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For each assignment, strive for:
accuracy, care, fluency, neatness, style, musicality!
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Please include your student number on each assignment.
Assignments: 2005
Final Assignment: composition of a four-voice motet: Due Date:
Last class of the course..
Value: approximately 16% of total grade.
The final assignment comprises several components:
a: choose a text of three phrases, or create your own, in English or
Latin. the following is an example:
1: Benedictus qui venit
2: in nomine Domini.
3: Alleluia.
b: Set out a plan for a three-part form,
showing which three voices will be active at any given time. Each of the three
parts must include at least two sections, linked through an overlapped cadence.
For example, part 1 might begin with a three-part imitation for tenor, alto,
and bass. At the cadence point the soprano would begin a second imitation,
perhaps followed by bass and tenor, and this three-voice group also coming to a
cadence to finish part 1. Part 2 should (in this case) begin with an overlap to
the final cadence of part 1, and with the alto, the voice that was resting. The
body of part 2 would follow the same principles as the body of part 1, and
coming to a cadence. At this point, the third section begins. Since in the
example above, "Alleluia" is a separate thought from the previous
material, an overlap at the beginning of part 3 is not recommended. Thus part 2
would come to a full cadence in three voices. The third part can follow the
form of the first two, provided that all four voices join in the final point of
imitation and combine into a four-voice cadence. Alternately, the third part,
if the text warrants it, can be constructed either in the form of alternating
paired points of imitation (soprano-alto, cadencing
and overlapping with tenor-bass repeating the same music in the lower octave,
and so on), or in a four-voice homophonic setting, preferably in triple time.
c: Identify the mode that you wish to
use. consider the cadence
possibilities for that mode, and set proposed cadences into your plan. A
plan of cadences should aim for variety (using all the available cadence
pitches) and also balance, and especially ending the final cadence on the finalis. For example, if the above plan were to be worked
in mode 1 (i.e. the tenor part working with D and the notes above), then a
cadence plan could be:
part 1: cadences on D and A
part 2: cadences on A and F
part 3: cadences on A and D
d: pitch material: you may use a pre-existing plainchant as the basis of
your melodic material, or you may invent your own material. Part 1 will use a
readily identifiable melodic segment that can be worked imitatively at the
octave and fifth. Part 2 will use a different melodic segment that can
be worked imitatively at the octave and fifth. Part 3 will use a different
again melodic segment that can be worked imitatively, or used as the basis of a
homophonic treatment.
e: create your three-voice imitative
openings for the various sections. Then consider how these can be linked to the
cadences that will appear at the point of overlap. For example, if the
beginning of part two were based on a rising pattern, F-G-A, in the alto, it is
necessary to create a cadence for the end of part 1 in three parts, for
soprano, tenor, and bass, that will accommodate F as a consonance at the point
of overlap. You will note that elided cadences are not necessary, since there
is always one resting part available to make an overlap with the cadence. Step
e: is really the most important step for the creation of a motet that will work
properly.
f: once you are satisfied with step e:
you are ready to map out onto score-paper the whole of the work, and to link up
your points of imitation with the cadences through free counterpoint.
Assignment 8: Compose a three-voice setting of the Hymn tune Iste Confessor found on p. 20. Begin by setting the original melody for
tenor in white notes (combination of wholes and halves). Then consider voice ranges and create
cadences where appropriate. You may have to alter or extend the ending of one
or more phrases in order to be able to complete correct three-voice
cadences. Then, complete a bass line in harmony with the
tenor. Then complete an alto that is in
harmony with the bass and in agreement with the tenor. Black notes are not required; text is
required. Due Date: November 17.
Value: approx. 5% of the final grade.
Assignment 7: Compose a two-voice motet, following the model given on page 253. Use as a text the Kyrie Eleison, found on p. 12, or another comparable text, or one of the texts found at "Important Latin Phrases". The motet will be for two voices, soprano and alto, and on the mode G. You may base the music on the given chant melody if you wish, or you may compose your own melodies. The music will include an elided cadence on G at the end of part 1, an elided cadence on D at the end of part 2, and a complete cadence on G at the end of part 3. The whole should be about 18 mm. in length. It must include some use of black notes in each of the three sections. Each section must begin with a point of imitation; at least two of the three points of imitation must be at the fifth rather than the octave. Text must be set in style. Due Date: November 10. Value: 10% of the final grade.
Assignment 6. Imitation.
The
Assignement 5: Analyze Lassus 2-part motet “Oculus” p. 48. Transcribe the piece into white notes only by replacing any black-note figures with simplified white note music. Indicate the hexachords and solfege throughout. Indicate any departures from or extensions of the theory that we have been using. Indicate the intervals between the parts throughout. Check that any dissonance follows the principles presented in class. Indicate the imitations and no any irregularities. Indicate the cadences and note any irregularities. Due Date: October 25. Value approx 5 % of total grade.
Assignment 4. Transcribe
the entire melody of “Agnus Dei” (p. 12)
into a series of 6 phrases, using a combination of white note
values. Make the music as singable as possible.
Set the text for your melody. You
may add or delete notes as you see fit to improve the music. Prepare cadences at the end of each
phrase. Analyze the hexachordal structure of the
melody. Add a second voice
above or below the given voice to create a two-part counterpoint in white
notes, using correct hexachordal ranges. Complete correct cadences, and aim for a
variety of rhythms between the two parts, Aim for a variety of suspensions and
passing notes. At the same time, ensure
that the combined rhythm of the two parts gives a continuous half-note
pulse. Due date: October 11. Value approx 5 % of total grade.
Assignment 3. transcribe the melody of 1) Gloria, p. 12, up to and including
“Glorificamus te”,
and 2) Ut queant Laxis p. 17 up to first double bar, into a series of
phrases, using a combination of white note values. Make the music as singable
as possible. You may add or delete notes
as you see fit to improve the music.
Identify the hexachords of the melodies.
Prepare cadences at the end of each phrase. Add a second voice above or below the given
voice to create a two-part counterpoint in white notes. Keep to complementary hexachords in the
added part. Include solfege syllables for your
music. Complete correct cadences, and aim for a variety of rhythms
between the two parts. At the same time,
try to ensure that the combined rhythm of the two parts gives a continuous
half-note pulse. Due Date: October
4. Value: approximately 5% of total
grade.
Assignement 2. given in class 1) Page 11 Gloria, to the end of line 3; 2) Credo, p. 13, to the beginning of line 3; 3) Salve Regina, page 15, to the end of line 3, in two parts, using a variety of rhythms, using only white notes. Keep to a single complementary hexachord if possible. Include solfege syllables for your music. Due Date: September 27. Value: approximately 5% of total grade. Selections will be performed in class.
Assignment 1. For
each of the following chants, transcribe the original tune into a modern clef
in whole notes, and assign it to soprano, alto, tenor, or bass voice.
Then add one part above or below, note against note (first species), according
to the rules of Tinctoris (see the Course Ware, p.
241), to give a two-part texture. Begin and end with perfect
consonances. In the middle, emphasize thirds and sixths and contrary
motion. Include the text under each part. Sing your music to
make sure that it is singable! The chants are:
(1) p. 11, Kyrie; (2) p. 12, Kyrie; (3) p. 16,
Ave Regina. Due Date: September 20. Value: approximately 5% of
total grade. Selections will be performed in class.
Assignments: 2004
Final Assignment: composition of
a four-voice motet: Due Date: Last class of the course.. Value:
approximately 16% of total grade.
The final assignment comprises several components:
a: choose a text of three phrases, or create your own, in English or
Latin. the following is an example:
1: Benedictus qui venit
2: in nomine Domini.
3: Alleluia.
b: Set out a plan for a three-part form, showing which three voices will
be active at any given time. Each of the three parts must include at least two
sections, linked through an overlapped cadence. For example, part 1 might begin
with a three-part imitation for tenor, alto, and bass. At the cadence point the
soprano would begin a second imitation, perhaps followed by bass and tenor, and
this three-voice group also coming to a cadence to finish part 1. Part 2 should
(in this case) begin with an overlap to the final cadence of part 1, and with
the alto, the voice that was resting. The body of part 2 would follow the same
principles as the body of part 1, and coming to a cadence. At this point, the
third section begins. Since in the example above, "Alleluia" is a
separate thought from the previous material, an overlap at the beginning of
part 3 is not recommended. Thus part 2 would come to a full cadence in three
voices. The third part can follow the form of the first two, provided that all
four voices join in the final point of imitation and combine into a four-voice
cadence. Alternately, the third part, if the text warrants it, can be constructed
either in the form of alternating paired points of imitation (soprano-alto, cadencing and overlapping with tenor-bass repeating the
same music in the lower octave, and so on), or in a four-voice homophonic
setting, preferably in triple time.
c: Identify the mode that you wish to use. consider
the cadence
possibilities for that mode, and set proposed cadences into your plan. A
plan of cadences should aim for variety (using all the available cadence
pitches) and also balance, and especially ending the final cadence on the finalis. For example, if the above plan were to be worked
in mode 1 (i.e. the tenor part working with D and the notes above), then a
cadence plan could be:
part 1: cadences on D and A
part 2: cadences on A and F
part 3: cadences on A and D
d: pitch material: you may use a pre-existing plainchant as the basis of
your melodic material, or you may invent your own material. Part 1 will use a
readily identifiable melodic segment that can be worked imitatively at the
octave and fifth. Part 2 will use a different melodic segment that can
be worked imitatively at the octave and fifth. Part 3 will use a different
again melodic segment that can be worked imitatively, or used as the basis of a
homophonic treatment.
e: create your three-voice imitative openings for the various sections.
Then consider how these can be linked to the cadences that will appear at the
point of overlap. For example, if the beginning of part two were based on a
rising pattern, F-G-A, in the alto, it is necessary to create a cadence for the
end of part 1 in three parts, for soprano, tenor, and bass, that will
accommodate F as a consonance at the point of overlap. You will note that
elided cadences are not necessary, since there is always one resting part
available to make an overlap with the cadence. Step e: is really the most
important step for the creation of a motet that will work properly.
f: once you are satisfied with step e: you are ready to map out onto
score-paper the whole of the work, and to link up your points of imitation with
the cadences through free counterpoint.
Note: not all assignments are listed here!!!!
Assignement 6: Two-voice motet with elisions: Using the music “Ave Regina” on p. 16, compose a two-voice motet using the
principles discussed in class: Select
appropriate hexachord ranges for each voice; Begin each of the 8 sections with
an imitation. Create elided cadences to
connect the end of each section with the following imitation, as discussed in
class. Ensure that the cadence pitch
will harmonize with the beginning of the following imitation. Connect one of the voices to make a
satisfying melodic line, and then complete the other to complete the
counterpoint. Add the text AS EARLY AS
POSSIBLE, paying attention to the important (stressed) syllables and the
syllables that have the most meaning. Due
Date: February 12. Value approx 5 % of
total grade.
Assignement 5: Analyze Lassus 2-part motet “Oculus” p. 48. Transcribe the piece into white notes only by replacing any black-note figures with simplified white note music. Indicate the hexachords and solfege throughout. Indicate any departures from the theory. Indicate the intervals between the parts throughout. Check that any dissonance follows the principles presented in class. Indicate the imitations and no any irregularities. Indicate the cadences and note any irregularities. Due Date: February 3. Value approx 5 % of total grade.
Assignment 4: Transcribe the melody of “Salve Regina” (p. 15) up to the third double bar into a series of 3 or more phrases, using a combination of white note values. Make the music as singable as possible. You may add or delete notes as you see fit to improve the music. Prepare cadences at the end of each phrase. Add a second voice above or below the given voice to create a two-part counterpoint in white notes. Complete correct cadences, and aim for a variety of rhythms between the two parts,. Aim for a variety of suspensions and passing notes. At the same time, try to ensure that the combined rhythm of the two parts gives a continuous half-note pulse. Due date: January 30 Value approx 5 % of total grade.
Assignment 3. transcribe the melody of “Ut queant Laxis p. 17 up to first double bar, into a series of 3 or more phrases, using a combination of white note values. Make the music as singable as possible. You may add or delete notes as you see fit to improve the music. Prepare cadences at the end of each phrase. Add a second voice above or below the given voice to create a two-part counterpoint in white notes. Complete correct cadences, and aim for a variety of rhythms between the two parts,. At the same time, try to ensure that the combined rhythm of the two parts gives a continuous half-note pulse. Due Date: January 25. Value approx 5 % of total grade.
Assignement
2. given in
class Page 14 Credo, p. 15 Salve, page
16
Assignment 1. For each of the following
chants, transcribe the original tune into a modern clef in whole notes, and
assign it to soprano, alto, tenor, or bass voice. Then add one part above
or below, note against note (first species), according to the rules of Tinctoris (see the Course Ware, p. 241), to give a two-part
texture. Begin and end with perfect consonances. In the middle,
emphasize thirds and sixths and contrary motion. Keep to a single
complementary hexachord if possible. Include solfege
syllables for your music. Include the text under each part.
Sing your music to make sure that it is singable!
The chants are: (1) p. 12, Kyrie, up to
the double bar; (2) p. 12, Gloria, up to the second double bar;
(3) p. 13, Agnus Dei, up to the first
double bar. (4) p. 13, Kyrie, up to the first
double bar. Due Date: September 17. Value: approximately 3% of
total grade. Selections will be performed in class.
Assignment 3. [Study the cadence patterns given on p. 257-258; practice writing cadences on the following pages.] For the Credo on p. 13, up to the word "saecula" on the fifth line, transcribe the original tune into a modern clef in whole notes, and assign it to soprano, alto, tenor, or bass voice. Consider the hexachord range of the melody; then select one voice to add above or below. Using the original and the added voice, create 2-voice cadences at each bar line and breath indication (the short bar line). To do this you will often have to re-compose the original melody at this point. Then complete the added part using first and second species (whole and half notes), according to the rules of Tinctoris (see the Course Ware), to give a two-part texture. You may also add passing notes in the original tune to give more flow to the music. (Begin and end with perfect consonances. In the middle, emphasize thirds and sixths and contrary motion. Dissonances are allowed ONLY as passing half-notes on the second (weak) beat of the bar. They must be prepared and resolved by step in a single direction.) Keep to a single complementary hexachord if possible. Include solfege syllables for your music. Include the text under each part. Sing your music to make sure that it is singable! Due Date: October 2-3. Value: approximately 3% of total grade. Selections will be performed in class.
Assignment 2. For
each of the following chants, transcribe the original tune into a modern clef
in whole notes, and assign it to soprano, alto, tenor, or bass voice.
Then add one part above or below, using first and second species (whole and
half notes), according to the rules of Tinctoris (see
the Course Ware), to give a two-part texture. Begin and end with perfect
consonances. In the middle, emphasize thirds and sixths and contrary
motion. Dissonances are allowed ONLY as passing half-notes on the second
(weak) beat of the bar. They must be prepared and resolved by step in a
single direction. Neighbours are therefore
excluded. Keep to a single complementary hexachord if possible.
Include solfege syllables for your music. Include
the text under each part. Sing your music to make sure that it is singable! The chants are: (1)
p. 14, Credo, up to the second double bar; (2) p. 15, Salve,
Assignment 1. For each of the following
chants, transcribe the original tune into a modern clef in whole notes, and assign
it to soprano, alto, tenor, or bass voice. Then add one part above or
below, note against note (first species), according to the rules of Tinctoris (see the Course Ware, p. 241), to give a two-part
texture. Begin and end with perfect consonances. In the middle,
emphasize thirds and sixths and contrary motion. Keep to a single
complementary hexachord if possible. Include solfege
syllables for your music. Include the text under each part.
Sing your music to make sure that it is singable!
The chants are: (1) p. 12, Kyrie,
up to the double bar; (2) p. 12, Gloria, up to the second double
bar; (3) p. 13, Agnus Dei, up to the
first double bar. (4) p. 13, Kyrie, up to the
first double bar. Due Date: September 17. Value: approximately 3%
of total grade. Selections will be performed in class.
Assignment 11: Compose a three-voice setting of the Hymn tune Iste Confessor found on p. 20.
Begin by setting the original melody for tenor in white notes (combination of
wholes and halves).
Then consider voice ranges and create cadences where appropriate. You may have
to alter or
extend the ending of one or more phrases in order to be able to complete
correct three-voice
cadences. Then, complete a bass line in harmony with the
tenor. Then complete an alto that is in
harmony with the bass and in agreement with the tenor. Due Date:
January 16-17. Value:
approx. 3% of the final grade.
Assignment 10: Compose a two-voice motet, following the model given on page 253. Use as a text the Kyrie Eleison, found on p. 12, or another comparable text, or one of the texts found at "Important Latin Phrases". The motet will be for two voices, soprano and alto, and on the mode G. You may base the music on a given chant melody if you wish, or you may compose your own melodies. The music will include an elided cadence on G at the end of part 1, an elided cadence on D at the end of part 2, and a complete cadence on G at the end of part 3. The whole should be about 18 mm. in length. It must include some use of black notes in each of the three sections. Each section must begin with a point of imitation; at least two of the three points of imitation must be at the fifth rather than the octave. Text must be set in style. Due Date: The first class in January. Value: 10% of the final grade.
Assignment 9: Use as a basis the melody Ut Queant Laxis, p. 17, up to the double bar. Set the original melody in any appropriate voice (soprano, alto, tenor, or bass). As a first step, create a point of imitation for the beginning of each phrase. Begin sometimes with one voice, and sometimes with the other voice. Once the points of imitation are worked out, then write elided cadences at the end of each phrase, such that the elided cadence will harmonize with the first note of the new phrase. At the end of the piece, put a regular two voice cadence on the finalis. Next, complete one of the voices for each phrase through to the cadence, and then write the other voice. Ensure that each phrase is long enough to handle all of the syllables of text. Place the text appropriately, so that the first syllable of the phrase is on the ifrst note, and the last syllable on the last note of each phrase. Group the other syllables around accented syllables on accented or lengthened notes where possible. Sing the result with the text to ensure that it makes sense. Due Date: November 19. Value: approximately 3% of total grade. Selections will be performed in class.
Assignment 8. Review for the Test on November 9: The test will include analyzing a Gregorian melody (in square notation) for Mode, range, hexachords, solfege. Also, will be composing a two-voice counterpoint in white notes for the same melody, embodying all the rules and principles discussed in class. The composition will include text, solfege, hexachords, intervals indicated, use of suspensions and passing tones, and a continuous half-note pulse, and a correct cadence at the end. (Imitation is not required.)
Assignment 7. Imitation. The
Assignment 6. Set the Kyrie, p. 12 in two parts, including suspensions. Assign soprano voice to the original melody. Organize your music into measures of one or two whole notes in length, using bar lines. You will notice that the melody changes hexachords for the third phrase. Select alto as the other voice, determine the appropriate hexachords (two of them!) for the new voice, and sketch in the cadences. Put a cadence at the end of each phrase. Remember that you are at liberty to alter the end of each phrase in order to accommodate a cadence. Now, try to accommodate suspensions in both parts, where possible. Complete the work by adding whole and half notes to the voices. Aim to have continuous half-note rhythm in the two parts combined. Half notes must be either passing notes (weak beat) OR consonant intervals with the original part. Include solfege names for every note. Indicate ALL intervals between the two voices. Include the text in both voices. Sing both parts to make sure that they are "singable". Due Date: October 29. Value: approximately 3% of total grade. Selections will be performed in class.
Assignment 5. Set the Sequence Victimae paschali p. 24, in two parts. Assign tenor voice to the original melody (up to the Second double bar). Organize your music into measures of two whole notes in length, using bar lines. You will notice that the melody changes hexachords for the third phrase. Select alto as the other voice, determine the appropriate hexachords (two of them!) for the new voice, and sketch in the cadences. Put a cadence at the end of each phrase (5 phrases). Remember that you are at liberty to alter the end of each phrase in order to accommodate a cadence. Complete the work by adding whole and half notes to the second voice. Aim to have continuous half-note rhythm in the two parts combined. Half notes must be either passing notes OR consonant intervals with the original part. Include solfege names for every note. indicate ALL intervals between the two voices. Include the text in both voices. Sing both parts to make sure that they are "singable". Due Date: October 17-18. Value: approximately 3% of total grade. Selections will be performed in class.
Assignment 4. (consolidation): Set the Hymn Ut queant laxis p. 17, in two parts. (Note that it begins with an F clef.) Assign alto voice to the original melody (up to the double bar). Select tenor or soprano as the other voice, determine the appropriate hexachord for the new voice, and sketch in the cadences. Put a cadence at the end of each phrase (7 phrases). Remember that you are at liberty to alter the approach to the final note of each phrase in order to accommodate a cadence. Also note that the constraints of making a cadence may force you to either exceed the hexachord limits, or to re-compose the ending of a phrase of the original melody. Complete the work by adding whole and half notes to the second voice. You may wish to organize your music into measures of one or two whole notes in length, using bar lines. Half notes must be either passing notes OR consonant intervals with the original part. Half notes may also be included in the original voice, under the same rules. Include solfege names for every note. indicate ALL intervals between the two voices. Include the text in both voices. Sing both parts to make sure that they are "singable". Due Date: October 15. Value: approximately 3% of total grade. Selections will be performed in class.
Assignment 3. [Study the cadence patterns given on p. 257-258; practice writing cadences on the following pages.] For the Credo on p. 13, up to the word "saecula" on the fifth line, transcribe the original tune into a modern clef in whole notes, and assign it to soprano, alto, tenor, or bass voice. Consider the hexachord range of the melody; then select one voice to add above or below. Using the original and the added voice, create 2-voice cadences at each bar line and breath indication (the short bar line). To do this you will often have to re-compose the original melody at this point. Then complete the added part using first and second species (whole and half notes), according to the rules of Tinctoris (see the Course Ware), to give a two-part texture. You may also add passing notes in the original tune to give more flow to the music. (Begin and end with perfect consonances. In the middle, emphasize thirds and sixths and contrary motion. Dissonances are allowed ONLY as passing half-notes on the second (weak) beat of the bar. They must be prepared and resolved by step in a single direction.) Keep to a single complementary hexachord if possible. Include solfege syllables for your music. Include the text under each part. Sing your music to make sure that it is singable! Due Date: October 2-3. Value: approximately 3% of total grade. Selections will be performed in class.
Assignment 2. For each of the following chants, transcribe the
original tune into a modern clef in whole notes, and assign it to soprano,
alto, tenor, or bass voice. Then add one part above or below, using first
and second species (whole and half notes), according to the rules of Tinctoris (see the Course Ware), to give a two-part
texture. Begin and end with perfect consonances. In the middle,
emphasize thirds and sixths and contrary motion. Dissonances are allowed
ONLY as passing half-notes on the second (weak) beat of the bar. They
must be prepared and resolved by step in a single direction. Neighbours are therefore excluded. Keep to a single
complementary hexachord if possible. Include solfege
syllables for your music. Include the text under each part.
Sing your music to make sure that it is singable!
The chants are: (1) p. 14, Credo, up to
the second double bar; (2) p. 15, Salve,
Assignment 1. For each of the following
chants, transcribe the original tune into a modern clef in whole notes, and
assign it to soprano, alto, tenor, or bass voice. Then add one part above
or below, note against note (first species), according to the rules of Tinctoris (see the Course Ware, p. 241), to give a two-part
texture. Begin and end with perfect consonances. In the middle,
emphasize thirds and sixths and contrary motion. Keep to a single
complementary hexachord if possible. Include solfege
syllables for your music. Include the text under each part.
Sing your music to make sure that it is singable!
The chants are: (1) p. 12, Kyrie,
up to the double bar; (2) p. 12, Gloria, up to the second double
bar; (3) p. 13, Agnus Dei, up to the
first double bar. (4) p. 13, Kyrie, up to the
first double bar. Due Date: September 17. Value: approximately 3%
of total grade. Selections will be performed in class.
========================
Assignments below this line were given last year.
PLEASE NOTE: Midterm test, February 14-15. The question will
be the same as for Assignment 15 (below), but I will provide a melody and
text for you to use.
Final Assignment: composition of a four-voice motet: Due Date:
Last class of the course.. Value: approximately 16% of total grade.
The final assignement comprises several components:
a: choose a text of three phrases, or create your own, in English or
Latin. the following is an example:
1: Benedictus qui venit
2: in nomine Domini.
3: Alleluia.
b: Set out a plan for a three-part form, showing which three voices will
be active at any given time. Each of the three parts must include at least two
sections, linked through an overlapped cadence. For example, part 1 might begin
with a three-part imitation for tenor, alto, and bass. At the cadence point the
soprano would begin a second imitation, perhaps followed by bass and tenor, and
this three-voice group also coming to a cadence to finish part 1. Part 2 should
(in this case) begin with an overlap to the final cadence of part 1, and with
the alto, the voice that was resting. The body of part 2 would follow the same
principles as the body of part 1, and coming to a cadence. At this point, the
third section begins. Since in the example above, "Alleluia" is a
separate thought from the previous material, an overlap at the beginning of
part 3 is not recommended. Thus part 2 would come to a full cadence in three
voices. The third part can follow the form of the first two, provided that all
four voices join in the final point of imitation and combine into a four-voice
cadence. Alternately, the third part, if the text warrants it, can be
constructed either in the form of alternating paired points of imitation
(soprano-alto, cadencing and overlapping with
tenor-bass repeating the same music in the lower octave, and so on), or in a
four-voice homophonic setting, preferably in triple time.
c: Identify the mode that you wish to use. consider
the cadence
possibilities for that mode, and set proposed cadences into your plan. A
plan of cadences should aim for variety (using all the available cadence
pitches) and also balance, and especially ending the final cadence on the finalis. For example, if the above plan were to be worked
in mode 1 (i.e. the tenor part working with D and the notes above), then a
cadence plan could be:
part 1: cadences on D and A
part 2: cadences on A and F
part 3: cadences on A and D
d: pitch material: you may use a pre-existing plainchant as the basis of
your melodic material, or you may invent your own material. Part 1 will use a
readily identifiable melodic segment that can be worked imitatively at the
octave and fifth. Part 2 will use a different melodic segment that can
be worked imitatively at the octave and fifth. Part 3 will use a different
again melodic segment that can be worked imitatively, or used as the basis of a
homophonic treatment.
e: create your three-voice imitative openings for the various sections.
Then consider how these can be linked to the cadences that will appear at the
point of overlap. For example, if the beginning of part two were based on a
rising pattern, F-G-A, in the alto, it is necessary to create a cadence for the
end of part 1 in three parts, for soprano, tenor, and bass, that will
accommodate F as a consonance at the point of overlap. You will note that
elided cadences are not necessary, since there is always one resting part
available to make an overlap with the cadence. Step e: is really the most
important step for the creation of a motet that will work properly.
f: once you are satisfied with step e: you are ready to map out onto
score-paper the whole of the work, and to link up your points of imitation with
the cadences through free counterpoint.
Assignment 16: Using a five-staff score, transcribe the music on pages 244-245, the madrigal "O amica mea" by Morley. The voices will read (from the bottom up) Bass, Tenor, Alto, Cantus, Quintus (Quintus is a second soprano part). Use a metre of 4/2. Complete the transcription only as far as where the voices begin the second section on the words "Sunt capilli tui". Try to place the text correctly under the music, so it can be sung. Remember that the repeat sign in the text :||: means start the text again at this point. You will probably need to refer to the chart on page 193, which shows the proper interpretation of the rests and note values. Check your work by doing a chordal analysis to see that (a) all the harmonies are 6/3 or 5/3 types; (b) that any half-note seconds, fourths, or sevenths above the bass are either suspensions or passing notes. (c) that each line is easily singable (d) that the music makes sense when you play any pair of voices together. Note that not all the parts end section one at the same time, because of the overlap with the second section. Note 2: there are one or two errors in the music: can you find them? Due date: Mon-Tues, March 19-20. Value: approx. 3% of the final grade.
Assignment 15: Using the Kyrie melody, page 22--or any other appropriate melody, create a three voice point of imitation for any set of three voices (e.g., soprano, tenor, bass). Conclude with a cadence that overlaps with the entry of a fourth part; write the first few measures of the fourth part. Include correctly set text for "Kyrie eleison" or another suitable text. Due Date: February 13-14. Value: approx. 3% of the final grade.
Assignement 14: Perform an analysis of the Kyrie, pp. 99-100. consider range of the voices, hexachords, cadences, use of F# and f-natural, text setting, use of motivic imitation, use of overlap in cadences, and relation of the piece to the plainchant basis "Ist confessor" p. 30. You may make annotations in your book. This is not for marks.
Assignment 13: Using the melody tune Ut Queant Laxis (in the textbook), compose three part counterpoint in the following manner. For each of the 7 phrases, compose a three-part imitation on the first three or so notes. Use alto, tenor and bass. In each case the alto will be an octave away from the bass, and the tenor will be a fifth or fourth away from alto and bass. Compose a three voice cadence on any appropriate pitch level for each phrase. Connect the opening imitation in three-voice counterpoint to the cadence to make a complete phrase. Do this same process for each of the 7 phrases. Note that in constructing the cadences you should try to maintain the hexachord ranges of the opening imitation of the phrase. Text setting is not required. Due Date: January 29-30. Value: approx. 3% of the final grade.
Assignment 12: Using the given tenor as a basis, Compose a three-voice setting of the Hymn tune that is stuck to my office door (TSH 307). Begin by considering voice ranges and create cadences where appropriate. You may have to alter or extend the ending of one or more phrases in order to be able to complete correct three-voice cadences. Then, complete a bass line in harmony with the tenor. Then complete an alto that is in harmony with the bass and in agreement with the tenor. Due Date: January 22-23. Value: approx. 3% of the final grade.
Assignment 11: Compose a three-voice setting of the Hymn tune Iste Confessor found on p. 30. Begin by setting the original melody for tenor in white notes (combination of wholes and halves). Then consider voice ranges and create cadences where appropriate. You may have to alter or extend the ending of one or more phrases in order to be able to complete correct three-voice cadences. Then, complete a bass line in harmony with the tenor. Then complete an alto that is in harmony with the bass and in agreement with the tenor. Due Date: January 15-16. Value: approx. 3% of the final grade.
Assignment 10: Compose a two-voice motet, following the model given on the handout. use as a text the Kyrie Eleison, found on p. 24, or another comparable text, or one of the texts found at "Important Latin Phrases". The motet will be for two voices, soprano and alto, and on the mode G. You may base the music on the given chant melody if you wish, or you may compose your own melodies. The music will include an elided cadence on G at the end of part 1, an elided cadence on D at the end of part 2, and a complete cadence on G at the end of part 3. The whole should be about 18 mm. in length. It must include some use of black notes in each of the three sections. Each section must begin with a point of imitation; at least two of the three points of imitation must be at the fifth rather than the octave. Text must be set in style. Some use of black notes is expected. Due Date: The first class in January. Value: 10% of the final grade.
Assignment 9: Use as a basis the melody Ut Queant Laxis, p. 27, up to the double bar. Set the original melody in any appropriate voice (soprano, alto, tenor, or bass). As a first step, create a point of imitation for the beginning of each phrase. Begin sometimes with one voice, and sometimes with the other voice. Once the points of imitation are worked out, then write elided cadences at the end of each phrase, such that the elided cadence will harmonize with the first note of the new phrase. At the end of the piece, put a regular two voice cadence on the finalis. next, complete one of the voices for each phrase through to the cadence, and then write the other voice. Ensure that each phrase is long enough to handle all of the syllables of text. Place the text appropriately, so that the first syllable of the phrase is on the ifrst note, and the last syllable on the last note of each phrase. Group the other syllables around accented syllables on accented or lengthened notes where possible. Sing the result with the text to ensure that it makes sense. Due Date: November 20-21. Value: approximately 3% of total grade. Selections will be performed in class.
Assignment 8. Review for the Test on November 9: The test will include analyzing a Gregorian melody (in square notation) for Mode, range, hexachords, solfege. Also, will be composing a two-voice counterpoint in white notes for the same melody, embodying all the rules and principles discussed in class. The composition will include text, solfege, hexachords, intervals indicated, use of suspensions and passing tones, and a continuous half-note pulse, and a correct cadence at the end. (Imitation is not required.)
Assignment 7. Imitation. The
Assignment 6. Set the Kyrie, p. 22 in two parts, including suspensions. Assign soprano voice to the original melody. Organize your music into measures of one or two whole notes in length, using bar lines. You will notice that the melody changes hexachords for the third phrase. Select alto as the other voice, determine the appropriate hexachords (two of them!) for the new voice, and sketch in the cadences. Put a cadence at the end of each phrase. Remember that you are at liberty to alter the end of each phrase in order to accommodate a cadence. Now, try to accommodate suspensions in both parts, where possible. Complete the work by adding whole and half notes to the second voice. Aim to have continuous half-note rhythm in the two parts combined. Half notes must be either passing notes OR consonant intervals with the original part. Include solfege names for every note. indicate ALL intervals between the two voices. Include the text in both voices. Sing both parts to make sure that they are "singable". Due Date: October 26. Value: approximately 3% of total grade. Selections will be performed in class.
Assignment 5. Set the Sequence Victimae paschali p. 34, in two parts. Assign tenor voice to the original melody (up to the Second double bar). Organize your music into measures of one or two whole notes in length, using bar lines. You will notice that the melody changes hexachords for the third phrase. Select alto as the other voice, determine the appropriate hexachords (two of them!) for the new voice, and sketch in the cadences. Put a cadence at the end of each phrase (5 phrases). Remember that you are at liberty to alter the end of each phrase in order to accomodate a cadence. Complete the work by adding whole and half notes to the second voice. Aim to have continuous half-note rhythm in the two parts combined. Half notes must be either passing notes OR consonant intervals with the original part. Include solfege names for every note. indicate ALL intervals between the two voices. Include the text in both voices. Sing both parts to make sure that they are "singable". Due Date: October 20. Value: approximately 3% of total grade. Selections will be performed in class.
Assignment 4. (consolidation): Set the Hymn Ut queant laxis p. 27, in two parts. (Note that it begins with an F clef.) Assign alto voice to the original melody (up to the double bar). Select tenor or soprano as the other voice, determine the appropriate hexachord for the new voice, and sketch in the cadences. Put a cadence at the end of each phrase (7 phrases). Remember that you are at liberty to alter the approach to the final note of each phrase in order to accommodate a cadence. Also note that the constraints of making a cadence may force you to either exceed the hexachord limits, or to re-compose the ending of a phrase of the original melody. Complete the work by adding whole and half notes to the second voice. You may wish to organize your music into measures of one or two whole notes in length, using bar lines. Half notes must be either passing notes OR consonant intervals with the original part. Half notes may also be included in the original voice, under the same rules. Include solfege names for every note. indicate ALL intervals between the two voices. Include the text in both voices. Sing both parts to make sure that they are "singable". Due Date: October 13. Value: approximately 3% of total grade. Selections will be performed in class.
Assignment 3. [Study the cadence patterns given on p. 257-258;
practice writing cadences on the following pages.] For the Credo
on p. 24, up to the word "saecula" on the
fifth line, transcribe the original tune into a modern clef in whole notes, and
assign it to soprano, alto, tenor, or bass voice. Consider the hexachord
range of the melody; then select one voice to add above or below. Using
the original and the added voice, create 2-voice cadences at each bar line and
breath indication (the short bar line). To do this you will often have to
re-compose the original melody at this point. Then complete the added
part using first and second species (whole and half notes), according to the
rules of Tinctoris (see the Course Ware), to give a
two-part texture. You may also add passing notes in the original tune to
give more flow to the music. (Begin and end with perfect consonances. In
the middle, emphasize thirds and sixths and contrary motion. Dissonances
are allowed ONLY as passing half-notes on the second (weak) beat of the
bar. They must be prepared and resolved by step in a single
direction.) Keep to a single complementary hexachord if possible.
Include solfege syllables for your music. Include
the text under each part. Sing your music to make sure that it is singable! Due Date: October 2-3. Value:
approximately 3% of total grade. Selections will be performed in class.
Assignment 2. For each of the following chants, transcribe the
original tune into a modern clef in whole notes, and assign it to soprano,
alto, tenor, or bass voice. Then add one part above or below, using first
and second species (whole and half notes), according to the rules of Tinctoris (see the Course Ware), to give a two-part
texture. Begin and end with perfect consonances. In the middle,
emphasize thirds and sixths and contrary motion. Dissonances are allowed
ONLY as passing half-notes on the second (weak) beat of the bar. They
must be prepared and resolved by step in a single direction. Neighbours are therefore excluded. Keep to a single
complementary hexachord if possible. Include solfege
syllables for your music. Include the text under each part.
Sing your music to make sure that it is singable!
The chants are: (1) p. 24, Credo, up to
the second double bar; (2) p. 25, Salve,
Assignment 1. For each of the following chants,
transcribe the original tune into a modern clef in whole notes, and assign it
to soprano, alto, tenor, or bass voice. Then add one part above or below,
note against note (first species), according to the rules of Tinctoris (see the Course Ware), to give a two-part
texture. Begin and end with perfect consonances. In the middle,
emphasize thirds and sixths and contrary motion. Keep to a single
complementary hexachord if possible. Include solfege
syllables for your music. Include the text under each part.
Sing your music to make sure that it is singable!
The chants are: (1) p. 21, Kyrie,
up to the double bar; (2) p. 21, Gloria, up to the second double bar;
(3) p. 22, Agnus Dei, up to the first
double bar. (4) p. 22, Kyrie, up to the first
double bar. Due Date: September 18-19. Value: approximately 3% of
total grade. Selections will be performed in class.
Material below this line has not yet been assigned! It is subject to change!
· 2.
· 3. Compose half-note counterpoints for the three cantus firmuses given in class. Be sure to limit the range of your added line to the hexachord above the one used for the given melody. Begin and end with perfect consonances, and end with an octave or unison if possible. Make your music "singable" within it's hexachord. Due Date: October 8. Value: approximately 5% of total grade.
· 4 Compose counterpoints in half and whole notes above the three cantus firmuses given in class. Be sure to limit the range of your added line to the hexachord above the one used for the given melody. Aim for an interesting balance of rhythms in the two parts. Begin and end with perfect consonances, and end with an octave or unison if possible. Make your music "singable" within it's hexachord. Due Date: October 15. Value: approximately 5% of total grade.
· 5 Compose counterpoints in half and whole notes above or below the four cantus firmuses given in class. Be sure to limit the range of your added line to the hexachord above or below the one used for the given melody. Aim for an interesting balance of rhythms in the two parts. Begin with a perfect consonance, and end with a cadence as shown in class. Make your music "singable" within it's hexachord. Also, copy out the series of eight cadences given in class and hand them in, to show that you have correctly read how cadences should be formed. Due Date: October 22. Value: approximately 5% of total grade.
· 6 Compose counterpoints in half and whole notes above or below the four cantus firmuses given in class. Be sure to limit the range of your added line to the hexachord above or below the one used for the given melody. Aim for an interesting balance of rhythms in the two parts. Begin with a perfect consonance, and end with a proper cadence. Include suspensions as indicated on the questions. Make your music "singable" within it's hexachord. Also, locate all of the suspensions in Lassus's two-part motets Nos. 3-5 (Courseware, pp. 60-61), and identify them as 4-3, 7-6, 2-3, or "other". Due Date: October 29. Value: approximately 5% of total grade.
· 7 Compose an alto above the given tenor "credo" in white-note counterpoint. Ensure that you have correct cadences at the end of each phrase. Try to include examples of suspensions as well. Include text in the alto part. Due Date: November 4. Value: approximately 5% of total grade.
· 8 Compose original melodies in white and black notes for the four texts given on the board. The melodies should be in Renaissance style, with appropriate cadences, and about 8 mm. long each. Set the text in the style of the Renaissance. Due Date: November 12. Value: approximately 5% of total grade.
· 9 Compose counterpoints in black and white notes above or below the given melodies. Include text. Due Date: November 19. Value: approximately 5% of total grade.
· 10 Mid-term test: November 18-19. Sample questions will be handed out in class on November 15 and 16.
· 11. Compose a two-voice motet, following the model given on the handout. use as a text the Kyrie Eleison, found on p. 24. The motet will be for two voices, soprano and alto, and on the mode G. You may base the music on the given chant melody if you wish, or you may compose your own melodies. The music will include an elided cadence on G at the end of part 1, an elided cadence on D at the end of part 2, and a complete cadence on G at the end of part 3. The whole should be about 18 mm. in length. It must include some use of black notes in each of the three sections. Each section must begin with a point of imitation; at least two of the three points of imitation must be at the fifth rather than the octave. Text must be set in style. Due Date: The first class in January. Value: 10% of the final grade.
· Due to weather, the Mid-Term Test has been rescheduled to March 6 and 7.
· Assignment: due the first class after reading week:
Part 1: Transcribe the music on pages 250-251 of the CourseWare into modern notation. The beginning is shown here. For an explanation of the rests, see page 199. Include the text aligned properly with the notes. You must transcribe accurately all the music up to the end of the section O amica mea. (Note: not all voices end this section at the same spot.) Check your work for errors in intervals, and make it as accurate as possible. Use bar-lines. sing and or play through all the lines to make sure they are right. Check the intervals and the cadences for errors.
Part 2: With reference to the final large assignment for the class, as
described on the large hand-out from last week, do parts a (select a text), and
c (choose a mode), and (d) select or compose your basic pitch material.
Then, try to work out a basic plan for your piece (step b). It is very
important that the basic plan be in place SOON, and checked by the
instructor; otherwise you may waste a lot of time writing music that won't
work out in the end.
· Next Class: February 8 will be our second in-class test. Content will be creating a three-part setting of a given tune (no imitation) plus three-part cadence, as well as completing an elided cadence in two-parts. Value: 5% of total grade.
· 2. Compose a note-against-note counterpoint for alto, above the first phrase of the tenor Kyrie Pater cuncta (CourseWare, p. 24.) Ensure that your alto sticks to a single hexachord, and that it follows the rules and principles set forth by Tinctoris (CourseWare 319ff.) and discussed in class. Due Date: Monday, September 28.. Value: approximately 5% of total grade.
· 3. Compose a note against note counterpoint for note-against-note counterpoint for bass, below the first two phrases of the tenor Alleluia (CourseWare, p. 35.) Ensure that your bass sticks to a single hexachord, and that it follows the rules and principles set forth by Tinctoris (CourseWare 319ff.) and discussed in class. Be sure that you compose a final cadence that follows the principles of Thomas Morley, as described on pp. 238-240.Due Date: October 12.. Value: approximately 5% of total grade.
· 5. Compose "points of imitation" for the opening phrases of the three anthems found on p. 28. The imitations should attempt to incorporate the opening 3-5 notes of each tune, imitating at the fourth or fifth (above or below) according to what seems appropriate. Use white notes only, and keep to the same rhythm in both parts. You may change the original tune slightly if necessary to make the imitations work. I will grade the best two of the three imitations. Due Date: October 26 .. Value: approximately 5% of total grade.
· 6. Compose a "point of imitation" at the fifth above based on the opening notes of the chant "Hodie" p. 34, and using the text and melody up to the word "est". Once the canon has been established, continue one of the voices in white-note motion (based on the melodic profile of the chant if you wish), and forming a cadence on the note A which closes the phrase. Then write a free counterpoint in the other voice, completing the cadence in two parts. (Or continue the canon longer and have a shorter passage of free counterpoint.) Total length approximately 12 measures of 4/2 time. Due Date: November 15 .. Value: approximately 5% of total grade.
· 7. Compose a two-voice motet in three sections based on the music "Et incarnatus est de Spiritu Sancto / ex Maria Virgine / Et homo factus est. found at the bottom of the first column and the top of the second column of page 25. Each of the three sections will follow the format of the previous assignment, but the two voices will alternate as to which begins the canon in each of the three sections. The three sections will be linked through elided cadences. The cadences should be on a variet of pitch levels. The final cadence can be on the finalis of the mode or on the final pitch of the cantus firmus. The two-voice motets of Lassus provide excellent models of this type of music. Use only white notes as a basis. Black notes may be introduced as ornaments according to the principles that will be given in upcoming classes. Don't forget to set the text as well. Due Date: The second class in January, 1999.. Value: approximately 8% of total grade.
· 8. Analyse Lasso's use of black notes in the two-voice motet #5 "Expectatio justorum" (p. 61). First make a photocopy of the page, and then mark directly on it. Identify the use of black notes as a) unaccented passing tones (on the weak beat, b) accented passing tones (occurring on beat 2 or 4 as the first of a descending group, c) lower neighbours on the weak part of the beat (auxiliaries), d) portamentos (anticipations), e) cambiatas (leaping away from the weak-beat dissonance), f) consonant skips (arpeggiation), g) ornamental eighth-notes (always on the weak part of the beat and in pairs), h) "other" (unable to categorize according to the above groups). For reference, see Gauldin, chapter 5. Due Date: The second class in January, 1999.. Value: approximately 5% of total grade.
· 9. Compose a bass and alto for the tenor text
and tune Gloria (in whole notes), Courseware, p. 23.Due Date:
· 9. Compose a bass and alto for the two
tenors given in class. Include correct resolution of suspensions given in the
tenor; include some rhythmic independence in white notes in the alto and bass;
include correct three-voice cadences.
Due Date:
· 11. Complete the six excerpts that
were handed out by providing appropriate elided cadences. Due Date:
· 12. Create a three-voice imitation for
alto, tenor, and bass on the opening of one of: (a) Iste
confessor, p. 32, (b)
· 13. Reconstruct the score of the madrigal "O amica mea", found on pp. 308-309 of the text, using modern treble and bass clefs. Go only as far as where the voices begin the second section on the words "Sunt capilli". This madrigal is for five voices. Include the text. Check your work to ensure that the music you have transcribed follows the principles of renaissance composition (consonance, preparation and resolution of suspensions, correct cadences, etc.). You will find a table of rhythmic values for notes and rests on p. 205. Does the final product make sense? Due Date: February 28.. Value: approximately 5% of total grade.
· 11. Final Assignment: composition of a
four-voice motet: Due Date: Last class of the course.. Value:
approximately 16% of total grade.
The final assignement comprises several components:
a: choose a text of three phrases, or create your own, in English or Latin. the
following is an example:
1: Benedictus qui venit
2: in nomine Domini.
3: Alleluia.
b: Set out a plan for a three-part form, showing which three voices will be
active at any given time. Each of the three parts must include at least two
sections, linked through an overlapped cadence. For example, part 1 might begin
with a three-part imitation for tenor, alto, and bass. At the cadence point the
soprano would begin a second imitation, perhaps followed by bass and tenor, and
this three-voice group also coming to a cadence to finish part 1. Part 2 should
(in this case) begin with an overlap to the final cadence of part 1, and with
the alto, the voice that was resting. The body of part 2 would follow the same
principles as the body of part 1, and coming to a cadence. At this point, the
third section begins. Since in the example above, "Alleluia" is a
separate thought from the previous material, an overlap at the beginning of
part 3 is not recommended. Thus part 2 would come to a full cadence in three
voices. The third part can follow the form of the first two, provided that all
four voices join in the final point of imitation and combine into a four-voice
cadence. Alternately, the third part, if the text warrants it, can be
constructed either in the form of alternating paired points of imitation
(soprano-alto, cadencing and overlapping with
tenor-bass repeating the same music in the lower octave, and so on), or in a
four-voice homophonic setting, preferably in triple time.
c: Identify the mode that you wish to use. consider
the cadence
possibilities for that mode, and set proposed cadences into your plan. A
plan of cadences should aim for variety (using all the available cadence
pitches) and also balance, and especially ending the final cadence on the finalis. For example, if the above plan were to be worked
in mode 1 (i.e. the tenor part working with D and the notes above), then a
cadence plan could be:
part 1: cadences on D and A
part 2: cadences on A and F
part 3: cadences on A and D
d: pitch material: you may use a pre-existing plainchant as the basis of your
melodic material, or you may invent your own material. Part 1 will use a
readily identifiable melodic segment that can be worked imitatively at the
octave and fifth. Part 2 will use a different melodic segment that can
be worked imitatively at the octave and fifth. Part 3 will use a different
again melodic segment that can be worked imitatively, or used as the basis of a
homophonic treatment.
e: create your three-voice imitative openings for the various sections. Then
consider how these can be linked to the cadences that will appear at the point
of overlap. For example, if the beginning of part two were based on a rising
pattern, F-G-A, in the alto, it is necessary to create a cadence for the end of
part 1 in three parts, for soprano, tenor, and bass, that will accommodate F as
a consonance at the point of overlap. You will note that elided cadences are
not necessary, since there is always one resting part available to make an
overlap with the cadence. Step e: is really the most important step for the
creation of a motet that will work properly.
f: once you are satisfied with step e: you are ready to map out onto
score-paper the whole of the work, and to link up your points of imitation with
the cadences through free counterpoint.
The following assignments are not required for the course.
· Compose a note-against-note counterpoint for alto, above the first two phrases of the tenor Regina Caeli (CourseWare, p. 28.) Ensure that your new part sticks to a single hexachord. The new part should have a good balance of different note values, and include passing half-notes as well as suspensions. Be sure that you compose a final cadence that follows the principles of Thomas Morley, as described on pp. 238-240.Due Date: .. Value: approximately 5% of total grade.
· Compose a florid counterpoint above
the first phrase of the Salve Regina (CourseWare,
p. 28), stopping after the word
· Compose Bass and alto parts for the two given tenor melodies. (no text here). Use the basic principles described by T. Morley on pp. 282 ff. Cadences in three parts are required at the end of each excerpt. Due Date: .. Value: approximately 5% of total grade.
· . Analyze your motet and identify all the cadences, including annotations of such features as overlap, elision, Phrygian, and deceptive. Do the cadences follow the principles set forth by Morley? Due Date: .. Value: approximately 5% of total grade.
· Compose Bass and alto parts for the given tenor melody. Cadences in three parts are required at the half-way point and the end. Due Date: .. Value: approximately 5% of total grade.