| Fig. 103. |
Fig. 103. |
The first and second species may be mixed, as in Fig. 104.
| Fig. 104. |
Fig. 104. |
The cadences in Fig. 105 are good, and will suggest others. Those with first species in all parts may also be used.
| Fig. 105. |
Fig. 105. |
To cantus firmus a write a counterpoint in the second species in one part. Write three settings, as directed in the previous lesson.
Write two eight-measure phrases mixing the first and second species in all parts.
To cantus firmus b write counterpoints in the second species in the other two parts. Write two settings, with the cantus firmus in different parts.
| Fig. 106. |
Fig. 106. |
| Fig. 107. |
Fig. 107. |
The suggestions for third species in two-part counterpoint, as well as those for writing the second species in three-part counterpoint, apply when writing third species in three-part counterpoint.
The cadences at Fig. 108 are good, and will suggest others.
| Fig. 108. |
Fig. 108. |
To cantus firmus a write third species in one part. Write three settings as previously directed.
To cantus firmus b write second species in two parts, as previously directed.
Write one eight-measure phrase, using second species in all parts.
| Fig. 109. |
Fig. 109. |
| Fig. 110. |
Fig. 110. |
Previous suggestions when two or more parts have other than first species, apply here.
In using the ninth of a chord it is well to keep it at least a seventh distant from the third, as well as a ninth above the root, except in the case of the dominant ninth in minor keys, where it may be separated by only an augmented second ([b]). [Fig. 111.]
| Fig. 111. |
Fig. 111. |
In writing the third species in all parts, notes appearing simultaneously should be harmonically related. Treat all tones foreign to the chord on the first quarter as dissonances.
The cadences in Fig. 112 are good.
| Fig. 112. |
Fig. 112. |
To cantus firmus a write third species in one part, as previously directed.
To cantus firmus b write third species in two parts, as in Fig. 110b. Write twice, changing the cantus firmus about.
Write one eight-measure phrase, mixing first and third species as in Fig. 110a.
| Fig. 113. |
Fig. 113. |
To the cantus firmus write third species in one part, as previously directed.
Write one eight-measure phrase, mixing first and third species; also one mixing first, second and third. [Fig. 114.]
Write one eight-measure phrase, using third species in all parts. [Fig. 110c.]
| Fig. 114. |
Fig. 114. |
| Fig. 115. |
Fig. 115. |
| Fig. 116. |
Fig. 116. |
When the syncopation is a suspension or retardation, it is treated the same as in harmony.
The retardation should always be prepared by the leading-tone.
When the syncopated note belongs to the harmony of the measure, it may be left by a skip or stepwise progression. [Fig. 117.]
| Fig. 117. |
Fig. 117. |
The third may be omitted on the strong beat in this species, provided the part having fourth species skips to the missing third, as at Fig. 117a.
Consecutive fifths, but not octaves, are saved by the suspension. Whenever they occur, do not use the note of resolution as preparation of a suspension, or tie it into the next measure (a), since it is really the passing seventh, and that does not lend itself well to either of the above, except in sequence as at b. [Fig. 118.]
| Fig. 118. |
Fig. 118. |
The seventh or ninth of a chord, except the major seventh, may be used as preparation of a suspension when approached by a skip in an upward direction, as in Fig. 119.
| Fig. 119. |
Fig. 119. |
This species may also be written in triple rhythm. [Fig. 120.]
| Fig. 120. |
Fig. 120. |
The cadences in Fig. 121 are good, as well as those of the second species.
| Fig. 121. |
Fig. 121. |
To cantus firmus a write fourth species in one part. Write three settings, as usual.
To cantus firmus b write fourth species in one part in triple rhythm. Write three settings, as above.
To cantus firmus b write second species in one part and third in the other. [Fig. 122.]
| Fig. 122. |
Fig. 122. |
| Fig. 123. |
Fig. 123. |
Write two eight-measure phrases, using the fourth species mixed in all parts. [Fig. 124a.]
To cantus firmus a write second species in one part and fourth in the other. [Fig. 124b.]
To cantus firmus b write third species in one part and fourth in the other. [Fig. 124c.]
| Fig. 124. |
Fig. 124., part 1 |
| Fig. 124, part 2 | |
| Fig. 125. |
Fig. 125. |
| Fig. 126. |
Fig. 126. |
No suggestions other than have already been given for two- and three-part counterpoint are necessary for this species.
To canti firmi a and b write fifth species in one part. Write each three times, as usual.
| Fig. 127. |
Fig. 127. |
To cantus firmus a write second species in one part and fifth in the other. [Fig. 128a.]
To cantus firmus b write third species in one part and fifth in the other. [b.]
To cantus firmus c write fourth species in one part and fifth in the other. [c].
To cantus firmus d write fifth species in two parts. [d.]
| Fig. 128. |
Fig. 128. part 1. | |
| Fig. 128. part 2. | ||
| Fig. 129. |
Fig. 129. |
Write one eight-measure phrase each, of the following combinations: (1) 2nd, 3rd and 4th species (Fig. 130a); (2) 2nd, 3rd and fifth species (b) (3) 3rd, 5th and 5th species (c); (4) 2nd, 4th and 5th species (d); (5) 4th, 5th and 5th species (e).
| Fig. 130. |
Fig. 130. part 1. |
| Fig. 130. part 2 |
Write five eight-measure phrases with fifth species in all parts, making use of imitation at the beginning as in Fig. 131. The imitation need only be relative and continue for three or four notes. It is also well, when a part uses a striking melodic figure, to have some other part imitate it immediately after.
| Fig. 131. |
Fig. 131. |
| Fig. 132. |
Fig. 132. |
No new suggestions are needed, except as follows: All covered fifths and octaves permitted in harmony are allowed here. When the cantus firmus is in the lowest part and the choice of the last chord but one is V43 or vii°6, use the latter, as in Fig. 133.
| Fig. 133. |
Fig. 133. |
To canti firmi a and b write the first species in the other parts. Write each four times, setting the cantus firmus in each part in turn.
| Fig. 134. |
Fig. 134. |
| Fig. 135. |
Fig. 135. |
To cantus firmus a write the first species in all parts, as in the previous lesson.
To cantus firmus b write the second species in one part. Write four times, and change with each solution, so that both the cantus firmus and the second species will appear in each part. [Fig. 135.]
| Fig. 136. |
Fig. 136. |
| Fig. 137. |
Fig. 137. |
To cantus firmus a write second species in one part as previously directed.
To cantus firmus b write the first and second species mixed in the other three parts. [Fig. 137a.]
To cantus firmus c write third species in one part, as directed for the second species (b).
| Fig. 138. |
Fig. 138. |
| Fig. 139. |
Fig. 139. |
To cantus firmus a write the second species in two parts and the first in the others. Write twice, changing the parts about. [Fig. 139a.]
To cantus firmus b write third species in one part as previously directed.
To cantus firmus c write third species mixed in the other three parts, as at Fig. 139b.
| Fig. 140. |
Fig. 140. |
| Fig. 141. |
Fig. 141. |
To cantus firmus a write the first, second and third species in the other three parts. Write twice, changing the parts about [Fig. 141a.]
To cantus firmus b write fourth species in one part, as directed in previous lessons. [Fig. 141b.]
To cantus firmus c write third species mixed in the other three parts. [Fig. 139b.]
| Fig. 142. |
Fig. 142. |
| Fig. 143. |
Fig. 143, part 1. |
| Fig. 143, part 2. |
To cantus firmus a write the fourth species in one part, as usual.
To cantus firmus b write first, second and fourth species in the other three parts. [Fig. 143a.]
To cantus firmus c write the first, third and fourth species in the other three parts. [Fig. 143b.]
To cantus firmus c write fourth species mixed in the other parts. [Fig. 143c.]
| Fig. 144. |
Fig. 144. |
| Fig. 145. |
Fig. 145. |
To canti firmi a and b write fifth species in one part, as before.
| Fig. 146. |
Fig. 146. |
| Fig. 147. |
Fig. 147. part 1. |
| Fig. 147. part 2 |
To the cantus firmus write the fifth species in two parts. Write four times, changing the cantus firmus into every part. [Fig. 147a.]
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).
| Fig. 148. |
Fig. 148. |
| Fig. 149. |
Fig. 149. |
To the cantus firmus write the fifth species in all of the other parts. [Fig. 149a.]
Write four eight-measure phrases with the fifth species in all parts. [Fig. 149b.]
| Fig. 150. |
Fig. 150. |
| Fig. 151. |
Fig. 151. |
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.]
| Fig. 152. |
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.]
| Fig. 153. |
Fig. 153. |
The eighth-note as in Fig. 154a 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. 154b.]
| Fig. 154. |
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.]
| Fig. 155. |
Fig. 155. |
The note under the hold may be continued the extra measure, or the part may rest and then reënter. 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.]
| Fig. 156. |
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.
To cantus firmus b write two counterpoints above and two below.
To cantus firmus a write one above and one below, with both parts resting at the hold. Also do the same with the counterpoint continuing at the hold. [Fig. 155a, b.]
| Fig. 157. |
Fig. 157. |
When writing in three or more parts, it is well to let a part rest occasionally, and, when it reënters, have it imitate one of the other parts. [Fig. 158.]
| Fig. 158. |
Fig. 158. |
To cantus firmus a write two counterpoints above and two below in two-part counterpoint.
Write two original eight-measure phrases in two-part counterpoint.
To cantus firmus b write one example in three-part counterpoint with continuous movement at the hold. [Fig. 159.]
| Fig. 159. |
Fig. 159. |
| Fig. 160. |
Fig. 160. |
To canti firmi a and b write two parts. Write each three times, setting the cantus firmus in all parts in turn. Write one of the solutions of the choral with continuous movement at the hold.
| Fig. 161. |
Fig. 161. |
Write two eight-measure phrases, and one sixteen-measure phrase, of original counterpoint in three parts.
| Fig. 162. |
Fig. 162. |
To the cantus firmus write three parts.
Write two sixteen-measure phrases of original four-part counterpoint, one major and one minor.
| Fig. 163. |
Fig. 163. |
In this and the following lessons have the parts in some of the exercises begin one after the other in imitation. [Fig. 151.]
Write two eight-measure phrases, and one sixteen-measure phrase, of original four-part counterpoint.
Write two sixteen-measure phrases of original four-part counterpoint.
Write an original exercise in four-part counterpoint, extended to thirty-two measures.