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TH101: Model Composition and Tonal Analysis

ASSIGNMENT 5
Due Tuesday, September 19

1. READING/VIEWING [DUE NEXT CLASS]

MONAHAN, Two-Part Harmonic Species Counterpoint: An Introduction


Introduction and Chapter One
This interactive eBook will serve as the backbone for our next three weeks of class. It is available
for free on Blackboard. All of its musical examples play when clicked.

Video Lesson: Introduction to Counterpoint/First Species Counterpoint


Under “Assignment 5” on Blackboard, there is a link to a screencast lecture that corresponds to
the reading above. This is an older video, and the production quality is worse than my new ones.
And unfortunately, there’s no closed captioning. But it should still be useful to watch!

Video Lesson no. 9: NUMBERS IN MUSIC THEORY


If you have any trouble keeping all these music-theoretical numbers straight—scale degrees,
chord degrees, Roman numerals, intervals, and figured bass—then this video is for you. It is the
clearest explanation of these things ever created. Seriously.

Video Lesson no. 11: CLASSICAL CADENCES


This video is a complement to your species counterpoint reading. In the latter, I introduce some
of the basic principles of classical cadences—but only as far as they’re necessary for species
training. Here, I talk about cadences IN REAL MUSIC, which is a broader and more varied topic.
Plus, it’s loaded with real musical examples.

2. COMPREHENSION QUIZ PREPARATION [DUE NEXT CLASS]

COMPREHENSION QUIZ no. 3: FIRST-SPECIES HARMONIC COUNTERPOINT


• To ensure that you have READ and UNDERSTOOD the assigned material above, you will be
asked some or all of these questions in a brief quiz:

1. What are the four “types of motion” that can occur between 2 voices in counterpoint?
2. When may the upper voice move in parallel perfect 5ths or 8ths with the bass line?
3. TRUE or FALSE: in first species harmonic counterpoint, all dissonant intervals are
forbidden.
4. TRUE or FALSE: an authenic cadence (perfect or imperfect) may involve tonic and
dominant chords in any inversion.
5. TRUE or FALSE: in two-part counterpoint, you should prefer imperfect intervals over
perfect ones.

• You will ALSO be given a pair of vertical intervals and asked what type of motion occurs
between the respective voices.
NAME TH101—Assignment no. 5, p. 2

3. SKILL BUILDER MASTERY ASSESSMENTS [DUE TUESDAY EVENING]

INTERVALS (white notes only) and INTERVALS (all)


These two assessments are due by midnight on Tuesday, 9/19. No further attempts may be
made after that date!
For a full list of assessments and their due dates, see Assignment 1 or visit our class site at
http://www.oup.com/mtsb.

4. ERROR DETECTION/RECOMPOSITION [DUE NEXT CLASS]

FIND AND LABEL AT LEAST FOUR ERRORS IN THE GIVEN FIRST-SPECIES SOLUTION
The errors may involve chord spelling, contrapuntal motion, or cadence type. You should work
according to these guidelines:

1. Put a ROMAN NUMERAL under each chord. You can determine the correct RN by analyzing
the given bass note and figures in each bar. (Step-by-step instructions appear in the Appendix
of your Harmonic Species Counterpoint eBook.)

2. Determine the notes in each chord, and WRITE THEM above each bar.

3. CIRCLE and LABEL any errors according to this rubric:

CT = the circled note is not part of the intended chord (this includes notes that are missing accidentals)
P5 or P8 = the circled pair of notes creates parallel perfect fifths or octaves (both illegal motions)
CAD = the circled note is incorrect for the specified cadence

b w w
&b b w w w w w w

w
[PAC]
?b w w w w w w
bb nw
4+ 6 6 6 7
2 5 ∂

OPTIONAL: FIX THE ERRORS NOTED ABOVE


To earn a P+ grade, you may write in a counterpoint that fixes the errors noted in the one above.
It needn’t be a work of genius, but it should follow the rules given in your eBook!

b
&b b
? bb w w w w w w w
b nw
4+ 6 6 6 7
2 5 ∂