A Treatise on Simple Counterpoint in Forty Lessons Part 6

The ornamental resolution may be used in either part.

Use the suspension freely.

The solutions should be musical, and are to be written over and over again until such are secured.

All cadences of the second, third and fourth species, or any combination of these, may be used.

EXERCISES

To canti firmi _a_ and _b_ write two counterpoints above and two below, in the fifth species

CANTI FIRMI

[Ill.u.s.tration: Fig. 83.]

LESSON X

FLORID COUNTERPOINT (Continued)

When florid counterpoint is combined with other than first species, the dotted half followed by a quarter-note (_a_), or two eighth-notes (_b_), is good. Also, a rhythmic figure, as at _c_, where a half-note occupies the second and third quarters, may be used. [Fig. 84.]

[Ill.u.s.tration: Fig. 84.]

EXERCISES

Write one eight-measure phrase, each, of the following combinations: The fifth species with the second; the fifth with the third; and the fifth with the fourth. Write also two eight-measure phrases with fifth species in both parts. [Fig. 85.]

[Ill.u.s.tration: Fig. 85.]

SIMPLE COUNTERPOINT IN THREE PARTS

LESSON XI

FIRST SPECIES

[Ill.u.s.tration: Fig. 86.]

Regard all rules for two-part counterpoint, unless otherwise mentioned.

If possible, each measure should contain a complete chord. When in the first species it becomes necessary to double an interval, let it be preferably the root. The third should be doubled only when a decidedly smoother melodic progression is thereby obtained; and when both thirds are in outer parts, each should be approached and left stepwise in one direction (Fig. 87). The doubling of the fifth is, of course, impossible, since it necessitates the omission of the third.

[Ill.u.s.tration: Fig. 87.]

All triads may be used in their first inversion.

Diminished and augmented triads, however, are best used in their first inversion.

The six-four chord may be used at the close as the cadencing tonic six-four chord. Do not approach the root and fifth in similar motion, as at _b_.

[Fig. 88.]

[Ill.u.s.tration: Fig. 88.]

The dominant seventh may be used in any but its second inversion, the fifth being omitted.[2] The seventh requires no preparation. Other chords of the seventh are better not used until second species and later.

If possible, let the chord in the first measure appear complete. The last chord but one should be complete, unless some form of V or V_7 is used.

[Fig. 89.]

[2] In severely strict counterpoint all parts above the lowest must be consonant with it. Dissonances, when entering simultaneously with it, must be treated as suspensions, and when used in the progression of a part from one chord to another, should be treated as pa.s.sing-tones or embellishments. This excludes the use of the unprepared seventh and ninth; all diminished and augmented triads except in their first inversion; and all six-four chords, except when the lowest part is treated as a pa.s.sing-tone.

[Ill.u.s.tration: Fig. 89.]

Consecutive major thirds may be used when three or more parts are employed.

[Fig. 90.]

[Ill.u.s.tration: Fig. 90.]

A note may now be repeated in the lowest part when it becomes the seventh of a dominant seventh-chord. [Fig. 91.]

[Ill.u.s.tration: Fig. 91.]

In writing, use soprano, alto and tenor, or alto, tenor and ba.s.s; and do not separate upper parts more than an octave. For a chord or two they may (for the sake of better voice-leading) separate a tenth.

All hidden fifths and octaves are bad, except between I and V and V and I.

[Fig. 92_a, b_.]

The perfect fifth following the diminished fifth is good when taken in an upward direction stepwise in the higher parts. [Fig. 92_c_.]

[Ill.u.s.tration: Fig. 92.]

All cadences used in harmony are good.

Unless otherwise mentioned, put the cantus firmus in any part, but avoid its continued use in the same part.

EXERCISES

To canti firmi _a_ and _b_ write the first species in all parts. Write each three times, setting the cantus firmus in a different part in each solution. This necessitates transposing the cantus firmus, when setting it in the other parts.