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| opening section of a fugue, each of the voices states the subject or transposted version of the subject (called the answer). |
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| exact intervallic transpostion of the subject |
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| Modified version of the subject, for purpose of conforming to the new tonal area |
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| subject rested in various keys |
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| prepares entrance of third and fourth voices, functions as sequence that modulates back to the tonic key |
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| second countersubject (occasionally) |
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| introduced as the final subject statments occur |
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| marked by sequential transitions |
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| composed of fragments of the subject and countersubject material, bridge between transposed subject entries |
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| overlapping imitative entries that add further complexity to the development of the subject material |
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| final section, marks return to the tonic key, must halt the momentum and bring work to successful conclusion |
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| D-D all white notes, minor, raise 6th |
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| E-E white notes, lower 2nd |
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| Minor, lowered 2nd and lowered 5th |
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| final pitch of a given mode, determines identity of the mode |
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| Range of pitches employed in a given voice, provides clarity regarding mode type |
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| Rules for writing melodic line |
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Begin/end on same note
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ONE high point
Each voice stay w/in its ambitus according to mode, range should not exceed octave, exception of step at either end
Leaps other than octave shouldn;t exceed P5, m6 if ascending
Leap followed by step in opp. direction
No more than 2 skips (3rds) in same direction
DON’T OUTLINE TRI-TONE (fill line and follow by step in opp. direction)
Avoid repeating any note 3x in a row
Avoid repeated note patterns
Predominantly use stepwise motion
Penultimate note of cantus firmus must be modal step above finalis
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| both voices move in same direction |
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| one voice in either direction, while other sustained; |
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| 4 Fundamental rules of counterpoint |
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1. perfect consonance to perfect consonance= only conrary or oblique
2. perfect ” ” to imperfect ” “= any type of motion
3. Imperfect ” ” to perfect ” “= only contrary or oblique
4. ” ” to imperfect consonance= any type of motion
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| P8, unison 3rds, 6ths, P5 |
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| fixed melodic voice, often derived from pre-existing material, to which other voices are added |
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| “Cadence”…expansion of 6th to octave, marking closure of a contrapuntal passage, contraction of 3rd to unison also acceptable |
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| Chromatic alterations of the modal system used under specific circumstances, particularly when approaching cadence points, or when avoiding interval of tri-tone |
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| when both the upbeat and downbeat of tied note are consonant |
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| consonant upbeat becomes dissonnt while sustaining through downbeat of following measure |
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Form consisting of 2 sections (AB), may include brief intro, and 1 sect. may be slightly longer than another
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||: A :||: B :||
Major Keys: I—–V (V)—–I
Minor Keys: i—-III (III)—–i
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Form with 3 sections (ABA). B section provides contrast before return of A section
||: A :||: B A’ :||
Major Keys: I—-V (V)—I—(I)
Minor Keys i—-i (III)—–i—-(i)
SECTIONAL OR CONTINUOUS
MINUET AND TRIO
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