PRACTICAL FREE COUNTERPOINT By ERIC H. THIMAN CURWEN EDITION Paber Music Lud., 3 Queen Squats, London WCIN 3AU7 G, Schirmer Inc., New York ade in EnglandPREFACE ‘Tus itd book is the outcome of requests ftom students who have Worked thiough my Guide to Elementary Harmony (Curwen Eda, No, 8348), and wish for a compenion volume on counterpoint. It can be Studied concurrently with this, or it can be used by any student already potsessing a knowledge of htarmony up to the dominant seveath, unecseatial notes and modulations Itmay be thought unusual that ia a volume devoted to this subject no mention is made of ‘strict’ counterpoint. Tete are two reasoas for this: fist, the ground there is siready well covered; and second, though strict counterpoint is a valuable ental discipline, the average student does not take to it with marked enthusiasm, for it deals (or purports to eal) with a perfod—the sixteenth century—with waich ke bas little acquaintance, and tus he is unable to relate hie studies init fo his ectaal auusical experienewt. With cighteenth-century counterpoint-—so-called “fee” counterpoint—te is often moro at home, for io sings and plays Bach and Handel and thus can relate his musical experiences of these composers to his theoretical work, surely an important point, ‘Tae terms “strict” and free" counterpoint are incidentally misleading, for all counterpoint—as is all academic work—is in the style of one petiod ox another, and thus cannot be other than strict, iit is correctly (aught, But student have been known to think thet in stict counter point they raust obay the “rales” end in free counterpoint they can write what they like. ¢ ‘The student is again urged to make every effort to hear mentally every note be write, singly and in combination. The piano can be freely used in the early stages, until with increasing ability in ‘hearing? his work it aa gradually be dispensed with London 1947Chapter I i cH Vv vr vin vit nx XI xm CONTENTS Melodie Style and Efarmouie Vocabulary TWO-PART COUNTER POINT Note ogainst note sTwo notes to One—Vocal Style Two notes to One—Instrumental ‘Taree notes to One Four notes to On In Flozid Style THREE-PART COUNTERPOINT Note against cote Extension of Harmonic Resourse Two and taree noes to One Addition of Two Florid Parts Threspart Florid Counterpoint Pope a 37 4a 2 39 CHAPTER I MELODIC STYLE AND HARMONIC VOCABULARY 1, Counterpoint may be defined as the combination of melodies, or better, perhaps, that style of musicel compesitica in which the interest of the individual parts 78 of pre-eminent iraportence, Harmony deals primarily with the progressioa of chords; counterpoint primarily with part-witing. 2 The value of the study of counterpoint lies in the ability ft gives the student to write parts with a good ‘line’, and ia the facility it promotes in writiag fluent accompanimental parla in :he harmonization of melodies, In addition, it affords an insight into the technique of a particular peciod, that of tho sizteeuth century in many works on couaterpoia, aad the period of Bach and his contemporaries in this reseat hook (see Preface), 3. Although the counterpoint of the seventeenth and eighteenth centuries has a3 its basis « harmonio scheme, the interest lies mainly in the movement of the individual parts, i, with the horizontal cather than the vertical aspect. Ia writing counterpoint we have, then, :wo considerations: (a) melodie style, and (4) harmonic basi. 4. mooie sre Successive notes in a melody aro takea by leap or by atop (often called Gisjunct or conjunet motion, respectively). Too much conjunct motion is uniatereating, and too much disjanct is awkward to sing and often angular ia effect. A good melody will generally be prodvced by the successful balancing of these two aspects (Ex. I) Ex! — In bars { and 2 the successive leaps are followed by conjunet motion in the opposite cireetion, and this is always desizale after any leap (or combicetion of leaps) forming a Afth or greater interval. In addition the shaze of the melody mst he harne ia mind} and one well-dispoced high note (such as the top G in bar 3) should be reserved for a climax. To appreciate the principles of good melodio style the student should always sing bis melodies as he writes them.5. HARMONIC BASIS Although counterpoint is largely concerned with the movement and Imelodie interest of individual pacts itis obvious that parts may be poo im themselves and yet form wumausical combinations with each other, Good counterpoint cannot oxist without a correct and musical har: monic basis, 6, The harmonic basis of the two-part counterpoint described in Chapters IT and TIT may be summarized as followe! @ All triads in root position (except VII ia major, and TH and VIE in minor keys), These give, in two-part commitespoint, the intervals of a third, a perfect fifth ar an octave, (@) All Ast inversions; these give, in two parts, intervals of a third or a sixth, Chord VII is nearly always found in frst inversion only, as is Tin minor keys, (©) The cadontial second inversion (commonly called the §) giving the intervals of o sixth or a fourth from the bass, ‘The fourth from ‘the bass is. discord, but the cadential use of this is sutisfactory, if the fourth from the bass be proparcd (ic, sounded beforehatid in the same part in a chord to which it belongs). (Sexe in Ex. 7.) ‘his is particularly important in vocal writing, where the prepara. tion of a discord makes it much easier to sing. 7. Properly treated discords add strength anid colour to music—indeed, ‘mosie would be tame without them. Hints on their use will be found in the following pages. CHAPTER II TWO-PART COUNTERYOINT, MAINLY NOTH-AGAINST-NOTE, 18 VOCAL STYLE 1. In this style of aiting, a part of similar note-length is (o bo dded to the given part, in accorcarice with the principles stated in Chapter T. In addition, there may be unessential notes comprising cceealed and unaccented passing-notes (see @ and b in Ex, J) of consonant appoggiatucas (see ¢ end 4), 2. Variety of movement between the parts is important, Iti better, 03 a rule, for ous par! to move while the other maintains the beat, Notice how the quayors are disposed alternately in Ux. 7. cnn 3. The indepensence of tke pacts, an essential feature of good counter ‘point, is largely achieved by contrary motion, Similac motion cannot be dispensed with eltogether, butits use should be restricted to a minimum, 4 Some of the intervals mentioned in Chapter I need careful handling, (@) The porfest fifth, owing to its hsre sound is better avoided on on aczent, urless one of the notes ie unessentia! (Ex. 2), ‘Here the steond Cis a suspeasion and the zeal chord at this point is « fist inversion. If an essential perfect fifth is usec on a Weak cat, approach it by contrary motion, otherwise it will sound too prominent. Compare the effects of Ex. 3a and b, Fes (8) An octave should be approached by contrary motion, otherwise it will likewise sound too prominent (Ex. 4). ae ‘An exception to this may be noted at the eadence, when the top part moves by step (Ex. 3). Hz.8 gets A unison is subject to the same limitations; in any case, itis wise to reserve its use for the beginning and the end of phrases,5, The effeot of adjacent (or consecutive, as they are sometimes called) fifths and octaves is not improved by the addition of suspensions (see EX. 6), in Ex. 6b the ear sui! hears two parts moving in oclaves and in Ex, 6d in fiftas, There is an exception to this, in three-part counterpoint, E.6. 4 e 4 which will be discussed later (rage 38). 6. Im working the exercises at the end of the ehapter, a satisfactory harmonic scheme should fist be decided on, and the bass figured (1, V ete, to show the cherds used, as is done in the exanaples inthis book, Take sdvantage of an occasional opportunity for saodblation, as is indicated here by square brackets under the given part. Ex.7, Add atveble—maimy note aeatnst note To repeat the B on the second beat of bar I would obviouely be poor melodieally, hence the quaver A at ec. At d the chord is V, and the appoggiatura E avoids the bare fifth that G and D would otherwise make. Ate, in the bass, nots the use of the dominant seventh af a ppasting-note; in vocal writing it is nearly always best treated thus, Corapars Ex. 8, where the second example is not only more in keeping Ex.8. 7. Bx 9 shows a working in compound time, and in misor key. It is assumed that the treble is given, Fx 9. ade vss, mainly nov-nguinss-note The chord at a is the first inversion of the leading-note triad. These last three notes in the bass make 2 very common cadence, probably owing to the fact that many plaixsong melodies, which ware afles used as a basis for contrapantal treatzeat, sed thus, B in the bass {chord V) would also be satisfactory here, but it is undeniable that there is particular pleasore in the singing or playing of this contrary mmoveraent by step. This progression (VII to 1, VIL used in its first inversion) has te effect of a perfect cadence, It was widely used up to the time of Handel and Bach, but fell into cisuse later (See Guide xo Elementary Harmony, Chap. VIM, paras. $ to 9)BXURCISWS ON CHAPTER 11 Add a part, above or below, as requiced, muinly note-epaiast-note, but with occasional ra tes. 1 hasAdi vitia Below in erstbete “ CHAPTER LL TWO-PART COUNTERPOINT—TWO NOTES TO ONE (VOCAL sTyLe) 1. Here the problem is to add a part in notes of half value (¢-g. queers (6 crotchets). The first quaver of each beat will be a concord, and the second generally 2 passing-aote, but where this is not possible, enother note of the same chord will bo used. fx 40% Exo? Ex. 10a is unmusioal, for the quaver F is neither a passing-note nor ces it belong to the chord, The second quaver should bo G, which belongs to chord T, No intelligent student woud write a pessage such as Bx. 11, for the sounds ox each beat are heard as chords, and adjacent octaves aad fiftht ace produced. Pre feardas deart as Fx iit aint 2, Bx, 12 giver an illustration of an added pert in this style of writing: TT paaages se 7b, with adjacent Sts on weak bea secnetimes found in tsivumental writing, Sea Bach's Invention No. 1, Bars Sand 6, 9Note the following points: (@ The jump in the melody at a illustrates again an important oini mentioned in Chapter 1, namaly, thet the notes before and after a leap of a fifth or greater interval should bs contained ‘vithin the leap. If it were not so, as in Ex. 132, an awkward and unvecel progression would be produced. Ex.ta? Notice also that after 2 leap, the movement should be canjunet, Bx 13% . Sow ed and b by singing bath. (@) Repeated aotes are often effective if tied, as at bin Ex, 12, (©) The final cadence of Ex. 12 should be memorized, for there is scarcely any other arrangement of quavers that gives so smooth fan effect over this bass, Students often tie themselves into awkwacd knots by writing quavers such as in Ex. 14 Exe Fes? Ex. 147 ier eren E Ex, 14a and b are awkward from a vocel point of view, Ex. 4 is foreign to the practice of classic composers, who trested a perfect fourth as 2 discord, ie. one that moves by step to a concord. (@) Memorize the four quavers at Ex. 126, against dominant and dominant seventh. This again is the smoothest progression possible against these two crotekets, This passage is ‘invertible ile. the paris can change places 2. Students often forget that a jump to the Bh of the chord x she bass oon the sezond quaver asin Ex. 15a prosluces a Tn raced writing this foreign te the style. Some exceptions may be noted in the next chapter (instrumental writing). Ex. 15a should bo zowsittan asin Ex, 15b, ueing passiog-notes, the root, or the third instead. 10 Bea ntrdeb abl tedried t we But the § is sometimes found wasn the moving part is on its way to another position of the same chord (see Ex. 16). Ex. 16 4, Finally, avoid meandering one aimless movernent of the added part Try to achieve some pattern andl point of elimax, Notice tie gradual rise of the melody from e to the climax on the top C in Ex. 12 EXBRCISIS ON CHAPTER (11 4, Add treble in quavers 7p ’ 2 ditto teaur 4 ditto akeCHAPTER IV f. Aea nite Tals! Caner TWO-PART COUNTERPOINT—TWO NOTES TO ONE. | (nvsrRumoNTAL sT¥LE) 1, One of the asin differences between vocal ard instrumental style ligs in the treatment of discords. In vocal writing, these are generally | prepared; in instrumental, they ate often used unprepared, io. as Appoggiaturas; for while there may be a zeal difficulty in shging a discord, taere can be none in playing it, 2 Another impoctant dliference Tes ia the grester melodie range | possible for most instruments, together with the fact that they are able fomoye from one note to another ofa dissonant interval with fer greater case than the kuman voice, None the les, itis well bea in mind that counterpoint has its roots fly planted in vocal iciom; and ia elemen- try work, at leas, it is wise to judge such poccagos by the ease with ‘which they can bo sig. 9. ditto bass in Fete Burg | tn | . ian - 3, the interval ofthe diminished fith and augmented fourth between ghee arti ae A | twopant ate sttenoundin arrest witng nb they te aed so | | parts of the dominant seventh chord (see Ex. {7a and b), ‘The same applies to the major secord (Ex. 170). 10. ditto sobse Exit Exit Exitt ‘The minor seventh (2. dominant seventh in root position) is also somatimes found (Hs, 17d). Soe also the last bar of Ex. 20c. $23a5 13 2‘when writing bo quavers to a erotchet in instrumental style, the frst quaver, In addition to being a concord or an accented! passing note (Ex. 18) may be a dissonant appoggiatura (EX, 19) or a part of the dominant seventh mentioned above, 5, Aato the second quaver, there are three additional devices, all wed by Back (Ex. 20a, b, and o) Ex. 20° Fx.20% si x. 20% alte onittes) oy . CeSS Ex, 204 does not affect the principle of jumping from a discord, for the F is passing-note to G—the real harmony note; A, being. an appoggiatura. Compare it with Bx. 103, In Fx. 20b the A is passing-note which is approached hy a rise of a seveath instead of by ¢ ill of 2 second, Thit Gevice is useful to prevent too much moventent in the same direction. Notice its use in the lest ‘bar of Es, 20. 4 Ex, 20 shows another device, often found, Bach beat in the treble anay be regarded as. a mordent, With the finsl note omitted (Ex. 21), When using this echnique, wotize that when the omitted note of the ‘mordent is replaced, the part moves by step (see Ex. 47). A similar figure isslso frequently found in the final cadence (Ex. 22) ‘The quavers F and D are sometimes called ‘changing-notes?, #£ =f Fb gf fh eT o > F 6. In the previous chapter the student was warced against using the fifth of the chord in the bass at the second quaver, in vocal writing. But Bach doea sometimes produce a fourth (0, a §) in an instrumental bas, particularly wien he is mainlainiag 2 patiern or sequence, Seo a in Bs 23 and 26, In Ex. 24 the marked passages are hease as chords and thus the effec is good. Since ach uses these devices, the studeat should understand tem, bat os the result ip unskilled hends is often ‘unsatisfactory, itis wiser to avoid thom in elemontasy work, x23. [f1, Bx. 25 shows the same ess as in Bx. 12 with a quever parc in treble, designed to show some of the possibilities mentioned above Ex.25. (@) appoggiatura (8) mordent with last note omitted (see Ex, 21) (6) passing-note approached by rise of a soventla (see Ex. 205} (Gd) pessing-note jumping to appogsiatura (cee Kx. 20a) ‘Two examples from Bach aregiven; many more ean be found in the lavier and instrumental works. Ex 28. lenteate paste omitted) enn aae L Wty ov from Chlstonan Gentes courte hrs ‘ SXBRCISES ON CHAPTUR IV Add vloitn bors im gunners tho baton Att niet e steed6 Add rlotabelew Landon New pea ea 1 ai 8. Akt violla abore 3 See St Peter iis Poe tt fate Fda viola batew ieee 2a i _ pS are Se srephony erien (W.H Monk} (aaa Rr IL Ma Hela below He nearainavor py aS 18 CHAPTER TWO-PART COUNTER POINT—THRLE NOTES TO ONE 4. The given part in this species of counterpoint is in compound time, ‘and the added part las three notes to each beat (ic. quavers co detted crotchets). Several rew moves are possible here, which are illustrated in Bx. 28: Ex, 28, (@) At a the second quaver is a pussing-note, Similarly, tho third quaver at b. Mordent figures aro frequently used, toe ¢, The unesseatial note of the mordext in met with both above or below the harmony ote; here it is below, because the mordent ix approached from above. ‘To use the upper note here Would make the mefody ‘redandant ie. it would go back on is owe tracks, () An ornamental resolution of « suspension is shown at Ex. 20b, ¢ aod d, The simple resolution of the suspended is for it to fall to D (Ex. 238); but composers frequently interpolated the ots above or below the note of resolution (Ex. 29b and ¢); o: iade the past jump to ano:her note of the chord (Bx. 25d), Ex, 298 Ex.29? Exaze° Bx,ge¢(0) Notice the melodie sequence in bars 2 and 3 of Bx, 28, Some such organization of the melody is essentia if mere aimless wandering is to be avoided. (2) Notice, again, the point of climax in bar 2, This is tho only time the top G appears in the melody. 2, The classic example of this stylo of counterpoint is Backs Choral Jesu, Joy of Man's Desiring’. Tis too well kaon fo ne=d quoting i Full ere, bt the student may well take a Tesson in the construction of 4quaver counterpoint from iis perfection of cuiline (Br. 39), One poitt in the first wo bars of tis porhaps worth noting: Pe 80 on pee errerriet tery another device. This note may be regarded as an anticipation of the harmony note which follows. 3, Ex. 31 illustrates the addition of a similor part below At a we coe agein the mordent figure with the last note (F) omitted, ‘This is very common in compound tims; s09, for example, the start of Bach's ‘Thxce-part Invention in B? (Ex. 32) 2» 4. Be very spacing in the use of arpegeio figures. In Ex. 28 thoy appear ai the beginning of bars 2 and 3, but note that they are proceded and followed by conjunct writing, If two similarly constructed arpeggios occur consecutively, it i not too much to say that counterpoint virtually eases to exist, In Ex, 330 the treble is nct a coutrapuatal part—it is merely an accamyanimental gure x. 83t Ex.33b 5, Reread Chapter Il}, para. 1, noting again that all arpeggio figures sre heard as chords, The offot of Ex, 330 ie really as Ex, 336. To make fue that aujacent ffs aud cctayes do not oceur, reduce the quavers to chords, atin Ex, 33b, Contrast de effect of Ex. 344 and b. The wise Hucert will, However, make sure that such cases do not aise, by generally Tollowing an arpeggio passage by conjunct movercent 3 3 Ex. Ba Ex. 38? sate | mT rt 7 6, Adjacent fifths and octaves, therefore, should not occur on con secutive beats (Ex. 35a). At a quick pace, and particulary if the phrase ‘wes continued in sequence, there Would be no true independence of parts in Ex, 35a, The adjacent octaves in Ex. 35b are of a type often ‘Overlooked by the stucent,PRERCISES ON CHAPTER ¥ eheprieett 6. Aaa viols shore 8. Adele batow 0 Sea va - —sT I 9 Se 10, dito low 14 dea sone a SrCHAPTER VI ‘TWO-PART COUNTERIOINT—1OUR NOTBS TO ONE 1. Counterpoint of this order is found more rarely in musical com- position then the proviously described spocies; but exainination of the ‘works of cighleenth-century waiters will, nevertheless, show many instances. 2. The important point ¢o bear in mind is that in such counterpoint cach part must prescal an organic ard coherent melody, with one or more well-disposed elimaxes, 3, A resteading of Chapter ¥ paras. 5 and 6, will make it clear that passages such as Fx. 264 and b are oqually to be avoided, for the reduction te chords shows adjaceri filths and octaves. Ex. 38% Fx, 86? Adjacent fifths or octaves should not occur at the beginnings of successive groups (Ix, 374), nor between the last note of one grcup and the fist of tho next (Ex. 37b); for neither example shows any true dependence of paris, Neither should they be found on the third note ‘of ene group an che first or third of the wext (Be, 37 and «l) unless a reduction to chords shows the effect to be satisfuctery, Compare alll ‘theso with Ex. 370, x7 Ex.a7 Ex.87? Ex.87? Fx a7! seth gert Howover, these difficulties will not often arise if the stadeat remembers to follow ar arpeupio passage hy a conjunct one, 4. Another chaagingsnote figure may he used in this species of counter. point (Ex. 38}—this is worth conumitting 9 memory. A principle Similar to that illustrated in Ex. 22 may be noted here, ke. a jump of a third from one ungssential note to another, the intervening kartaoay note being omitted, Fx 88, "ya ‘ 5. Ex, 39 gives an ilhustration of this sort of writing, which, from the inherent nature of the moving part, ia nearly always instrumental in style, EXERCISES ON CHAPTER VI 4. Ada violin ebewe.in niquavers throaghent (veep ferlaet acts! aa ee Spears es 2 dite ete 14. Aad relia below Sapa tiey Je io é eget — 4. Ade rola velow ape 6. Ade rlolin above x = ft egies) CHAPTER VII NT IX FLORID STYLE |. ‘Blorid” counterpoint as the name gwen to that style of writing ‘which usas such varely of note-lengths a2 will concice to chythraie aad melodic interest, The parts should be rhytamisally related and in the same style as cach other (sees. C). Contrast and balance of movement and repose are assentia] if fussiness is (0 be avoided —one part normally moving when the othr is stil, and sce versa 2. This style of writing leads itself well to imitation, one voice catering w, followed ava short distance by the other. Sometimes this can be fn exact reproduction a& in Ex. 40, sometimes the later entry merely suggests the rhythe aad shape of the opening figure (see Ex. 41). Imitation can, of course, ceour anywhere; it is not confined to the opening of 4 pessage (Ea. 46) 8. ditto 9. Ada viola above 25 = See 10, ditto 26 (0) Ties are cften s prominent feature in florid writing. They are used either Lo tie two harmoay notes as at a, ox to Lie the prepara- ior and wounding of w suspension, as at b. They are generally only found between two notes of eaual Ieagth or whea the fist is longer tha the second. Indeed, to tie & long note is often almost ceswential, particularly i it is preceded by shorter notes (Ex. 1b), 7‘The placing of contcislod apcenis between the pests, as in x, 10, is one of the pleasures of counterpoint, which largely cisappears when the accents come together, as in Ex. 4la, The fying of notes is the principal way in which such diversity of seeeots can be produced. But to tiea short note to a longer one makes the rhythay halt ing, breaks the flow, and often makes the barmonies change in the wrong place, ie. on a weak beat (Ex. 42) raz ‘he te in Ex. 42 gives che effect of a change of harmony on the last quaverof the first sar; and no one listening to the pastage vuld dell wlive the Larcline fll or whet nas the time signature (8) Try to use the opaning Sure at least once again, preferably at the end (eee last bur of Ex. 40) where it can well round the piece ff by a reference to the start, 3. A few other points are worth noting here: (a) Remember that a suspension in the given part is ind 9 repented (or tied) note on successive wenleand strong beats (¢ in Ex. 40). (8) tis better not to tie or repeat) notes inthe Bass unless the second note is a suspension (compare Hx. 43 and b). Ext Exai t In Bx. 430, the two Gs are farmany notes and there is therefore no charge of harmony at the bar-line, where itis nearly always needed. In Ex, 43) the secoud F is a suszended note, the real harmony note being E. Students ofien overlook the rhythmic aspect of the harmony; unless the chords change at acvented points, a wrong impression of the Gime signature may be given, "Thus, Ex, 43a sounds as if it were in 4 time, 4, The mote florid the couaterpeiat, the clearer must be the harmonic basis. Tae harmony shoald always be indicated by Sgures under the tase, as is dane in the examples in this book. Ex. 44 is an illustration of the sort of writing that is sometimes Procuced at examinations. Ne amount of ingenuity in imitation can excuse s0 poor a harmonic scheme, with such irregularity in the changing of chords. Ex,44 Add abace below ihe gives teeble ge 9Ss eee eee Ex. 45 shows the same melody, but with 2 bass that implies the changing of chords at accented points, Fx45, Ex. 47 wad 48 show Further examples of ferid instrumental counter poict Be Ex. 46 shows that itis not necessary for the parts co enter imitatively hhere they enter together but imitate one ancther in their use of the figores a and b, 4 Ex.48, » mMEXERCISES IN FLORID COUNTERPORNT 4. Add efolia above = SE aaa SHS5 Aa viel stove pes ey 35Ik is not necessary exelusively Lo practise the addition of one pact to another. The enterprising student shoul try his baud at the composition of short pieces in 2 part counterpoint, some ideas for which are given below. 18, Ouyorts 10, Pentorale CHAPTER VIIT MAINLY NOTH AGAINST NOT THREE-PART COUNTERFOINT. 1. Thee-part counterpoint should not be regarded as work conceived in two paris, with a third part subsequently added to complete the Rarmony; each of the these parts must be equally satis{ying as to fine and climax, 2, Two of the various styles of three-part counterpoint found in the music of Bach may be classified as follows: @ The three parts imitasing one anotter, making use of some short ancl simple rhythmic figure, as is’ found in the three-part Taveationss © Two guicker-moving aud generally imitative parts above or below another pact in longer notes, as is found in the Chorale Preludes and some of the instrumental miusie, ‘The present chapter deals with the first of these, and Ex. 49 gives a simple illustration, aT3. The following points may be noted (@) Althougi the counterpoint is mainly ote-ngainst-note, there are a few passing-notes, hoth accented and waaccented (8) The initial gure is Isard again swhseqently and is of gre in binding the piece into a coherane whole. (e) Thete is no necessity to make the harmony complete et every beat—this is a factor that must often te sacrificed where the interest of the individual parts is the main consideration. See the points marked a in Ex. 49. A complete chord is often advise able on a strong accent. 4, Here may be noted an exception 10 the general principal mentioned in chapter 2, para. 5, ie. passages showing adiacent fifths are not improved by the addition of suspensions, In tvee-part weiting, ‘adjacent lifths, masked by suspensions, often occur in a succession oF ‘evo of more first inversions, the parts moving in similar motion and by step (Ex. 50). None the les, it might be wise €9 aveid this procedure in examination work Pages NOO BLUE, 148) RO Ha eS = Fx. 50.(%nar amitind) 5. In working the following tliree-part exereises, bear in mind these points (@) Work at the two aided parts simultancously—it is a mistake to write one part at a time. If, for instance, the treble is completed first, there may be litie of interest left for the alte. (@ It ise good plan to work in open score, ie, using a separate stave for each part—it encourages contrapuntal thinking, In vocal amwsic, use C clefs for alto and tenor parts. It is true that these lets are rot used thus nowadays; but a knowledge of dei is very valuable to a musician, and as they are frequently required in examination work, it is wise for the student to familiarize himself wl them as saan as possible. he alto clef will of course be used for viola parts, and the teaor clef occasionally for ‘cello if the part fies much above middle € for any length of time.) (© Do not, generally speaking, uss quavers in two or more parts simultaneously; independence of parts is better maintained if quavers appear alteruately (ee Ex. 48), (@) In a more fengtny exercisa rests may be used in a part to call Attention to its next imitative entry—in vocal tausic, rests ae, for obviow: reasons, essential. But never use a rest because yen! an find no nots that will serve. Tn three-part counterpoint, oaly fone part should rest at a tim, (© Remember that if using a rest, the note before it (ie. the last note of the phrase) is curried on by the ear until the next accent. ‘The effect at @ in Ex. 51a is ugly, and would only be bearable if the tempo were very slow. Ex. SIh shows e more satisfactory procedure: RES Ex. 51.8 (J) Parts may be crossed occasionally, if the neecs of the counter- point demand it, Some of Bach's best choral effects ste obizined in this way And the ports, in addition, are frequently allowed 2»to overlap, for conte great lati parts u | See also, in the 48 reludes and) Fugues, and bars 3 and 6 in XEREWIS IN THREE PARIS. 40 4HS eee ee ss tp Tr Tet H, = oe y =p Ren SerseS Seep acipes SSS Sees a22, igre aL aes re ames ier * sereae shun anbedhealdvemerbedle open aan la vst CHAPTER IX THREE-PART COUNTURY OINT—continued BXTENSION OF HARMONIC RESOURCE 1, Iithesto we ave used only triads in root pesition and fist inversion, vith occasional ase of a sewond inversion, provided the fourth trom the bbass was prepared ; and in vecal writing, the sesenth of the domiaaat seventh choril has beon used mainly es a passing-note, 2. Rat from Tudor times, composers, always anxious to increase their barmionic vocabulary, within the limits of the chords mentioned above, hhave used, in addition, a device of great possibilities, described belov. 3, ‘The simplest treatment of a suspension, by now thoroughly familie to the student, is shown again ia Ex. Sie, But in addition to this simple uswge, composers bave fiom carly contrapuntal times intro duced the treatment shown :a Ex. 53b (aften called a ‘prepared. dis- cord’), At the moment of striking the suspended note, the aveompanying part move te a diffrent chors (which neal not larmouize cithce wilh the suspended note or the ncie of resolution) subsequenly moving t harmonize with the note of resolution Notice the different harmonic analysis of Ex. 59a and b. In Bs. 53a wwe can say that the suspension C makes only a decofated form of chord V; but in Ex. 336 We cannct reduce the Harmony to such simple forms; We can only say that an entirely new harmony is produced, Ex, Sda and b show further illustrations of this device; Ex. 4a end 5S¢ show the suspension ia the bass bet Ex 5? 4. Ie will at once be seen, that, just as the dominant seventh is used in Ex. Séu and b, various other seventis, on other dogiees of the scele, are in reality produced by the movement of the parts in Ex. 354, Dad ¢ Thus, in Fx. 55a, we have 4 root position of a supertonic seventh; at Ea. £20 a first inversion of the same chord j at Ex. 359 we have a fst 45inversion of a tonie seventh and at Ex. S5e ¢ thitd inversion ofa supere tomie seventh ; and there is fldle doubl Mist these effects although xt ‘thought of in terms of chords ty Tudor composers, were thus evelved contrapuatally, 5. These seventlis, thea, may be feeely used in root position and first fand third snversicns, provided the seventh fram the root be prepared, 6. Examination of Ex. $3 to $7 and any further illustrations that sy ‘be found in the music of Bach, will show that these prepared discords nearly always occur on the aocented part of a bar 7. They ate very offen found in sequence (Hx, 56) and are often claborated as in Px. $7. The student is advised to learn thocoughly the sounds of these examples Fx.56. myom ow we myn fy Ex, $8 and 59 show two illustrations, out of bundreds possible, takea from the works of Bach. Ex.B8. Faguein Eb (t Asse) errr 46 8. But note that the second inversion of a seventh is never used this, for the fourth from tae bass that it produces is only used as an unesien tial note (ie. suspecsion or appoggictura) dusing this period. Thus Ex. 60 is foreign to the contrapuntal period, It was only from the time of Haydn onwards, when composers began to chink more harmonically, that secon! inversions of sevenths bepan to appear in their music Px.€0. 9. Finally, note once more the contrapuntal procedure involved in using these prepared discords, (a) At the momen: of striking the suspeasion, the accompanying paris must themselves form a concord, though thoy need not harmonize with the suspended note. () At the moment of the resolution of the suspension, all the parts form a concord. CHAPTER X THREE-PART COUNTERPOINT—IWO AND THREE NOTES TO ONS 1. If Chapter 9 has been thuronghly mastered, three-part counterpoint, one part of which is ia quavers throughout, ean be attempted; of, by ay of variety, the quaver movement may be shared between the parts, Notice the use of prepared discords ate.2, Ex, 63-anc GF show similar prineiples carried cut in compound time, Ex. 4, tei fororgeenour i 5. Ada znd ve doited crotonets 286 la eusvers SSS14. Sop. with 16 ru, autre in gesvore Avian dotted ersehets to +, Mieies vice verse pace In or we Wen 15, op. wid it ha, Add vis eeu charing quavers fe) The chorale should first be sung through, and the phrase-onds noted, These are sometimes anarked by pauses. Some sort of cadence is invariably wanted here, {8) The accompanying purts saould enter imitating one another and, ‘where possible, using © igure derived from the opening ates oof the chorale-phrasc. Ifthe opening notes do uct cad themselves to such treatment, # nevr figure must be invented. Some rhythraic germ is essential, to give life ond coherence to the whole. In x, 65, the opening of the two lower parts is derived from the ist Four notes of the chorale, CHAPTER XI AMRBE-PART COUNTERPOINT (Addition of two florid parts to given part in equal note-lengths) 1. The Chorale-Preluds, that is the contrapuntal elaboration of a chorle melody, was « favcurite form of composition with Rach and his contemporaties, The tune of the chorale appears in long notes, and, the accompanying parts frequenlly enter in imitation of this, using, notes of shorter length. This is known as ‘diminution’. Sometimes a neve theme or figure ts invented, exe bearing 0 relation to the chorale. (Seo verse tino of Bach's Cantata, ‘Sleepers Wake.’) 2. Examination candidates 210 often asked to add imitative parts ti {given moforly in the sisle of thexe chorale-preludes. The following hints should be borne in mind: aay SarE vi 1 wy ‘Tas chorale in Ex. 66 does not lend itself to such treatment, and a new figure hos been invented. Ex.0e3. For a real understanding of of Bach and his conteniporzries render unnecessary any lengthy comment | particular may well be noted: a eliorale meloxlies so often com ut the harmonization of the its use of 117 to ¥ (and the mordent This cadence is very commonly foun: () A descending passige in conjunc! motion in the chorale Cee quently invites a series oF suspensions and prcpared aeons Ex. 6: Ex.67, 4. ‘The chorale may appear iu the allo (see Ex. 68), and also in the n. 69}, in which latter ease supettonie 19 tonic in the chorale inys! of course be harmonized by leading note triad fist inversion to tonic (Gee Guide 10 Klemontery Harmony, chap. & pare Sto). Ex6n.Hoe Pia ep ee 3. AdL4 parte toreSS 10, ba ee and vase 38 CHAPTER XiT TOREE-PART FLORID COUNTRRPOINT unterpoint, the three parts imitate one another in figures-—the three-part Inventions of Bach may 1, Ta this sty their use of ehychm be taken as models, 2, It is not desizahle that there should be too much sienultancous saovement in the three parts—an imitative figare o¢ a quickly moving Part is best hesrd opsinst a beckgeound of Inger notes. Re-read Chapter 7, para. 1; and remeasher det it i often desirable to tie long. notes, particularly if they are preeeded ty stort ones. ‘Thus, Ex. 706 is rhytlunically more interesting than Lx, 7 + and provides” that diversity in tho placing of accents which is one of the most attractive features of counterpoint . Make full use of prepared discords, and suspensions with plain sand ornamental resolutions (see Chapter 5, para, 1b), Ex, 21 dlustrates these points; itis assumed that tie bass i given: Ex 7h,44, 1m Working the exercises on the following pages, the hin's given tetow may be elpfal: (@) Desde on the main surmoaie scheme and figure the bass seer finaly (py Note tae main cadeatial points inthe gen part snd sketch in ioniatively ons or two imitative entries 0 ozeur im the othe parts, if possible just before the cadence, 30 that the cadences in all duce parts do uot oosue simultaneously. {(e) Peside on the position ef the climaxes i the aed parts (dj Adkl any important insitative entries that occur to you, particu: Jarly those that are necessary when the given patt is resting. Ex, 724 Will ilustrate the working up to this point ; Ex. 72b the eora pleted working, ix TBS kaa vannve via. vin lopentag atiensivee) te fie lt } Parr eo } 6BXRRCISAS OM CHAPTER AL) 4 Add Lotiative vin eee ! eo8,402 at _ Pebeshern See 2