A Treatise on Simple Counterpoint in Forty Lessons Part 12

LESSON x.x.x

[Ill.u.s.tration: Fig. 147.]

EXERCISES

To the cantus firmus write the fifth species in two parts. Write four times, changing the cantus firmus into every part. [Fig. 147_a_.]

Write one eight-measure phrase mixing the second, third and fourth species (_b_). Also write one exercise combining the first, second, third and fourth species (_c_).

CANTUS FIRMUS

[Ill.u.s.tration: Fig. 148.]

LESSON x.x.xI

[Ill.u.s.tration: Fig. 149.]

EXERCISES

To the cantus firmus write the fifth species in all of the other parts.

[Fig. 149_a_.]

Write four eight-measure phrases with the fifth species in all parts. [Fig.

149_b_.]

CANTUS FIRMUS

[Ill.u.s.tration: Fig. 150.]

LESSON x.x.xII

[Ill.u.s.tration: Fig. 151.]

EXERCISES

Write six eight-measure phrases, using the fifth species in all the parts.

Let the parts begin one after the other in imitation. [Fig. 151.]

LESSON x.x.xIII

FLORID MELODIES AS CANTI FIRMI FREE HARMONIZATION IN TWO-PART COUNTERPOINT

[Ill.u.s.tration: Fig. 152.]

Thus far, all notes in the measure foreign to the harmony on the first beat were treated as dissonances. Now, the cantus firmus may be harmonized at pleasure, the only restriction being that any tone foreign to the chord with which it enters must be treated as a dissonance. [Fig. 152.]

It is not necessary that each part be strictly florid, but that the effect of the parts as a whole should be so. This applies from this point to the end of these lessons.

The suspension may now be a quarter-note, or its rhythmic equivalent. It then comes on the first (_a_) or third (_b_) quarter of the measure, and the resolution on the quarter following. The preparation should be as long as, or longer than, the suspension. [Fig. 153.]

[Ill.u.s.tration: Fig. 153.]

The eighth-note as in Fig. 154_a_ is good. It should be used only on the second half of a weak beat, and be preceded by a dotted quarter-note.

Sixteenth-notes may be used in place of the eighth-note, but should be approached and left step-wise. [Fig. 154_b_.]

[Ill.u.s.tration: Fig. 154.]

The first species may be employed occasionally in the course of an exercise.

Make plentiful use of imitation.

When more than one line of a choral is used, it may be treated by having the other parts continue through the holds, as at _a_, or letting them rest, as at _b_. [Fig. 155.]

When, in place of the hold, the movement continues, it is necessary to interpolate a full measure in place of the hold. [Fig. 155 and Fig. 159.]

[Ill.u.s.tration: Fig. 155.]

The note under the hold may be continued the extra measure, or the part may rest and then reenter. All that is required is that it begin after the lapse of one measure, i.e., when the line ends on the accent the next line begins on the weak beat of the measure following, and if it ends on the weak beat then on the accent of the next measure.

The interval at any hold except the last of a choral may be either a perfect (_a_) or imperfect consonance (_b_). [Fig. 156.]

[Ill.u.s.tration: Fig. 156.]

Modulation often occurs at the holds. If so, make it clear.

In this and in succeeding lessons set the cantus firmus in any part, and transpose if necessary.

EXERCISES

To cantus firmus _b_ write two counterpoints above and two below.