30.9: Practice Exercises
30.9 Practice Exercises
Species Counterpoint: Day One
First and Second Species Exercises
1.
For each exercise below, write first species (note-against-note) counterpoint. Write the intervallic distance from the cantus firmus (“ c.f. ”) to the counterpoint in the blanks above the staff. Remember to begin and end with an octave or unison, to proceed to the last unison by step in both voices, and use only consonances (1, 3, 5, 6, 8, 10).
Answer.
2.
For the exercises below, write second species counterpoint—two half notes in each measure except the last. Each downbeat must be a consonance. The only dissonance allowed is the passing tone. Write the intervallic distance from the cantus firmus (“ c.f. ”) to the counterpoint in the blanks above the staff. Circle all dissonant numbers (2, 4, and 7) and label passing tones with “pt.”
Answer.
Species Counterpoint: Day Two
3.
For each exercise below, write third species counterpoint (quarter notes). Circle all dissonant interval numbers and label passing tones and cambiata figures.
Answer.
4.
For each exercise below, write fourth species counterpoint (suspensions and syncopations). Circle all dissonant interval numbers and label suspensions with “sus” and syncopations with “sync.”
Answer.
Invention Expositions
5.
Complete these invention expositions by following the I–I–V–V–I harmonic pattern and transposing and modifying the theme accordingly.
Answer.
Fugue Analysis
6.
For this fugue from the second Kyrie eleison of Bach's Mass in B Minor (BWV 232), specify formal sections (expositions and episodes), motives (subject, answer, countersubjects, and fragments thereof), and key areas for expositions only in the table below. This fugue contains more “counterpoint” (material not derived for subjects or countersubjects) than the C minor fugue in the body of the text.
| FORM | ||||||||
| SOPRANO | ||||||||
| ALTO | ||||||||
| TENOR | ||||||||
| BASS | ||||||||
| KEY | ||||||||
| Meas. | 1 | 2 | 3 | 4 | ||||
| l | ||||||||
| FORM | ||||||||
| SOPRANO | ||||||||
| ALTO | ||||||||
| TENOR | ||||||||
| BASS | ||||||||
| KEY | ||||||||
| Meas. | 5 | 6 | 7 | 8 | ||||
| l | ||||||||
| FORM | ||||||||
| SOPRANO | ||||||||
| ALTO | ||||||||
| TENOR | ||||||||
| BASS | ||||||||
| KEY | ||||||||
| Meas. | 9 | 10 | 11 | 12 | ||||
| l | ||||||||
| FORM | ||||||||
| SOPRANO | ||||||||
| ALTO | ||||||||
| TENOR | ||||||||
| BASS | ||||||||
| KEY | ||||||||
| Meas. | 13 | 14 | 15 | 16 | ||||
| l | ||||||||
| FORM | ||||||||
| SOPRANO | ||||||||
| ALTO | ||||||||
| TENOR | ||||||||
| BASS | ||||||||
| KEY | ||||||||
| Meas. | 17 | 18 | 19 | 20 |
Answer.
Click here to download the first homework assignment for this chapter.
Click here to download the second homework assignment for this chapter.
Click here to download the third homework assignment for this chapter.
Click here to download the fourth homework assignment for this chapter.
Click here to download the fifth homework assignment for this chapter.
Click here to download the Unit 10 Practice Test.
PDF versions of the textbook, homework exercises, and practice exercises can be found at
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