a common tone, keep the common tone in the same voice when possible.
True
T/F: When V resolves to I or i, the LT will almost always resolve up by half step to scale degree 1
False
T/F: You may never double the third of fifth in a root position triad
False
T/F: [The note circled in red in measure 2 is breaking the rule against voice crossing] tenor voice is an E4 and alto voice goes to B3
Tenor and Bass
The interval between which pair of voices can exceed an octave in SATB Writing?
False - parallel octave
The motion in the beats highlighted in this example is acceptable in 18th century counterpoint (C AA to BB)
False
The voice-leading motion in the red box is forbidden in four-voice writing . (4 parallel 6ths)
Voice Crossing and Voice Overlap
This excerpt from middle of a cp illustrates which voice-leading errors? (key of D major, starts w/ F#4 and D4)
3rd of the dominant chord (DGFB, B should be #)
With which dominant chord member is there a voice-leading problem in this C# minor chord progression? (DGFB — CGEC)
scale degree 6 or 7 from natural minor appear in cantus firmus and raised 6/7 appear in CP
A cross relation occurs when
Scale degree 7
Active tone in a dominant-functioning triad is
D and F
What 2 notes aren't acceptable first harmonic interval in note-against-note CP in Key of D major
Voice Crossing
What SATB Setting guideline is not being followed in the chord indicated by the red box? (G3G4D4B4)
Harmonic, melodic, rhythmic
What features contribute to a cadence?
4
What harmonic interval may NOT be used in first species CP?
D5
What is the highest note that should be written for the alto voice?
E2
What is the lowest note that should be written for the bass voice?
C4
What is the lowest note that should be written for the soprano voice?
C3
What is the lowest note that should be written for the tenor voice?
C minor
What key is G3 and F4 an acceptable dissonance?
F major
What key is this harmonic interval an acceptable dissonance? (Bb3 and E4)
C Major
What key is this harmonic interval an acceptable dissonance? (F3 and B4)
A scale degree other than 1 is in sop and either dominant or tonic chord is in inversion
What may be a characteristic of an imperfect authentic cadence?
Scale degree 1
What scale degree is in the soprano in a PAC?
Any chord member that isn't a tendency tone or altered tone
What should be doubled when a triad is in first inversion?
PAC
What type of Cadence does this excerpt illustrate? (EEGB — GBDG)
Imperfect Authentic Cadence in F Major
What type of cadence does this excerpt illustrate? (BDG —> FCFA)
Half Cadence (HC)
What type of cadence does this excerpt illustrate? (CCEG—DDFA)
Contrary
What types of harmonic motion should you use more frequently?
Doubled leading tone
What voice-leading problem does this E major example illustrate?
Root
When a triad is in root position, it is best to double the
fifth
When a triad is in second inversion, which chord member should be doubled?
