18th Century Counterpoint: Contrapuntal Motion

Question 1

18th century counterpoint

Answer 1

• harmony is chord quality

- fontanel tonality is how each chord functions in the piece

Question 2

writing in 18th century counterpoint

Answer 2

• 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)

Question 3

new with 18th century counterpoint

Answer 3

• 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)

Question 4

phrase

Answer 4

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

Question 5

cadence

Answer 5

• 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

Question 6

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

Answer 6

• false

Question 7

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

Answer 7

• hymns and patriotic songs

Question 8

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

Answer 8

• true

Question 9

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

Answer 9

• oblique

Question 10

the feeling of tension and release are expressed by _____ intervals

Answer 10

• consonant and dissonant