BM or BMus Bachelor of Music Counterpoint and Fugal Analysis 3 — Questions and Answers
Question 1: In fourth species (syncopated) counterpoint, dissonances are permitted when they occur as:
- Passing tones on weak beats
- Suspensions on strong beats resolving downward by step (Correct answer)
- Neighbor tones above the cantus firmus
- Escape tones moving by leap
Correct answer: Suspensions on strong beats resolving downward by step
Fourth species allows dissonant suspensions on strong beats, provided they resolve downward by step to a consonance.
Question 2: The 'exposition' of a fugue is complete when:
- The subject has been stated once in the tonic
- All voices have stated the subject or answer at least once (Correct answer)
- The first episode has concluded
- The subject appears in augmentation for the first time
Correct answer: All voices have stated the subject or answer at least once
The exposition ends once every voice has presented either the subject or its answer, establishing the full contrapuntal texture.
Question 3: Which contrapuntal technique involves systematically repeating a melodic or harmonic pattern at successively higher or lower pitch levels?
- Imitation
- Inversion
- Sequence (Correct answer)
- Augmentation
Correct answer: Sequence
A sequence is the repetition of a melodic or harmonic pattern at different pitch levels and is a common device in fugal episodes.
Question 4: In a three-voice fugue exposition, the third voice typically enters with what material?
- The subject in the subdominant
- The subject in the tonic or a tonal answer in the dominant (Correct answer)
- A free counterpoint unrelated to the subject
- The subject in diminution
Correct answer: The subject in the tonic or a tonal answer in the dominant
In a three-voice fugue, voices alternate between tonic (subject) and dominant (answer) entries, so the third voice returns to the tonic or dominant accordingly.
Question 5: A 'pedal point' in a fugue typically appears at which structural location for maximum effect?
- During the exposition before any episodes
- Near the end, often on the dominant before the final tonic statement (Correct answer)
- Immediately after the first stretto passage
- During the middle entries in the relative minor
Correct answer: Near the end, often on the dominant before the final tonic statement
Pedal points most commonly appear near the end of a fugue on a sustained dominant, creating harmonic tension that resolves into the final tonic section.
Question 6: The rule against 'hidden (or direct) octaves' in strict counterpoint prohibits:
- Any two voices sounding an octave apart simultaneously
- Two voices moving in similar motion to a perfect octave, with the upper voice leaping (Correct answer)
- Octaves that occur on every downbeat
- Parallel octaves between the bass and soprano
Correct answer: Two voices moving in similar motion to a perfect octave, with the upper voice leaping
Hidden octaves occur when two voices move in similar motion to a perfect interval (octave or fifth), especially when the soprano leaps, creating an implied parallel motion.
Question 7: In double counterpoint at the octave, which interval in the original combination becomes a seventh when voices are inverted?
- Second (Correct answer)
- Third
- Fifth
- Sixth
Correct answer: Second
In octave inversion, each interval subtracts from 9: a second (2) becomes a seventh (9-2=7), fundamentally changing its consonant/dissonant quality.
BM or BMus Bachelor of Music Counterpoint and Fugal Analysis 3
In fourth species (syncopated) counterpoint, dissonances are permitted when they occur as: