counterpoint
the relationship of two lines
the bass, and the melody
The two most important lines involved in counterpoint
how many simple part writing rules?
7
vocal ranges
Stay within the _______ of each voice
soprano and tenor range
C to G
alto and bass range
G to C
rule 2 - keep in mind the ______ of the voices
individual characters
contrapuntal motion
pertaining to counterpoint
disjunct
Motion moving by skips and leaps
conjunct
Motion moving by step
one thing the melody always has in mind....
an intended goal (normally the tonic)
disjunct
The bass is normally _____ in motion
melody, conjunct
The soprano is always the ______ and is normally ______ in motion
the two most frequent endings
The two most frequent endings
static
moving very little
static
The alto and tenor tend to have ____ motionstatic
etymology of "tenor
tenere," to hold
rule 3 - _____ is the key to successful counterpoint
motion
contrary motion
When the voices are moving in opposite directions, often moves the melody in the opposite direction of the bass
oblique motion
When one voice remains on the same note, and the other moves in either direction
similar motion
when two voices move in the same direction but at different intervals
parallel motion
when two voices move in the same direction/interval, = BAD
contrary
Which type of motion should be featured most often?
Try not to confuse the listener - no ______ _____or _________ parts
crossed voices, overlapping parts
crossed voices
when the voices cross over each other
overlap
When one voice is higher than the other voice has been on the previous chord, the voices_____________
Don't _____the parts too far harmonically
space
soprano, alto; alto, tenor
The _____ and the _____ as well as the _______ and the _______ must be within an octave of each other
tenor/bass
It does not matter how far the ____ is from the ______
rule 6 - double the ___ first, the ____ second, and the ____ with a _____.
Double the ___ first, the ____ second, and the ____ with a _____.
root
First tone to double
second tone to double
fifth
third
Try not to double the
in minor chords
When might it be appropriate to double the third ?
tendency tone
Never double a.....
when one is in first inversion
A good reason to double the fifth
what's more important than doubling the root?
moving voices to the nearest chord members
rule 7 - keep in mind the 3 rules of _______
resolution
first rule of resolutions
if V goes to I or VI, then Ti resolves ________to _______
second rule of resolutions
if vii
/vii
7 OR V7 goes to I or VI, then Ti resolves to AND Fa resolves to
third rule of resolutions
if you have a seventh chord of any kind, then the seventh of the chord resolves _________________or ___________________________