BM or BMus Bachelor of Music Counterpoint and Fugal Analysis 2 — Questions and Answers
Question 1: In strict two-voice counterpoint, which interval is considered a 'perfect consonance' that must be approached with particular care?
- Major third
- Perfect fifth (Correct answer)
- Minor sixth
- Major second
Correct answer: Perfect fifth
Perfect fifths are perfect consonances and must be approached by contrary or oblique motion to avoid parallel fifths.
Question 2: A 'real answer' in a fugue transposes the subject to the dominant without alteration, while a 'tonal answer' does what?
- Transposes the subject to the subdominant
- Modifies certain intervals to keep the answer within the home key area (Correct answer)
- Inverts the subject melodically
- Augments the note values of the subject
Correct answer: Modifies certain intervals to keep the answer within the home key area
A tonal answer modifies certain intervals (typically when the subject leaps a fifth or emphasizes the dominant) to maintain tonal stability.
Question 3: Which species of counterpoint introduces passing tones on weak beats against whole notes in the cantus firmus?
- First species
- Second species (Correct answer)
- Third species
- Fourth species
Correct answer: Second species
Second species counterpoint features two half notes against each whole note of the cantus firmus, allowing passing tones on the weak second beat.
Question 4: In fugal writing, the 'episode' serves what primary structural function?
- Introduces the subject in a new voice
- Provides transitional material between subject entries using sequences or fragmentation (Correct answer)
- States the countersubject in augmentation
- Resolves the final cadence in the tonic
Correct answer: Provides transitional material between subject entries using sequences or fragmentation
Episodes are passages between subject entries that provide contrast, modulate to new key areas, and often use sequential or fragmentary development.
Question 5: The term 'invertible counterpoint at the twelfth' means the two voices can be exchanged so that the interval between them becomes:
- An octave lower
- A twelfth lower or higher, with consonances and dissonances swapping roles (Correct answer)
- A fifth higher in the upper voice
- An inversion of all intervals by a factor of twelve
Correct answer: A twelfth lower or higher, with consonances and dissonances swapping roles
In invertible counterpoint at the twelfth, when one voice moves a twelfth, thirds become tenths and the intervallic relationships transform accordingly.
Question 6: A 'stretto' in a fugue occurs when:
- The subject is played in retrograde
- Subject entries overlap so a new voice enters before the previous entry has completed the subject (Correct answer)
- The tempo accelerates toward the cadence
- The countersubject is omitted entirely
Correct answer: Subject entries overlap so a new voice enters before the previous entry has completed the subject
Stretto is a contrapuntal device where successive entries of the subject overlap, creating increased intensity and textural density.
Question 7: Which of the following best describes 'cantus firmus' in the context of species counterpoint exercises?
- A freely composed melodic line with rhythmic variety
- A pre-existing melody in long notes against which new counterpoint is written (Correct answer)
- The bass voice in a four-part chorale
- A harmonic progression reduced to its root-position chords
Correct answer: A pre-existing melody in long notes against which new counterpoint is written
The cantus firmus (Latin: 'fixed song') is a given melody typically in whole notes that serves as the foundation for counterpoint exercises.
BM or BMus Bachelor of Music Counterpoint and Fugal Analysis 2
In strict two-voice counterpoint, which interval is considered a 'perfect consonance' that must be approached with particular care?