Rhythmic Values: Wholes in c.f/halves in Cpt Downbeats MUST be consonances Weak beats can be consonance or dissonance Any weak-beat dissonance must = a Passing Tone

1. Team Exercise: Calculate all the intervals in this 2 nd species exercise. 1b. Team Exercise: Sing the counterpoint

Answer

2. In 2 nd species, the cantus firmus moves in whole notes; the counterpoint, or added voice, generally moves in ___________________.

3.In the first bar of a 2 nd species example, you may write two half notes or ___________________.

4. Another exception to the “all-half-note-in-the-counterpoint rule” comes in the _____________ bar of a 2 nd species counterpoint, where you can write either the normal two half notes per bar, or ________________________. N.B. All species counterpoint examples have whole notes in the final bar.

5. In second species only ____________ intervals occur on the downbeats

6b. Unlike in 1 st species, 2 nd species uses a dissonance. The only type of dissonance treatment permitted in 2 nd species is the ____________ a. How many dissonance(s) in the example above (give measure # -- beat)

7. In 2 nd species. dissonant passing tones occur only on ______________ beats

8a. Are consonant passing tones permitted in 2 nd species? Find all the CPTs in the above example (write measure # only).

10. There is only one consonant passing tone combination in each direction: Ascending __________ and descending ______________. * *

11. There are two additional possibilities for the second half of the bar, in addition to those above (diss. PT + cons. PT): _____________ and _____________ *

11. There are two additional possibilities for the second half of the bar, in addition to those above (diss. PT + cons. PT): One is shown at the asterisk: __________________________________________ * + The second is shown at the + _______________________________

12. Repeated notes (tied across a bar) are permitted in ____ species but not in ____ species.

13. The final cadence is formed by___________________ (a, b, and c): a) describe the motion in both voices in terms of scale degree b) describe the two intervals (general and specific names) c) type of melodic motion (stepwise/skip) and (parallel/similar/contrary/oblique) motion

14. In minor keys, you generally _________ the _______ at cadences.

15.In minor keys, when the melodic line ascends 6, 7, 8, you must not only raise the LT, but also ______________________ *

16. Placing “our” example in minor causes an error not present in major. Identify the error

1 2 3