-NO PARALLEL unisons, 5ths or octaves ( hint- sometimes voice crossing can FIX parallels)

-Unisons are permitted as doubled notes on any beat BUT they must be approached AND left by contrary motion or oblique motions.

One of the voices must move step-wise while the other leaps

Direct octaves are somewhat rare but same rules as teh direct 5ths apply

having all voices moving or leaping in the same direction.

a consonant whole note

Double passing notes in what are permitted?

The bass voice may ____ upon the resolution of the suspension  but the doublings of the resolution on the next beat is ____

4/2, 5/2, 6/2, and 9/2

4/2 and 5/2 resolve to either a root or 1/st inversion triad

7-6 and 4-3, and 9-8 and 4-3.... 

9-8 and 7-6 together are NOT found

the 4-3 cadence

5 -

4 3

The plagel cadence is normally encountered at the end of a composition

In this plagel cadence the last chord is always a complete triad...

In terms of tonal music it resembles a half cadence

4-3

a movement twards the 4 subdominamnt is found over a tonic pedal as a closing gesture.

Deceptive cadences occur at the conclusion of interior phrases of a piece.

Sometimes the bass of an authentic cadence will not resolve into the octave but more into another tone creating a depceptive formula.

They are used as interior punctuation

2 of the voices resolve into 8ves or unisons- while the 3rd part is free to initiate the next point of imitation

* The suspended voice is required to resolve-

In a dovetail cadence the lead voice of the point of imi enters BEFORE the cadential formula is complete. 

the overlap is normally not more than 4 half notes in furation - and is very effective maintaining the rhythmic flow of the music

The 6/5 sonority always falls on a strong beat

(when the sus 5th resolves on the next beat the lowest voice usually moves upward by step)

6/5 is not normally employed as a part of a cadential formula ( but it does sometimes happen)

a consonant 4th is a device used to prolong the dominant in the bass of an authentic cadence

The weak beat above the lowest voice and serves as a preperation for the following 4-3 suspension usually a consonant interval. 

Example 5-5

             4-3

Interval btw B+A voice

Black notes/Passing tones.

Leaps must be consonant in BOTH voices however...

5th relation btw the voices  - either a p5 or a p4 up or down

**this principle not only applies to the beg of imitation but any imi within the phrase..... 

the practice of basing polyphonic pieces on pre-existant musical material

This is the most common practice procedure-- out of 100 Palestrina examples 5 are free counterpoint....

Elaborate quotation of a given chant in one of the voices.

In later stages the plainsong is given to the other voices in the pt of imi.

the complete chant is used in its entirety in atleast ONE of the voices if not all. 

dropped.

so the subject is usually answered by descending 4ths - example - Sop c, Alto G and Bass D

contrary

Example: A-E

             E-A

complete triad

Exception- 6th resolving to an 8ve and  final root positions cadence in a phrygian mode

does not have to be maintaining for long periods of time.

One of the opening voices may have even dropped out by the time othe last part enters

How do you create paried imitation?

the 1 and 2 voice come in at a 4th/5th relationship then cadence prior to the entrance of the remaining parts - the 2nd pair imitate like the first voices.

tenor drops out and reenters to start dovetailing to cadence

the technique of placeing a chant melody in the tenor and composing counterpoint above it

( 6th relationship w sop and then filling in alto and finally bass)

pre-existing melody - either in whole or in part....

2 frequent examples and one of the most used are L'homme Arme and the tones of the guidonian Hexachord