# 12. Basic Two-Voice Interval Progressions

## Consonant and Dissonant Intervals

Complete the table below by first identifying the given intervals by name and then classifying each one as either consonant or dissonant. (Hint: Watch out for diminished fifths!)

notation interval consonant dissonant
m3

P4

P5

M6

d5

P8

m6

M2

P5

m7

P4

PU

m3

## Analysis

Analyze the excerpts shown below. Write the sizes of the intervals (e.g., 3, 5, etc.) on the lines below the lower staff and the type of motion used to approach each interval (e.g., P, S, C, or O) on the lines above the upper staff. (You do not need to specify interval qualities.)

Chiara Margarita Cozzolani, O quam suavis est Domine spiritus tuus, mm. 183-188

Vittoria Aleotti, Ghirlanda de Madrigali a 4 voci, 1. “Hor che la vaga aurora,” mm. 65-70

Claudia Francesca Rusca, Gaudete gaudio magno, mm. 30-36

## Completing Basic Interval Progressions

Each of the exercises below shows a different interval several times. Complete each measure by adding a second interval to form a valid two-voice interval progression. (See Chapter 12 of Fundamentals, Function, and Form.) Specify interval sizes on the lines below each staff and the motion types on the lines above.

## Polyphonic Composition

Add a second melody to each of the exercises below. Follow the conventions for basic two-voice interval progressions as closely as possible. Start and end with perfect intervals. Specify the sizes of the intervals on the lines below each staff and the motion types on the lines above. (Hint: There are multiple valid answers for each of the exercises below, though it may take a bit of trial and error to find one of them. If you work yourself into an impossible situation, erase a few notes and try a new approach.)