1. Chapter 8

2.  Voice leading  Linear aspect of music (melodies)  Species counterpoint  Composition in Renaissance style  Cantus Firmus  Fixed melody  Finishes with a cadence  Counterpoint  A second voice that accompanies the cantus firmus

3.  First species  One note in the counterpoint for each note in the cantus firmus  Second species  Two notes in the counterpoint for each note in the cantus firmus  Third species  Four notes in the counterpoint for each note in the cantus firmus  Fourth species  Tied notes in almost every bar (often suspensions)  Fifth species  Florid counterpoint (combines the other 4 species)

4.  Dorian  Begins on 2 nd scale degree of major scale  Phrygian  Begins on 3 rd scale degree of major scale  Lydian  Begins on 4 th scale degree of major scale  Mixolydian  Begins on 5 th scale degree of major scale  Aeolian  Begins on 6 th scale degree of major scale  Same as natural minor scale  Ionian  Begins on 1 st scale degree of major scale  Same as major scale

5.  Ascend to single climax tone and then descend  Avoid two successive leaps in the same direction unless they outline a triad  Never leap by diminished or augmented intervals or by a 7 th  No leaps larger than an octave  Avoid repeated figures, sequences, and melodic segments that outline a tritone  Total range of melody should not exceed a 10 th

6.  One note in the counterpoint for each note in the cantus firmus  Counterpoint above the cantus firmus  Begin with a P1, P5, or P8  End with fixed formula for mode (See Figure 8.17)  Counterpoint below the cantus firmus  Begin with a P1 or P8  End with fixed formula for mode (See Figure 8.17)  Allowable intervals  M3, m3, P5, M6, m6, P8, M10, m10

7.  Contrary  Voices move in opposite directions  Oblique  One voice stays the same while the other moves  Similar  Both voices move in the same direction  Parallel  Both voices move in the same direction with the same interval

8.  From one perfect interval to another perfect interval  Contrary or oblique motion  From a perfect interval to an imperfect interval  Similar, contrary, or oblique motion  From an imperfect interval to a perfect interval  Contrary or oblique motion  From an imperfect interval to another imperfect interval  Contrary, parallel, similar, or oblique motion  Use no more than two tied or repeated notes in a single exercise  Avoid long passages in parallel motion