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Inconclusive Patterns in Counterpoint

This document appears to be a test on chapter 11 concepts related to 18th century counterpoint and harmony. It contains 11 multiple choice and short answer questions testing knowledge of topics like the differences between note-to-note and strict species counterpoint, cadence types, tendency tones, implied chords from harmonic intervals, typical bass and soprano line patterns for conclusive and inconclusive phrases, and identifying passing tones, neighbor tones, and suspensions. It also contains exercises to write chorale-style counterpoint and fill in bass lines.

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Brian Williams
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115 views4 pages

Inconclusive Patterns in Counterpoint

This document appears to be a test on chapter 11 concepts related to 18th century counterpoint and harmony. It contains 11 multiple choice and short answer questions testing knowledge of topics like the differences between note-to-note and strict species counterpoint, cadence types, tendency tones, implied chords from harmonic intervals, typical bass and soprano line patterns for conclusive and inconclusive phrases, and identifying passing tones, neighbor tones, and suspensions. It also contains exercises to write chorale-style counterpoint and fill in bass lines.

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

Name: _______________________________________ ___ / 190

Chapter 11 Test

1. How does 18th-century note-to-note counterpoint differ from strict species style
counterpoint? (5)

2. Define the following terms: (20)

Phrase:

Cadence:

Chordal dissonance:

Tendency tones (provide examples from the major scale):

3. What chords are implied by the following harmonic intervals: (15)

a. d5

b. A4

c. m7


4. True or False: Bass lines in tonal music may feature conjunct motion toward the
beginning and middle of the phrase, but typically display disjunct motion towards the
end. (5)

5. What are the bass line scale degrees for a typical, conclusive closing pattern? For an
inconclusive pattern? (15)
6. What are the soprano line scale degrees for a typical conclusive closing pattern? For
an inconclusive pattern? (15)

7. True or False: When a phrase begins with an anacrusis, the implied tonic chord over
the bar line may not change. (5)

8. Name and describe the three types of passing tones discussed in Chapter 11. (15)

9. What is a rearticulated suspension? (5)

10. Name and describe the three parts of an 18th century suspension. (15)

11. True or False: Neighbor tones are always dissonant. (5)


Assignment 11.6
Writing ehorale'style counterpoint
Write a chorale-sryle counterpoint for each given line below. Combine note-to-note and 2:1 patterns, using
2:1 where possible; you may include suspensions, but don't change the given line. Write the harmonic inter-
val numbers between the staves, circle any dissonant intervals, and label any passing tones, neighbor tones,
or suspensions. Write Roman numerals and figures for the opening and closing chords in the blanks, using
only I andV(7).

A. From a chorale melody: Write scale-degree numbers above each melody.


(1) "Nun danketj'mm.1-4a () ___ / 20
5 r5 23

rlr
3@

Key: A 16 I

(2) "Heut ist, o Mensch, ein grosser Trauentag," mm. 1-3a fi ___ / 15

AJ

Key:

(3) "In allen meinen Taten," mm. 1-2a ()


___ / 10

.J

Key:

Chapter 11 Soprano and Bass Lines in Eighteenth-Century Style ::tS5


B. From a given bass line: write scale-degree numbers below each bass line.

___ / 10
(1)

3@

3
J6

(2) ___ / 10

\t/
+-
AJ

Key:

___ / 15

Key:

-1 point for every beat that is incorrect.

Part II Diatonic Harmony and Tonicization

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