18th Century Counterpoint: Contrapuntal Motion Flashcards Preview

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Flashcards in 18th Century Counterpoint: Contrapuntal Motion Deck (10):

18th century counterpoint

- harmony is chord quality
- fontanel tonality is how each chord functions in the piece


writing in 18th century counterpoint

- the higher voice is the soprano
- the lowest voice is the bass
- the alto is the voice just below the soprano (fills in harmony)
- the tenor is the voice just above the bass (fills in the harmony)


new with 18th century counterpoint

- we have more quarter and eighth note and little to no whole notes (whole notes are almost always in a bass)
- the melody is always in the soprano
- you are allowed more dissents, 7th chords are now allowed as well
- repetition is when we have the same note repeat
- oblique motion is when one note repeats and the other note(s) move up or down
- we can end a piece with a leap of a 5th to the unison in the bass (this imply the harmonic motion)



- a standalone idea (like a sentence in an essay)



- what we call the end of a phrase
- in a cadence we use roman numerals to describe the chord
- V to I is the strongest sounding cadence we have
- III, VI, III with a voice change is common but is not as final as V to I


eighteenth-century note-note counterpoint does not seem as if it developed from the strict species style

- false


the two most common settings of note-to-note composition can be heard in these compositions

- hymns and patriotic songs


the eighteenth-century style is focused on the concepts of harmony and functional tonality

- true


the repetition of intervals in a chorale melody are more common today, creating ________ motion

- oblique


the feeling of tension and release are expressed by _____ intervals

- consonant and dissonant

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