Unit quiz: More than one line: voice leading, non-chord tones, countermelody, harmonic rhythm and texture

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Question 1

A four-part setting of G, C, D7, G at 72 beats per minute doubles the leading tone F sharp in the soprano and tenor, and moves soprano and alto from D and G to E and A, a perfect fifth apart, in similar motion. What are the two faults, what is a corrected soprano and alto pair, and how long is one 4/4 bar?The tenor should take D or B so the leading tone sounds once, and soprano and alto should reach a third or sixth by contrary motion, for example D and G to B and G; one bar at 72 lasts 3.333 sNeither is a fault, because a leading tone may be doubled when it is in an inner voice and parallel fifths matter only between the outer voices

Question 2

Over a bar of C major the melody holds G from the previous bar into the downbeat and falls to F on beat 2. Later, on a weak beat, it leaps a fourth up to A and returns at once by step to G. A learner labels both notes passing tones. What are they, and what evidence decides?Both are passing tones, because each note fills the gap between two chord tones and passing tones may be accentedThe first is a 4-3 suspension: G is prepared on the same pitch, held as a dissonance over C and resolved down by step to F; the second is an escape tone, because it is approached by leap and left by step in the opposite direction

Question 3

Against an eight-note cantus firmus in G major at 60 beats per minute, a learner writes a second line that starts a tenth below and moves in parallel tenths for six notes before leaping to the final G. Using first-species rules, what is wrong, and how long does the exercise last?First species begins and ends on an octave or unison and approaches the close by contrary motion with 7 to 8 and 2 to 1; six parallel tenths break the limit of three consecutive imperfect consonances, and the leap into the final removes the required stepwise approach, so the exercise of eight whole notes lasts 32 sNothing is wrong, because tenths are imperfect consonances and any number of them is permitted, and the final may be approached by leap as long as the interval is consonant

Question 4

An eight-bar phrase in C major at 100 beats per minute moves one chord per bar: C, A minor, F, G, C, A minor, D7, G7. A producer who wants a bigger arrival doubles the chord rate in bars 5 to 8. What happens to the durations, and what would broaden the arrival instead?Harmonic rhythm is unaffected because the bar stays 2.4 s long whatever symbols are written above it, so only the chord labels changeOne chord per bar gives each chord 2.4 s; doubling the rate cuts that to 1.2 s and makes the phrase accelerate into the cadence, while giving the dominant two bars at 4.8 s is what makes the arrival feel broad

Question 5

The same eight-bar progression is played three ways: a solo guitar melody with no accompaniment; guitar chords strummed in the same rhythm as the vocal; guitar chords plus an independent bass line while the vocal phrases across the bar lines. Name the three textures and say what changes between the second and third.Monophony, then homophony in its homorhythmic form, then polyphony; the change is that the added bass becomes an independent line with its own rhythm rather than another voice moving at the same paceMonophony, then heterophony, then homophony, because the chords double the tune and the bass supplies the harmony underneath it

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