Canon and Multiple Counterpoint PDF

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http://www.archive.org/details/cu31924021750934
SIXTH THOUSAND.
NOVELLO,
EWER AND
MUSIC PRIMERS.
JOHN STAINER.
Edited by Sir
Double
CO.'S
Counterpoint
AND
CANON
BY
J.
FREDERICK BRIDGE
HUS. DOC, OXOM,;
ORGANIST AND MASTER OF THE CHORISTERS OF WESTMINSTER ABBEY;

PROFESSOR OF HARMONY AND THE ORGAN AT THE NATIONAL TRAINING SCHOOL FOR MUSIC,
KENSINGTON, AND AT THE CRYSTAL PALACE SCHOOL OF ART; LATE ORGANIST OF THE
CATHEDRAL, AND LECTURER ON HARMONY AND MUSICAL COMPOSITION AT
THE OWENS COLLEGE, MANCHESTER;
EXAMINER IN MUSIC TO THE UNIVERSITIES OF OXFORD AND CAMBRIDGE (x888).
PRICE
TWO
In Paper Boards,
Two
SHILLINGS.
Shillings
and Sixpence.
loo
LONDON & NEW YORK
NOVELLO, EWER AND CO.
LONDON
KOVELLO, EWER AND
-PRINTERS.
CO.,
INTRODUCTION.
Those who propose
to
study Double Counterpoint and Canon
should already have acquired the art of writing the various species
of Simple Counterpoint in four or five parts, together with a
There seems no reason why the
good knowledge of harmony.
who has been through
student
this preliminary work, should
debarred the use of the resources of modern harmony

writing his examples.
Counterpoint, with
mony, he
far as is
many
he has diligently worked
will not fail to feel its
at
when
Simple
progressions of melody and har-
good influence, and
consistent with the greater ireedom he
to apply, as
now
enjoys,
its
valuable precepts.
The
application of Double Counterpoint and
writing will, in
student will
choose
many
Although
is
all
make
With
the art.
point
If
its restricted
be
probability, be the
the
first
this in
view the Author has thought
references to
it
well to
of his examples from works of a fugal character.
it is
in
to fugal
which the
use of his knowledge of this branch of
in this style of
composition that Double Counter-
most used and most necessary, yet
employed
Canon
direction in
it
has often been
music not of a fugal character, examples of and
which are g^ven
many
opportunities for
those
who
its
in the course of this work,
happy introduction
will be
and
found by
take the pains to master a subject so necessary and
so useful to the true musician.
iv
INTRODUCTION.
An
rules;
justify
same
but at the
necessary,
him
made
has been
effort
all
useless and pedantic
time, for the student, rules are absolutely
he -has acquired the
until
in
to avoid
departing from the
knowledge which
strict letter
while he
is
will
observing
the spirit.
The Author's
best thanks are due to Miss Smart, for kindly
allowing him to insert the interesting canon by Mendelssohn,

hitherto unpublished (No. ip of Appendix)
to F. Locker, Esq., for
bringing to his notice and permitting him to copy from the

ginal MS., the canon by J. S.
Bach (No. 9 of Appendix)
and
to
to
many
valuable
James Higgs, Esq., Mus. Bac,
for kind
Dr. Gladstone for Example 128, together with

suggestions
ori;
assistance and most useful advice which his well-known acquire-
ments and
special studies in this branch of the musical art
rendered invaluable.
The Cuoistees, Westmifstbf Aensr.

Septemoer, ibSi.
hav;
CONTENTS.
CHAPTER
PAOB
I.
Double Counterpoint General rules Double Counterthe octave

Examples Double Counterpoint in the
fifteenth
Examples Subjects to which Double Counterpoints
may be added Examples of models derived from simple phrase
Definition of
point in
CHAPTER
in the tenth
Double Counterpoint
in the twelfth
CHAPTER
thirds
l6~a4
III.
Examples
CHAPTER
Added
15
II.
Examples
Double Counterpoint
25
^33
IV.
Examples
3S
34
CHAPTF" "
Counterpoints invertible in various intervals
Examples
CHAPTER
Triple and quadruple counterpoints
point Example
and
Strict
Examples Quintuple counter-
CHAPTER
Examples Chorales
imitation
imitations
Partial
5a
57
VIII.
46
53
CHAPTER
^45
VII.
Examples
free
Free
Examples
Strict
by contrary movement
By diminution By
Imitation by augmentation
Examples
augmentation and contrary motion By diminution and con.
.
.
trary motion With reversed accents Examples
Imitation
39
VI.
CHAPTER
Imitation
on
58
63
IX.
vifhich
are constructed
64
CHAPTER
X.
Canonicalimitation Origin of term Examples
....
75
7679
CONTENTS.
VI
CHAPTER
XI.
PAOE
Infinite Finite by augmentation Infinite by augmentation By diminution Retrograde Circular Examples
Canons
Finite
CHAPTER
Polymorphous canon
CHAPTER
80
gi
92
96
97
100
XII.
Examples Sequential canonExample
Methods of exhibiting canons
XIII.
OpenCloseCanon
four in two
Round
CHAPTER
Hints to the Student
XIV.
To compose a canon Modulation in canon
loi
102
io'>
12a
APPENDIX.
Examplef) of Double Counterpoint
INDEX.
Paraoraph.
free parts to model for Double Coun.

terpoint in tenth .
.
.
|
Added thirds to models for Double Counter- \
.
point
.
j
Addition of accidentals in inversion of model
Addition of accidentals in inversion in the]
Added
circular (per tonos)
close
by diminution
enigmatical
,,
finite
by augmentation
infinite by augmentation
infinite or perpetual
open
polymorphous
retrograde
sequential
107,
136, 14a
137
'33
124, 125
129
130. 131
126, 127
128
99.
....
....
117
no to
103 to 105
137 to 143,
133 to 135..
"5
H3
13
9329.
progressions
.....
....
Clefs prefixed to a close canon

Contracted parts
subjects
,,
118, 124
3 (notes to Sec. i)
3 (Sec. 3)
oblique motion generally 1

employed
f
Contrary in Double Counterpoint at the)
Contrary and
tenth
,,
39. c; 40, e
Canoni
Chromatic notes
108
117 to 124
102
109
96, 97
100
lOI
with coda
'
'
30
29.
(g6 (note ,106,
....
finite
68 to 74
80
91
Canon
42; 51,6
59, a, b, c; 60, 61,

62, 63, 64
Antecedent
35-
43
tvirelfth
EXAMPLB.
....
34
motion
3 (Sec. 3)
Counterpoints invertible. in various intervals
Consequent
Crossing of parts
.
.
Double Counterpoint .
Double Counterpoints most used
3 (Sec. 3)
65 to 71
81
3 (Sec. 2)
75 to 81
INDEX.
VI 11
Paragraph.
15 to 24
Double Counterpoint in the octave
II
11
1,
iifteenth
Example.
25 to 30
7 (note), 21
octave displayed 1
at the doubleSve J
octave inverted
I
at the fifteenth J
19.
tenth
3 (notes to Sec. i),]
twelfth-
3 (notes to Sec.i),]
25
.
.1
I.
II
tenth,modeland'
I,
inversion at the
time.
thireleventh,
41
tenth combined
with thatintheSve
461050; 76,4
62 to 69, 78, 79
59-
40.
same
,,
...
and fourteenth
Example of simple model elaborated
Expansion of parts
Fourth, augmented
Fifth, dimmished or minor
Figures denoting the interval in which a)
canon is made
J
teenth,
58.
37, u, b,
....
....
Fugue in epidiapason
Fuga ligata
by augmentation
....
....
....
....
and diminution,!
combined with contrary motion J

by diminution
,.
canonical
.
.
on a chorale
by contrary motion
free or irregular
in two parts, with independent)
accompaniment
partial or periodical
>
34
(Sec.
41
144, u, b
119
122, b
i2g (Sec
126 (Sec,
I,
2 3.4)
127
4),
76.
83-
III
85,
"3.
84.
88,91
90.
112
81
79
"4
iig to 121
105 to no
96 to 99
100 to 104
88, 8g, g
...
87.
....
86.
87.
77.78
89.
retrograde {per rede ei retro}

or cancrissans
J
reversed accents (per arsin ei tkesin)
reverse retrograde
,,
strict or regular
,,
on a theme or canto fermo
Methods of exhibiting canons when written
d, t
93>94
8, 10,
General rules
Hints to attain clearness in canonic writing
How to avoid modulation in a canon
Imitation
c,
3 (note to Sec
8, 10, 34 (Sec.
Model
Modifications of terminations in Double)
Copnterpoint in tenth and twelfth
J
Octave on gccented beat
Qniission of accidentals in inversion ofmodel
for Peble ConjiteFpoipt in tenth
/
....
.
117
3 (Sec.
"5
90 to 95
116 to iiS
i)
29 (note)
14.
29.
39. 6
INDEX.
!x
Example.
Paragraph.
Origin of the term " canon "

.
.
Partial or periodic imitation.
Preparation and resolution of seventh in
Double Counterpoint at the twelfth
Progressions by similar motion in Double
Counterpoint at the tenth
PiOposition
.....
Quadruple Counterpoint
Quintuple Counterpoint
Reversed clef and time signature
Riddle
Canon
Round
93
51,52
58,59
34 (Sec.
41
I, 2, 3)
80
72 to 74
.
88
8g
133
75
103
log
126
....
Rule for discovering the inversion of any|

interval (Sir J. Goss)
Seventh diminished
Simple model from which others are derived
16
Sixth augmented
Sixths in Double Counterpoint at the tenth
twelfth
,>
>,
I.
Solution
Stretto
Subjects to which counterpoints may be added

Suspension of the second .
fourth
,,
seventh .
ninth
,,
,,
Table of inversions in the octave
tenth .
twelfth
,,
Third, diminished
Thirds in Double Counterpoint at the tenth
.
Triple Counterpoint
To compose a canon
Two ways
.....
....
of inverting in the tenth
Unessential note
Unprepared discords
Use of three staves in inverting exercises

Usual method of describing canons
.
i2>
13.34 (Sec, 1.3
24.
11,34 (Sec. 2,
31 to 33
47. 48, 51
log
116
36.
36. 37.
53.54
3).
50
41
37, a, b,
41. 57
c,
32 to 36
43
44, 60, 61
37
44. 47. 49
38,54
16.
45,61
27
d,
43.44
31 to 33
72 to 74
126
28,30
81 to 87
(38, a,b,c;
40, a. 6, c
\
7
4
22
9a.
DOUBLE COUNTERPOINT & CANON.

i^se;^-!
CHAPTER
I.
TWO-PART phrase
is said to be in double counterpoint

admit of double employment, i.e., when either
act as upper or lower part
in other words, when they
when both
may
I.
subject's
will invert
F*^=r=
Ex.
I.
DOUBLE COUNTERPOINT AND CANON.
General Rules.
for inversion, which together
model a convenient term which will be used
henceforth in this work must never be separated by a greater
interval than that into which fhey are to invert.
The two phrases intended
(i.)
constitute the
In Ex. I the phrases are never more than an octave apart, because they are
designed for double counterpoint in the octave. If this interval were exceeded
the parts would not invert. In Ex. 3, a, the interval of an octave is exceeded,
and at b is given what should be the inversion of the same.
Ex.
3.
=PI
n
i <;r-:J**-
^SiP^
10 II 13
^ S P^3
It will be seen that at Ex. 3, i, * * * no inversion takes place ; the parts are
merely contracted, and the effect of both passages, so far as the last two chords
are concerned,
is
essentially the
same (Ex.
IZ3Z
4, a, b).
ma
Ex.4.
m10 II
'
m
13
Ex. 5, a, is a model for double counterpoint in the tenth (see page 16), in
at T * this interval (a tenth) is exceeded.
An inversion of the model is
given at b. It will be seen that the faults in the model result in the parts being
merely contracted, not inverted, at the places marked * .
which
Ex.
N
3.
Model for
d.c. in
tenth
Hi \- rj *-#
\
II la
--
GENERAL RULES.
Inversion.
-^2
Lower
>!--
part of model a tenth higher.
'^J
JjJJN^îj.jjL a
For a corrected form of the above example see page i8.

Ex. 6, a, is a model for double counterpoint in the twelfth (see page 25) witK
similar faults. At b it is inverted with the same results.
Ex.6.
M a
Model for d.c. in twelfth.
'
--.
J==f
Q
^. ^.
13 14
:$=&:
^m^=^^
:t=E
Inversion.
pr^r
:$:
Lower
^
(2.)
The
^P
It
part of
--f^
model a twelfth higher.

&c.
'
-.
<-J
parts should not cross in the model.
It will be seen- in Ex. 7, a, b, that the effect of the -intervals marked * * is

rpractically the same.
In this case the intervals marked * * ' in the model a
are expanded, not inverted, at b.
Ex.
7.
gS
m g^=^
n
a^
T^"jyr
rs*
!-
^Si ^^B
*
subjects forming the model should be well conas to length of notes and melodic progression,
contrary motion being always preferable to similar motion ; the
two parts will thus possess individuality and be easily distinguished from one another. It is well that they should not
begin together, but that one should enter after a short rest (see
The two
(3.)
trasted both
preceding examples).
of course, be understood from the Introduction
is not confined to the progressions
and chords used in simple counterpoint in the strict style.
While, however, chromatic progressions and unprepared discords are available, it must be remembered that the model will
probably be heard alone {i.e., without accompanying parts), and
therefore a somewhat strict rather than free use of such discords
is advisable.
It
4.
to this
will,
work that the student
DOUBLE COUNTERPOINT
IN
THE OCTAVE.
5. The intervals of the fifth and fourth are those which will
most require the student's care when constructing the model.
6. The perfect (or major) fifth, although consonant in the
This
model, becomes by inversion a discord, viz., a fourth.
condition must therefore be provided for, and as a fourth will
seldom appear upon the accented beat without preparation, the
Upon the unacfifth must conform to this usage (Ex. 8, a, b).
cented beat fifths and fourths are of course often taken without
preparation, especially when they occur as passing notes
(Ex. 8, c), or by conjunct movement in at least one of the parts
(Ex. 8, d).
Ex.8.
3L
uaz
=pzz
^C2=
The bar marked d
is
=g=
=r
T=^
not very good in two-part writing.
Even upon the accented beat cases may occur where these
maybe used without preparation, particularly when one
of the notes forming the interval is an unessential note. At Ex. 9.
a, is an unprepared fourth upon the accented beat, the E in
the upper of the two parts being clearly an unessential- note,
7.
intervals
an appoggiatura.
INVERSION IN THE OCTAVE.
^^^1
Ex.
g.
The above
is
double counterpoint in the fifteenth or double octave (see
par. 2i).
8. The augmented fourth (Ex. lo, a, b,c) and its inversion, the
diminished (or minor) fifth (Ex. lo, d, e, /), may be freely used
on either accented or unaccented beats.
Inversion.
g. The avoidance of consecutive major fifths is of course

necessary, and the student will understand that consecutive
major fourths are equally objectionable.
lo. Some authors allow a major fourth, followed by an augmented fourth (Ex. II, a), resulting, when inverted, in a major
fifth, followed by a minor (or diminished) fifth (Ex. ii, b); but
these fourths should be avoided unless the model is accompanied
by another part, which renders such harmony unobjectionable
(Ex. II,
Ex.
II.
c).
gfF^;
ll
f_tf-H=^^-ljl
;'-<^;
ll
were dotted, all objection would

would then be a passing note (Ex. ii, d).
If the first note of the lower part at Ex. ii,b,
be removed, as the
The augmented sixth (Ex. 12, a) cannot be used because

inversion, a diminished third (Ex. 12, 6), must be avoided in
two-part writing.
II.
its
a
Ex. 12.
"^
-P"
jlBSl
DOUBI-E COUNTEJlPOmX AND C^NON.
The diminished seventh may be used
12.
if
care be taken in
resolution, as, for example, if one of the notes forming the

interval be resolved before the other (Ex. 13, a b), or if, resolving
on a fifth, such resolution falls on the unaccented beat ; but
this is not recommended (Ex. 13, c).
its
Ex. 13.
r^rW^fZ
'I
iri-
"p^^^~p"
I
i
The diminished seventh should
13.
fifth
A=[Â
on the accent (Ex.
14, a),
not be resolved upon a

because in its inversion a fourth
results (Ex. 14, b).
Ex.
'$
-W=^
14. The octave becomes by inversion an unison, and in this

species of double counterpoint should be .used sparingly, except
at the beginning and end of the model, or perhaps occasionally
as an unaccented note.
It should not be taken by a skip on
the accented beat, especially by similar motion.
15. With the exception of the fourth and fifth, to which special
attention has been called, those intervals which are discords in
the model (the seconds and sevenths) are discords in the inversion (becoming sevenths and seconds respectively), and the
concords in the model (the thirds, sixths, and octaves) are concords in the inversion, becoming sixths, thirds, and unisons
respectively.
The
16.
octave
following table ..shows the result of inversion in the
-.
Model
...
Inversion
It
may
Goss
perhaps be useful to mention the rule given by Sir J.

Rudiments of Harmony," for discovering the inver-
in his "
sion of any interval [in the octave] by referring to the number g,

" since each interval when added to its inversion will make up that
number."
This rjile may, of course, be expanded to apply to

inversion in other intervals, the principle being to add one to the
number of the interval in which the inversion is to be made.
Thus, for inversion in the tenth (see par. 27)- each interjâl added
to its inversion will make 11, and for inversion in the twelfth
INVERSION IN THE OCTAVE.

(see pars. 43 and 44) each interval added to its inversion will
the addition of one is necessary, because the central
13
make
note on which the inversion turns
is
counted twice, thus
i f3 +
6 = g.
Examples of double counterpoint in the octave
are give'
of the inversions do not appear in the compositions
from which they are extracted, in the keys here given. The
inversions of the first few examples which follow are, however,
given in the same keys as their respective models, in order that
each counterpoint and its inversion may be more readily seen by
the student.
It is not thought necessary to adhere to this plan
throughout the work.
17.
Some
below.
Ex. 15.
Handel,
Model.
i r=^
i s^
^'--L^r
^m
d *
Inversion.
$ IÊ
t=^ p=s=
16.
Handel.
Model.
$m
ie^
6
PH * P
gjj -2_g=
î
tr
Te Deum
^
in B|?.
atlî^p^zîzhzi
T3i
Inversion.
T^Tm
?
#--
E^
Ex.
a
Oboe Concerto,
?3=
izi:

Ex. 17.
a
lit:
3^ ^^
i^
lit
i
i
GusTAV Merkel.
Model.
<s^
<>
-a
3z^
:e
=PP
1:!?::?^:
Leo.
<i*
-^ r
m fTf
=^^
-r,
i Inversion.
i^
^. *
!">
t^*
&
Ex
ig.
Kyrie.
Model.
fe^
.WIl
&^
Ex. 18.
.JTJPrl^^J
M^
a
Organ Fugue.
"rrrcriTi
=t=
Inversion.
Model.
^^kmxTjVj
~7rr
f frn*
^S
i
1=4
?^^^^
f->
r?
Haydn.
=^
^^4
r
Creation,
JNVERSIDN IN THE OCTAVE
jg
Inversion.
-\i
m^
^^ s
^,-r-n-
35ES
^^^
f=w^
SI
i8. The inversions of the models which follow are given as

they stand in the compositions from which they are extracted.
Ex. 20.
a Model.
KiRNBERGER.
Inversion.
:t-
The skip of a third at * * is necessary for " tonal " reasons. See Primer on
" Fugue," par. 34.
The C at is replaced by B in the movement from which this is taken, for
contextual reasons.
ig. The following model is also double counterpoint in the
octave, although it is, so to speak, accidentally displayed at the
double octave, but that it is not truly in the .fifteenth: is evident
from the fact that the upper part maybe brought down an octave;
In
or vice versd, without involving any crossing of the parts.
practical composition it frequently happens that double counter^
point, essentially in the octave, is exhibited both in the model
and its invfersion at the distance of two or even -three octaves.
The difference between this and double counterpoint in the
fifteenth will be seen further on.
10
Ex. 21.
a Model.
pig
From PoRPORA.
rjcsz
\
\
u^
fî^
#r-=^^^rcr^nr'' M "
H '1
Inversion
^^
Sfe
r? iR ^
aii
f7t:frrir-G^f-|f
ii
20. Still more often, when the model is within the octave, the
inversion is exhibited at the double octave (fifteenth), the upper
part being transposed two octaves lower, or the lower part two
octaves higher, or both parts an octave in opposite directions.
The following (Ex. 22 to 24) are inverted on the latter plan.
Ex. 22.
a Model,
,
|iS
-P
^-F^
^
%
r f
:t
j^r,
Inversion.
M^
b
From an Organ Fugue by Albrechtsberger.
;C_i:
r-^^F
"
INVERSION IN THE FIFTEENTH.

Ex. 23.
Bach.
Model.
Ti
:ii>^
Inversion.
^^m
^ a
^^Jf=^
W^^Si^
Ex. Z4.
GusTAv Merkel.
Model.
^
b
-ti
Organ Fugue
in
A minor.
^m
Inversion.
-<'
Art of Fugue.
^^M
^rrmrr-n^m
I ^^ ^
i Ê
II
i-
I*.
f =B:
^g^
S^^
F yi
t
DOUBLE COUNTERPOINT
IN
THE FIFTEENTH.
21. Double counterpoint in the fifteenth (double octave) is

essentially the same as double counterpoint in the octave, except
that the wider interval (two octaves instead of one) allows
Although, as
greater scope for the two parts forming the model.
was said in par. 20, double counterpoint in the octave is often
inverted at the double octave (fifteenth), the upper part of the

model being transposed two Octaves lower, or the lower part two
octaves higher, or both parts an octave in opposite directions, it
DOUBLE COUNTERPOINT.
fz
ANt> CANiON.
should be observed that a model for double countei point in the

fifteenth cannot be contracted so as to invert in the octave^
Some examples of double counterpoint in the fifteenth are given
below
Ex
a
25.
000
i
te^SE
\i
r}
:Phe:
3E^
r f f f f
\'
m-^W^
fi
fi
f-i
Arv ff
^
r 1^^
^^
Ex. 26.
M
^^
î>
-J-h
Requiem.
f=r=mi
=F^
Inversion.
:k
JOMELLi.
Model.
D.
F4=4=
i^#
J
in
-rj-
Inversion.
Et vitam, Mass
Beethoven.
Model.
^^
^F=F=*:
i ^^
ss
32=
=t=F
^
v_^ *
'
g>
=pz;
fefc^
Ex. 27.
a Model.
Marthji.
INVERSION IN THE FIFTEENTH

Inversion.
J
-i.
I3k
:ft
T
=F+=F
Pi^^
s
pn^^t--^
'r
t=i=t
-ftr
t=&
â
=t=t=
&c.
^rrrl^"-^
The rest at takes the place of the note

in the model, Martini evidently
regarding the figure given in the inversion as the real counter-subject. The
appears in another part when the model is inverted.^
Ex. 28.
Model.
Handel.
$ g^
^^r^rif-H
&c.
42-
s-
b y>
-*
pc
Inversion.
:?2Z
=k
:^
:Ê
:?2-
^
&ci
^^
fe^
r- 'hÛm
r
Ex. 2g.
^
o
Haydn.
Model.
-f3-
n^^rf
^^"X^
fr^^^j:^ r-rr(
J
Inversion.
^b''(M,rjj-^feff^^^
^^ ^ ^^
Hrufc
:^
^^

Ex. 30.
a Model.
^ n
^^
-^-
Martini.
.rjj
Bâ
^fe
1^
b
^^^^ffil
r""r^-'^'
Inversion.
êl^g
At * a slight alteration of the counter-subject leads to a contraction of the

paits, the lower being brought an octave nearer the upper than its proper
position by inversion in the fifteenth. The possibility of this arises from the
fact that the model was at this point within the limit of an octave.
22. The Student should now construct models of double
counterpoint in the octave and fifteenth by the aid of the
precepts and examples already given. It will be found advisable
to use three staves in the way indicated in Ex. 31, as we are
thus enabled to see readily what the intervals in the model
become when inverted. The two uppier staves of Ex. 31 contain
the model the two lower its inversion in the octave
:
i EE
Model.
^^
Intervals
]
in the Model.
i
^S
=F7=P
Inversion.
Intervals
inverted.
Subjects to which Double Counterpoints may be added.

23. For those who at first find it difficult to construct 6o<A
subjects forming the model, a few subjects are appended, to
which double counterpoints may be added.
,
Ex. 32.
J.
F. B.
SUBJECTS, AND VARIED MODEL.

Ex. 33-
15
Albrechtsbeeger.
Telemann.
Ex. 34.
-^
i î^
Albrechtsberger.
Ex. 35.
Handel.
Ex. 36.
Û^rrHc^r u
T ^'
f p f
=t
24. When first constructing original models the student need

only venture upon simple phrases, to be afterwards ornamented
and elaborated in various ways. Ex. 37, a, is a very simple model
for double counterpoint in the octave. Ex. 37, h, c, d, e, are model*
in all essential particulars derived from Ex. 37, aa
Ex. 37.
J.
i
iE
iS
-77-
3!
^P^=f=
te^ ^^^
tfT^'ûirrir^ r-T
u-^-
Tf
r
f-^
=Ef
tf
i=t^
-p
^
r
aj
is formed chiefly by the

by adopting a sequential form in the
a chromatic note in the lower part; at d and e
the original model, and in the latter case also
^bminant at bar 2. The models at b and c axe
those at d and e for inversion in the fifteenth.
The
notes
varied model at b
at
F. B.
<:
I-
7^
_P
<>
aid of passing and auxiliary

upper part, and introducing
by exceeding the limits of
by modulating to the subfor inversion in the octave,
CHAPTER
DOUBLE COUNTERPOINT
II,
IN
THE TENTH.
Although taken next in order, this counterpoint by itself

by no means next in value, inversion in the twefth being used
far more frequently.
There is, however, an incidental variety of
double counterpoint in the tenth, combined with that in the
octave, of considerable value and interest, which will be fully,
treated of further on.
(See par. 59.)
26. The general ruleson pages2,3,and4 must be borne in mind.
27. When the subjects are inverted in the tenth above or
below, the consonances in the model change into other consonances, thus
25.
is
Model
8
3
10
Inversion
and the dissonances
10
into other dissonances, thus
Model
Inversion
g
28. By the use of three staves as suggested in par. 22, the
student will easily discover the inversions which the intervals in
the model involve (see also par. 16). This method, however,
will show only one inversion, whereas there are two ways of
inverting a model for double counterpoint in the tenth, the two
This will be
inversions differing considerably in their effect.
best seen from an example.

Ex. 38, a, is a model b shows the inversion of the upper
part a tenth below, c the inversion of the lower part a tenth
above, both inversions being rendered in accordance with the
signature of the model.
;
Ex. 38.
M
^
b
i;
Albrechtsberger.
Model.
sr
dLi^
I*
Inversion.
E
Upp^ paTt a*ten^ bllow^
i1
INVERSION IN THE TENTH.
J7
14;=^
Lower
part a tenth above.
i =e=q^-
=p=i=
ii;;^
29. Such inversions will often be satisfactory enough, but if

the model contains chromatic notes, or notes inducing modulation, the result in the inversions will generally be that some
modification of one or other of the parts will be necessary.
In
some cases this may be by the omission of an accidental employed
in the model, in others by the addition of an accidental.
Ex. 39,
a, is a
G by the F
model commencing in C major and modulating to,

6 is one of the inversions, the accic is another inversion containing an
sharp marked *
dental being omitted at *
;
additional accidental at *.
Ex. 39.
Model.
^^
i8
At par. 28
30.
it
was
said there were two
ways of inverting
higher part being

But
.put down a tenth lower, or the lower part a tenth higher.
these inversions may be arrived at by other processes, some
subjects inverting more agreeably in one way than in another.
Ex. 40, a, is a model for inversion in the tenth
model
for double counterpoint in the tenth, the
Ex. 40.
P-r
3=P
'
^Jlj^ -*--
^g
-i-r-r
At
h the model (a) is inverted by taking the lower part an octave

higher and the upper part a third lower :
h
fs

Lower
^^
part an octave higker.
Upper part a
At
t the
third lower.
^^
t-^-^
*
d
same model
third higher
is inverted by taking the lower part a

and the upper part an octave lower
:
^^
Lower
part a third higher.
Upper part an octave
lower,
^ W^
fe
F=^
Notice the numerous accidentals necessary to render the inversion satisThe usefulness of this method of inversion for the purposes of
factory.
modulation in
fiigal
writing
is
obvious.
31. As thirds become octaves when inverted, they must not

be used consecutively.
Sixths become fifths and follow the
same rule, but in some cases (see par. 34 (3), and Ex. 41, A,
t, f) consecutive sixths are possible.
'9
Even
single thirds and sixths must be used with judgment,

in the inversion they become octaves and
fifths respectively, and, however taken, they of necessity render
the harmony somewhat bare.
reference to Ex. 40 will show
32.
remembering that
this.
33.
in
We
should not approach these intervals by similar motion

if by inversion objectionable hidden octaves and
are produced.
two
fifths
parts,
34. It is apparent from par. 31 that contrary and oblique motion

must be generally employed. A few progressions, however, where
the parts niave by similar motion may be used, viz.
(i) A wwyB i fourth, followed by an augmented fourth (Ex. 41,
a), becoming in the inversion, by the aid of accidentals (see
par. 29), a minor seventh, followed by a diminished seventh (Ex.
41, b, c).
A perfect )Mttfi^r fifth, followed by a diminished owiminor

(Ex. 41, d), becoming in the inversion a major sixth, followed by an augmented sixth (Ex. 41, e), or a minor sixth,
followed by a major sixth (Ex. 41,/) :
(2)
fifth
Ex. 41.
^Lower
'^
part a
tenth above.
Model.
Upper
part a
tenth below.
^m
^-l^lMs^jp
r
Observe the different
effect
f-
produced by the two inversions (see par.
28).
(3) It is obvious that a minor seventh, followed by a diminished

seventh (Ex. 41, b and c), producing the fourths at a, and the
sixths at e and/, producing the fifths at d, are equally allowable.
35. In a two-part phrase these progressions, particularly the

fourths, should be avoided.
If, however, other parts are pro-
ceeding at the same moment with the counterpoint, they may

niore readily be admitted, their imperfections being at least
hidden if not made good.
The questionable progressions in
Ex. 41 are given in Ex. 42 with an added free part.
20
Ex. 42
Fifths with lower
Fourths with lower
Sevenths with inner

free part
free part.
free part.
36. The suspensions of the second and fourth occur only in

the lower part, i.e., the note causing either discord must be
prepared and resolved in the lowest part. The second must not
be prepared by a third as at Ex. 43, a, or hidden octaves \yill be
produced when the passage is inverted (b). The second may be
prepared by the unison (c), fifth (rf), or sixth {e). The hidden
octaves produced by the inversion of d and e could be softened
(See small
in effect by suitable accompanying harmonies.
notes.)
Ex. 43.
m^m
Inversion.
<^
Model.
3E
37. As has been seen in Ex. 41 certain fourths and sevenths

are admissible without preparation, particularly the dominant
and diminished sevenths, with their inversions the major and
But a suspension of the fourth takes place

fourths.
only in the lower part (as was said in par. 36), and is generally
resolved into a fifth or sixth (Ex. 44, a, b, c). The suspension of
the seventh will occur in the upper part, and will resolve into
a sixth or fifth (Ex. 44, d, e,f):
augmented
^
,6,
...
-^Q-ljTûjm^j
f^rn^rj^rr1
4
&
76
73
&
75
38. The progressions contained in the two upper staves of

Ex. 43, c, d, e, show the preparation and resolution of the
suspended ninth. It should be added that when the ninth falls
to its note of resolution, the lower part
may
rise a third
{i.e.,
to
21
inversion of the chord on which the ninth would resolve,

a), or a fourth {i.e., to another chord
a triad on the
fourth above
Ex. 45, b):
the
first
Ex. 45,
Ex. 45.
zpz^-b
r
9
39.
The
the tenth
following are examples of double counterpoint in
Ex. 46.
Schneider.
W'T'~=rf^~w~i
Model.
r~r
22
Ex. 48.
A. F. C. KoLLMAtW.
Model.
O -e-
î
&c.
^^
<!'
b-
^
^L
s
I
I
-i
Lower
-*-
=1=
part a tenth higher.
c:Sja^,St
^^
::^czK
P =g
Inversion,
Upper part a
third lower.
Ex. 49.
u.
Model..
^^
E
A. F. C. KOLLMANN.
^ -p^îr^trrr r=^^
'f
>
>
^^
r*^^
Inversion.
=FFF=
BS
Lower
In Ex. 49,
<o
:^^=F
TT5T1
ai^TK;
Inversion.
iH
^^ S
:^^^
a, the
fifth (see par. 37).
P
=t=t:
T<*
-TT
m'
part a tenth higher.
suspended seventh at
is
resolved (ornamentally)
\
ii into a

Ex. 50.
Albrechtsberoer.
=P2=
m^
-00-4-
3z iF=F
The
^F=r
(',
m^
-mJ
:4=r:
^-
Inversion.
i
b'
S.2?-
Model,
83
q?=:
rf-P^-d:
=1=1=
=tii
-m0-
move in thirds here (Ex. 50, a,

when the parts are inverted, to
parts
alteration
zs:t:
=!=iiB
* *)
which necessitates a
slight
avoid consecutive octaves (see
par. 31).
40. In double counterpoint at the tenth
often possible to
use an inversion of one of the subjects at the same time with the
model, thus giving a three-part phrase.
Here follow some
examples
it
is
Schneider.
Ex. 51.
t=t=
MODEI..
Inversion.
wrrH-\m
&%
=r^:pa
=1=1=
Ex. 52.
Reicha.
:f^-0-
Model.
^m
Inversion.
J * p"
I
ZC2Z
'
24
g^g^
$
=P=P
1
n=t:
II
=P=I?:
=l=t
The following inversion is obtained by taking the lower part a third higher^
and the upper part an octave lower. An added part, such as is suggested in
small notes at * would remove all objection to the inversion
:
^
b
Inversion.
1^1;
(:
r^H^^
T3~
4=t
=P-
ip=t:
^m
-p-
Another important example of this counterpoint
will
be found in Ex.
76,
c.
CHAPTER
DOUBLE CpUNTERPOINT
III.
IN
THE TWELFTH.
41. Double counterpoint in the twelfth is, in point of usefulness, next to double counterpoint in the octave.
42.
The
rules
on pages
2, 3,
and 4 must be remembered.'
When
the subjects are inverted in the twelfth above or

43.
below, all the dissonances change into other dissonances except
the seventh, which becomes a sixth.
Model
9
Concord
Inversion
consonances change into other consonances except

which becomes a seventh.
44. All the
the sixth
Model
26
46. As the third becomes a tenth, and vice versa, these intervals can be readily used, and may be taken by similar motion.
For the other intervals contrary and oblique motion will be found
generally necessary.
47. The sixth when inverted becomes a seventh, and will often
require preparation.
The preparation and resolution must be
in the lower part, as this becomes the dissonance when inverted
(Ex. 54, a,b).
Ex. 54,
'
znt:
Model,
Inversion.
^
^
~r?~
32
7
IZSZ
4:
When, however, the sixth inverts into a dominant or diminished

seventh, preparation is not necessary. It may also be used as a
yassing note.
,
48. Two sixths (Ex. 55, a) which by inversion produce a

minor -seventh followed by a diminished seventh (Ex. 55, b) may
be used.
From Marpurq,
b
^^=i=
Ex. 5S.
ed.
by Choron.
INVERSION IN THE TWELFTH.

50.
The augmented
sixth producing
27
by inversion; a dimit)ished
seventh needs no preparation (Ex. 57).
^ e
$ S
Ex. 57.
Inversion.
Model.
mz =t=
51. The sixth does- not usually (see, however, next paragraph)
prepare a seventh in the upper pari, as it is itself a discord when
The seventh maybe prepared by any concord except
inverted.
by the third, fifth, octave, or tenth), and the note

which the seventh falls generally rises a second (Ex. 58, a) or
fourth (Ex. 58, 6), i.e., it takes the usual progression of the bass of
the sixth
{i.e.,
to
chord of the seventh, which

Ex. 58.
it
becomes when inverted.
-rr-
Inversion..
-
Model.
m
7
zz
7
-e
32:
zz:
The
2z:
following example (from Kirnberger) shows that a

occasionally prepare a seventh.
In this case, the
latter being resolved ornamentally, does not follow the progression
suggested in par. 51,
52.
sixth
may
Ex. 59.
Model.
^m^
i -^
Inversion.
'
Kirnberger.
1.J-
DOUBLE COUNTERPOINT AND CAKON.
as
S3.
The suspended
fourth (in the upper part),
when
inverted,
becomes a suspended second.

Ex. 60.
.g
-^
î
Model.
$
Inversion.
-cr-
m54. The suspended ninth (also in the upper part) becomes by

inversion a suspended fourth, falling to a iifth (Ex. 61, a). This
harmony is so bare that the suspension is best avoided in the
model unless there are accompanying parts. If this be the case,
the ninth may sometimes be taken without preparation. (Ex. 61,
b.c.)
Ex. 61.
,^1
-t-
RiCHTER. H
J J
INVERSION.
Model.
55.
Some examples
of double counterpoint in the twelfth are
given below.
Ex. 62.
a Model.
KiRNBERGER.
^^
^S
=S=p:
qtqt
NJ-
Inversion.
29
m^
f
=PC5:
pr^^=p
Ex. 63.
f^
i^^^
Lower
Reicha.
^f â
:*
part a twelfth higher.
I-
Inversion.
5.V ^'tvSJ-^ J
Model.
There
is
T=p:
which Reicha has omitted to
give
m
c
'^
also this inversion,
SI
i:
rt
1=t
2-
Inversion.
V,
^S
:p=f=
*=t:
r r r
rrr
:rir
fJTr. r
^^
=*^
r ip^
rH^lf
Ex. 64.
â
it
aap P
^m
b
No. 47 of Bach's 48 Preludes and Fugues.
Model.
f^T
?=e:
Inversion.
M.
3Z
Lower part an octave higher.

Upper part a
^fttt
fifth
lower. '^
30
Ex. 63.
Handel.
Model.
liA m-0
=^*
HS
'
^^B
P=e=p^
The
sequential sevenths
at*
become
sixths in the inversion (see par. 49).
Inversion.
t\U'. .^"^"Ti^^
-^=w^
'
Ex. 66.
Model.
Handel.
i 'is
r-
^
-^ Ui'iLBt-TV?
@f3^
b
Inversion.
i^
i=i:
The two sixths in the model (Ex. 66, a, * *) would produce consecutive',
sevenths in the inversion. Handel, however, departs from the strict inversion
of the model at this point (Ex. 66, 6, * *).
56. Ex. 67
"counterpoint.
type.
is
an interesting specimen of the use of
The model and
its
inversion are
shown
this
in laiê
5.1
From " The White Delightsome Swan,"
Ex.67.
Madrigal by Orazio Vecchi (1589).
S
and
vine,
and har
mo-ny
'
and
di-vine,
te
W^
har
;t
vme.
^^
har
and
har
mo
mdi
3:
j-
mo-ny
har
ISE
\
mo-ny
di
e
-
ny
di-vine,
=t:
-
mo-ny
di-vine,
blest
vine,
vine,
and
1=
m
har
^3
vine,
and
-mo-ny
r
har
-mo-ny
^^
di-vine blest thoughts in
spi
di-vine blest thoughts in
spi
life
-J31
thoughts
-rr-
ppi
mf
and.
'
32
blest
ring,
Mf
i
w
=^=^
^ ^
har
and
ring.
and
har
mo
mo
ny
-ny
di
vine,
and har
vine,
di -
di-vine,
di
mo
;fe^
and
nng.
har
mo-ny
and
di - vine
-p-^r
har
mo-ny
di
and
vine.
har
mo - ny
-i<=^
di
-rr
i
thoughts
spi
=^
^=X
i
and har
Efe
^
ny
mo - ny
di - vine
:t
di-vine
and
har
mony
di
vine
=p=^
^^
har
vine
- mo-ny
and
har
di-vine
mo-ny
and
har
mo - ny
^
divine blest
thoughtg
^=
di
ring
33
nng.
spi
blest thoughts
in
gi
spi
ring.
g
blest
thoughts
blest
thoughts
in
spi
ring.
spi
nng.
^^
spi
in
ring
" Requiem") also shows an ad57. Ex. 78 (from Mozart's

See also Ex. 79 (Albrechtsmirable use of this counterpoint.
berger).
58. Double counterpoint in the remaining intervals, viz.,
ninth, eleventh, thirteenth, and fourteenth, being of little or no
but the student can of course work out
use, is not treated of here
such exercises if he so desires. If the plan of using three staves
(par. 22) be followed, he will readily perceive what is possible
in a model designed for inversion.
;
CHAPTER
IV.
ADDED THIRDS.
triple and quadruple counterpoint,
eq
subjects capable
consisting respectively of three or four different
parts of a model
the
supplementing
of
method
a
inversion,
of
This consists of a
for double coUntetpoirit must be coifsidered.
or
some
duplication of one or both subjects in the third above,
addition
cases below. In order that the model shall allow of the
of thirds, the following precautions will be necessary in its
:
original construction, in addition to the rules already given
(fl.) Use only oblique or contrary motion.
Dissonances can only occur as passing notes, not as
Before proceeding to
(6.)
essential notes.
(c.^
The same kind of interval must not occur upon
successive ac-
thirds, sixths (also fifths for inversion in the tenth

twelfth), and octaves being taken, as far as possible, alternately.
cented notes
and
60. In double counterpoint in the octave, thirds above or sixths

below, either subject may. be used. According to. Albrechtsberger, thirds helow are also available but the effect is not very
good, qn account of the uncertain tonality induced.
Ex. 68, a, b, c, d, e, f, is, a model for inversion in the octave,
thus treated. Of course sixths below, instead of thirds above,
might be written, and the student may so arrange it.
;
^^- ^8-
Albrbchtsbergeh.
Model.
iS
W
3=C
FF
^f
:P=
=Ui:
^ ^1
^
:î?E
V,
=p=
Thirds added to the upper part
EE
T^
^:^
* s
V*
^S:
Inversion.
T!=P-
i ;
-^4=
=P2=
r f f
:g=
Bz
S=P:
=g-4-"pl-i-^
IS
ADDED THIRDS.
35
Thirds added to the lower part. (For an explanation of the

altered position of the lower part, see par. 64.)
d
'
^cgz
is
rj
3=:
The following shows tlie previous example in another and

perhaps more effective position
:
^ê^
=p=i=
i=t
It
m
E ÊE
Thirds added to both parts
^^
f m
^T^
'.^
'
EEE
=^
n^^rn
i^
=Pi=
-m^
tfe=e
U^^M^^^
-I
-p,
61. In double counterpoint in the tenth and twelfth, thirds

below the upper part or above the lower may be freely used.
62. In double counterpoint in the tenth, thirds added according
to par. 61 are simply the^ inversion of the original parts in the
tenth put back an octave.
have seen that in double counterpoint in the tenth and
63.
tSveifth both the fifth' and sixth may be used as essential notes
but if thirds are to be added below the upper part or above the
lower, to he subsequently inverted with the model, the fifth should
We
36
Ex. 69, shows a sixth

be used in preference to the sixth.
which produces a
tenth,
the
in
inverted
third)
added
its
(with
seventh.*
Ex. 69.
Model.
Inversion
in the tenth.
P ^
i
-A
Inversion
in the tenth.
Model.
^^1
r
Ex. 70, shows a sixth (with

twelfth producing a ninth.
its
added
third) inverted in the
Ex. 70.
Model
rJz
Inversion
in the twelfth.
4
Inversion
in the twelfth,
f^^
f^
Model.
|^P=B
^
G
1T
The
'9
crotchets in the above examples
show the added
thirds.
64. It will be gathered from what has been already said, that
the addition of thirds to the subjects combined in double counterpoint may be effected in a variety of ways. The precepts given
by different authors are exceedingly diverse and perplexing,
although possibly applicable under various conditions. If to the
three important rules for the addition of thirds already given (see
par. 59, a, h, c) we add a fourth, viz., " the general use of conjunct
movement in the model," we shall find ourselves free to make the
addition in question in almost any position, since every discord will
be approached and quitted by step of a second. The positions
of the various subjects and their duplications will depend upon
the particular voices or instruments employed, some positions
being more effective than others. All possible superpositions of
the parts will scarcely be required in the actual composition forwhich the model is intended, and therefore those inversions;
which are least effective, or which entail objectionable points,
may be avoided. The author does not think it necessary to go,
* It is obvious that the addition of a third above the upper or below the
lower part of any model containing a fifth also at once produces a sevenths
ADDED THIRDS.
37
into this matter at greater length, since after all only incidental
It is also somewhat
use is made of this method of adding parts.
opposed to the spirit of good counterpoint, which delights in
Nevertheless, as will be seen from a few examples
contrast.
appended, occasions may offer for the effective use of the subjects
(or
when
portions of the subjects) in thirds, particularly

added to parts inverting in the octave.
the
thirds are
Ex. 71.
No. zo of Bach's 48 Preludes and Fugues.
Model,
Inversion of the above in the fifteenth with thirds added below

the (original) upper part and above the (original) lower part.
In the following example the lower part is the imitation of the

The upper part has added sixths
upper by contrary movement.
below it (the inversion of thirds above) for the first two bars,
then thirds below. The lower part has added thirds abpve
:
Ex. 72.
lâ
-^
r=
r
-J
^
-^
J. S.
Bach.
O
=1
J-
DOUBLE COUNTERPOINT AND
38'
Ex. 73, a,
expanded
is
a model for inversion in the octave at 6 it

and thirds added to the lower part.
;
From an Anthem by
fe
=f2=
^^$-<.
* ^
^4M mt=t
^=?=
-?-rnr
Ii?3
^S
L-
~T
.TT^g
li*^t^
i^^
'-J
Mozart. Variations in A.
^=
^f
y>
?gi
^h^^^^trf-ra
j;j**'*^ frri-s
-
S^^^
Greene.
m-teB
^v *^-A-.
< p ^ *
Ex. 74.
Dr.
o A-^
hF
1,
frfe<l-
is
in the fifteenth,
Ex. 73.
CANON'.
**** pTi Ll
Tl|
III'
:g-
-^
-1*
^^
CHAPTER
COUNTERPOINTS INVERTIBLE
V.
IN VARIOUS INTERVALS.
65. Bv the addition of thirds to a model for double counter

point in the octave (see par. 60) such model becomes available
for inversion, either in the octave or the tenth.
It is possible
also to construct models which will invert in the octave and
twelfth, and even in the octave, tenth, and twelfth.
66. If a model is to invert in both octave (or fifteenth)
and tenth, the rules in par. 59 (for the addition of thirds) will
We may, however, depart slightly from the strict rule
apply.
For instance, a third may be
against using similar motion.
followed by a sixth, entailing a hidden fifth when the subjects
(Ex. 75, a, b, * *,)
are inverted in the tenth.
Ex. 75.
Model.
^^
Inversion
in the
octave.
i^
izzfc
Inversion
in the tenth.
"pc
40
can be easily
67. But anything objectionable in this point
mitigated by the accompanying parts, and one of the two subjects
may be placed in an inner part, where hidden fifths are of little
(Ex. 75, c.)
or no consequence.
Free Part.
PT^-r
w
Sfc
i*
=p=
^fc
Inversion
in the tenth.
See also tlie following example, which inverts in the

The sixth at the beginning of bar 2 is
and tenth.
practically approached by-similar motion from a third, the E in the
lower part in the previous bar being a passing note, (Ex. 76,
B8.
fifteenth
. * *
Ex. 76.
a Model.
rrr}rj^l^^
î^ J 5ts*
w^" fp
F
Bach.
BB
=t:
Inversion
iB
<j
iS
^
'
in the fifteenth.
=0
S^ * afei
I
(:rjj
T1^*:
* s
p ^
Inversion
'
<'
rv
=t
=f -^^^
i=^
I
?^=
r
=i^5t
-#-s-
zz
in the (double) tenth.
33=
nr-
*^
The effect of the hidden fifth at Ex. 76, c,

Test at the beginning of the second bar.
*, is
much
When
f^ -I*--
a
'
softened by the interposed

is accom-
also the inversion
INVERSION IN VARIOUS INTERVALS.
41
panied by free parts every objection to the progression is removed. See the
following example of the use of the above double counterpoint in Bach's
!' Art of Fugue":
Bach.
Ex. 77.
S^^
"i
^=5=
:^-^
fe
ÊEB
|Q_
^
J
J ^ J
!
^S
.rr
M
\
-I
--^r
^^ffli^B
3=4=1:
-H'4=
it
-f-M-
--P-
Ea
<y
Observe the accidental (not to be found in the model) before the
first
note in
the tenor.
fifteenth) and
69. In a model for inversion in the octave (or
Welfth, consecutive thirds and tenths may be used. Here is a
" Requiem " (Ex. 78, a.)
fine example from Mozart's
DOUBLE COUNTERPOINT AD CANON.
42
Mozart.
^^
i
MS
tfnr
3=^
^^
J.
r r r r r
N-
r-
N:
ii=t^
-^
J-
Sit=n
tI^^^t^
:^==4- 1
^^ ^^
^
;;
/J
iT
û
-I
=p^
>
j >
c/
û,
H^h
::P=:J^
*-
r~r^^
The whole passage
43
however, inverted in the twelfth in the

key of the relative major. (See d.)
is,
$ n^=F-=fM
s SF^SF^^^r
z3z*
P=iî^!^^-i^:^
^^
g^^^
Itat
The student should observe the sixth (*) in the model, resulting in an
unprepared (dominant) seventh when inverted in the twelfth (Ex. 78, d, ')tEx. 78, c.
Notice'also the accidentals introduced in the inversion given
70.
The
following is a good example of a model for inversion

and twelfth :
in the fifteenth
Albrechtsberger.
Ex. 79.
m
m
Mbfi
Inversion
in
Inversion
f-
^J 4
f
mI
r^r r^fCr\jr
the fifteenth.
^^
feE
r~rr ^rnî
p>
in the twelfth.
J4^B^î
^[
p.
^p
44
in the octave (or fifteenth), tenth,

consist exclusively of contrary or oblique
motion. The effect of the inversions in the three intervals may
not be equally good, but as we should probably only use those in
the tenth and twelfth when accompanying parts are present,
objectionable points may be softened, if not entirely hidden.
Few subjects are capable of such manifold inversion without free
use of accidentals. Subjects which move conjunctly will be the
In any case both parts of the
best for these various inversions.
model should not move by skip at the same moment, even in
opposite directions. Here are some examples of models which
(Ex. 80,.
invert in the octave (or fifteenth), tenth, and twelfth.
Models
71.
and
twelfth,
a, b, c, d,
for inversion
must
and Ex. 81,
a, b, c, d.)
Ex. 80.
Model.
eS
s
i r
i
f?f'
Tt-j:
-n~n
Lobe.
=^=T^
Inversion
in the fifteenth
J--
>
').
^^-TT^
'txrr
e
is
Inversion
in the tenth,
jaiTn
Inversion in the twelfth.
-i-
J^. i
tisr s^f^SzJ T'
^^

Ex, 8 1.
Inversion
In the octave.
45
KOLLMANN;
1^
iJT-^ .'.iTTta
:ft
m^
t=zz:
-m
^^^^rrrr
rjif
Model.
EE
2tl33:
~=~F~
g^^^feff^^
Inversion.
in the tenth.
^'-Jj; J^-Ji^r rj.'

i
Inversion.
in the tvrelfth.
.
'iri
CHAPTER VL
TRIPLE AND QUADRUPLE COUNTERPOINTS.
72. Triple" and quadruple counterpoints in their mo'st effective
forms result from the combination of three or four distinct
subjects, each standing to each in the relation of a double
counterpoint in the octave, and therefore ekch available as an
upper, inner, or lower part. The combined subjects forming the
model may appear altogether, but the most effective plan is to
introduce the various subjects singly from time to time in the
course of the composition, fresh interest being imparted with
every new subject, and the hearer being familiarised with each
preparatory to their ultimate employment in combination and
inversion.
73. To construct a model such as this, the rules already given
for double counterpoint in the octave must be observed, especial
care being taken to
(a.) Contrast the subjects as
enter one after another.
much
as possible, letting them
(6.) Generally we should avoid the fifth from the root of a

tfiad or chord of the seventh, because when in turn it appears in
the lowest part, the resulting | or ^ is likely to be embarrassing.
If the fifth be used it must progress in a manner proper to the
bass of a second inversion {i.e., a | or |), which it may
ultimately become.
The above rule also applies to the third in a chord of the sixth, which
course, the fifth from the root.
(c.) The rule (page 3) against crossing the parts
regarded for the sake of a good vigorous subject.
may
is,
of
be dis-
74. Three subjects designed for inversion in the octave will

allow six different combinations of the parts. Four subjects will
give twenty-four different combinations. All may not be equally
effective, but all will scarcely be required.
The best method of
testing such models is to place each subject in turn in the bass.
This most readily discloses
Some examples
taults.
are appended.
TRIPLE AND QUADRUPLE COUNTES.POINT.
47
Ex. 82, a, b, c, d, e,/, shows the subjects, and all the possible inversions, of
Bach's fugue in C|: minor, No. 4 of the 48. In the original the various inversions are not always in the positions and keys here given, but this form will,
perhaps, make the matter clearer to the student.
Ex. 82.
No. 4 of Bach's 48 Preludes and' Fugues.
111
lis
st*
#-nr
I^J
rjj
ps
BE
I
l\
HT. II^lXIirXj^^TS
i
Î
^^
iS
^rimLm
4
* ^
&c.
^
i 'r-d^
^S
ii:
M^ll
Hi
&c.
&c.
221
Is/
fct
&c.
^m^ f mW
lifri^
i IS
^^-
f~l-f=l
rij
nrrrrrrr'n
.T^^.JJJ1
J
,
i
&c.
4a
inversions of the following

It is not thought necessary to give all the possible
examples indeed, as vifas suggested in par. 74, all have not been used by the
several composers in the compositions from which these extracts are taken,.
The student may with advantage work out those inversions not given.
;
Ex. 83.
Handel.
Chorus
firom
Anthem, " The Lord
is
my light.'
p p
^\^-^/^
And speak
prais
[t,.>,.rf.|^tr,-frrr.r|7rr. rfr
l
^s
And speak
.^^^
prais
rt
Un
the
to
Lord,
un
to
the
Lord.
^r[rfi^
a^gâ
I
i
B
?^r^
d=b
r-rr-r.
l=e:
^
*
In the original there
this point.
^^^^
is
a slight variation from the
:ft=pj
^
strict
inversion at
TRIPLE COUNTERPOINT.
Ex. 84.
iS
i>=^^
Bach.
'
#îM> ^
Organ Fugue
m-m~m
221
4.9
i^s
i=t
=^^^
^j
etfc
'
'^-
%-^^^
-rfrf-f
I-
^r ^^
^=ii
*i
j'[-y
r-
'i
"r^
mTiuim^^=^^
^^^^^^^^^^r^
f#
-U
'
^ S-lj:^
^
f.
3tz:4z
CifrL^r
^>
:?2Z
^^HF
frVf^rJ^^TT^Jr
t>'^
Ê
^
mloWk
:3i=Kxr.
^^==t
^?:f-:r
:t:-
in
-1
'
-r
f^
T==
5
Ex. 8s.
a
i T^=^
J.
ijj
^^^
'J
/:3i''-
dSi
i-ir
i
m
^^
'^
-
i^
J-
43:
^=^z:
F. Bridge.
TRIPLE COUNTERPOINT.
51
-Pi.-
=?2=
-.^
r1
=4
-*
'
V:^
PP^
:t=t
'^^m
^ ^^
i
n-J
r~g
i^
Ex. 86.
gasii
No.
3 of
J:
Bach's 48 Preludes and Fugues.
52
Cherubini.
Ex. 87.
i $^
-^
en
Ex. 88.
Quadruple.
CHAPTER VIL
IMITATION.
76.
The
frequent
interest imparted to music by imitation, and the

and happy use of it by all good composers, will not have
The ancient contrapuntists

escaped the notice of the student.
devoted much study to this branch of their art, and have left
many excellent examples, though some of them may be looked
upon as specimens of intricate and clever wforkmanship rather
than as satisfactory and interesting musical compositions. That
all these properties may exist in one and the same composition will
be apparent from the study of some of the canons appended.
Imitation is an essential of all Fugal Counterpoint and that
most important part of a Fugue, the Stretto, affords an opportunity for the introduction of devices drawn from the subject and
answer by the use of imitation more or less intricate. This is so
fully treated of in the Primer on Fugue * that it would be superfluous to give any great consideration to it, or examples of it,
An explanation of the terms applied to the different
here.
varieties of imitation, with short examples of each, is all that
will be necessary, particularly as specimens of most, if not all,
of them will be found among the canons which follow.
The same melodic figure may be imitated, Le., repeated, in

unison, or in any other interval, above or below, by another
When the steps of the melody
part, or by any number of parts.
are unchanged, the imitation is called Strict, or Regular.
Imitation in the unison, or octave, is of this character:
77.
-the
Ex. go.
^m
1-
J.
F. B.
-+i^
St
rfft
Ete
=ts
78. Imitation in the fourth or fifth (above or below) is easily

strict, the scales differing but in one note.
unade
See Primer on Fugue, by James Higgs.
54
Ex. gi.
For imitation
For imitation
in the fourth or
eleventh above.
*-
in the fifth or
twfelfth below^.
=^
For imitation
in the fifth or
.
twelfth above.
^
in the fourth or
eleventh below.
For imitation
=*:==
-*--
*
zMzSat
Ex. g2 to 95 show
Ex. 92.
HflF
In the
strict imitation in
fifth
above.
the above intervals.

J. F. B.
IMITATION.
Ex. 94.
FfF"
In the fourth above.
55
J. F. B.
DOUBLE COUKTERPOINT AND CANON.
56
Ex.
.97.
J. F. B.
In the third above.
=t=
Ss
p J
.^J ^
o~
In the sixth above.
J.
F. B.
J.
F. B.
53:
I
-i
'
In the seventh above.
Ex. gg.
=Pl=t
rEitt
-^--
^^^^=1=
?2=
:t3Cj3t
?2=
Ex. g8.
=1=
*3*
-#-T
=?3=
^*-r^r-^
t'^pftrffitr^n
.
The following examples of imitation in various intervals between two parts,

while a third has an independent accompaniment, cannot fail to interest the
student.
Ex. 100.
am
From Bach's 30
Imitation in the octave below.
^^
J' J
."rVlr JV 'iU
L
.î?,-'^
zSz
rM
-f
^rtijr- -^
J
Variations.
r2v
r=W^j
Ji
r
-1
&C,
IMITATION.
57
Ex. roi.
In the second above.
1
-a:
fcrrCi
:^^Sl^
-H-;fflg
Ex. 102.
In the third below.
iq=ZTi
_-i:^rj3j_
- ^-
?^
=^g^
Ife
I?-
lazfjE
,^^
&c.
4-=r-.- -fI
g-
Ex. 103.
In the sixth above.
.JT":^
b.L&
:?^-Lpi
&c.
:ifc_
r?=&^
H*-
Ex. {04.
In the seventh above.
&s^
^W^==p
i:r
CHAPTER
VIII.
IMITATION (continued).
80. Imitation does not merely include the reproduction of the
antecedent or proposition the term applied to the whole part
sung by the leading voice* on the same or dif5ferent notes of
the scale, in notes of the same value, moving by similar degrees,
and in the same direction though this is the most simple,
common, and useful kind of imitation, and is that, as a rule,
implied when we speak of Imitation by similar motion.
Modiiication of one or more of the features characteristic of a
melody enumerated above, viz., its rhythmical contents [i.e.,
the time value of the notes), the steps by which it progresses
(seconds, thirds, or larger intervals), and the direction it takes
(whether up or down) will introduce various forms of imitation
which will now be explained.
imitation by contrary movement.
Every movement of the antecedent is here reversed. Where

ascends the imitative part (or consequent, as it is termed)
81.
it
descends, or vice versa.
There are two methods of
effecting
this imitation.
(i.)
It
may
moving by
be
beginning at any interval, and simply
free,
similar degrees of the stave in contrary motion to the
antecedent.
In Ex, 105, the imitation
Ex. 105.
i IE
P
P*^
is
by contrary motion
at the octave below.
^
J.
-"
r-
=g
F. B.
=p=f
'4m ^ r
=t=
nr^'J
IMITATION BY CONTRARY MOVEMENT.

In Ex. 106, the imitation
is
by contrary motion
59
at the fourth below.
From Bach's 30 Variations.
Ex. 106.
^^^
^n^]^
m PR^ ^^
t)
feSE
WmM-
may
be strrct^-semitone answering to semitone, and

In the following scales, the semitones coincide;
and whichever note of either scale begins the antecedent the
companion note in the other scale will begin the consequent.
{2.) It
tone to tone.
PI
i
i^
T=t
Or an octave
The
scheme
following
is
an example of
strict
lower.
imitation according to
Ex. 107.
the above
J.
=t=t=
?z
t==^
Z!
it4=t:
F. B.
M-i-rT
HI
^PP
DOUBLE COUKTERPOINT AND CANON.
6o
Ex. io8 is another example of imitation according to the. above scheme.

Being in A major it is of course founded upon the scales given above, trans>
posed to that key, thus
:
=P
:!**=
J-
J-
!
I
>
Or an octave
^^
1
lit
lower.
Cherubini remarks that " each time there is a change of key these given
must be taken in the key in which the imitation is made, both for major
scales
and minor modes."
Ex. io8.
^^m
y e sempre legato.
m^ ^^
Clementi.
Gradus ad Parnassum.
^cst
^^^
^^^^^g
IMITATION BY CONTRARY MOVEMENT.
82. Imitation
by contrary motion
generally be strict, but

scales
is
in
minor
6i
keys
cannot
best effected by the aid of the following
Ex. log.
=t
j=J^=4^t^B
L-i-j_J- l--âJB
be seen that the semitones do not exactly coincide in

In the descending scale the first semitone is
found between the third and fourth notes, in the ascending scale
between the second and third. Whenever, therefore, the third
note of either scale is used, the imitation ceases to be strict.
It will
the above scales.
The following is an example of imitation founded upon the scale given

above (Ex. log, i), transposed to G minor, thus
:
m^
j_
?=^t:
1^
From Bach's 30 Variations,
63
IMITATION BY AUGMENTATION.
83. Here the consequent is in notes of augmented value.
Minims for crotchets, semibreves for minims, &c., or sometimes
minims for quavers, &c.
Ex. in.
J.
F. B.
IMITATION BY DIMINUTION.
84. Here the consequent is in notes of diminished
Minims for semibreves, crotchets for minims, &c.
Ex. 112.
Jf
it
rs
value.
Lobe.
IMITATION BY DIMINUTION, ETC.
63
IMITATION BY DIMINUTION AND CONTRARY MOTION.

Ex. 114.
J.
r
mz
/SJ^
P
-^
,
o-
-î^^
^7:
1^
IMITATION WITH REVERSED ACCENTS.
Here the consequent enters upon a different beat from that

on which the antecedent began, i.e., unaccented for accented,
or vice versa.
This is said to be per arsin et thesin.*
86.
Handel. Amen
Ex. 115.
5t=^
in the
Messiah.
?=1=t
&c.
lp
--F-^
^*^^
"
'
"i^-
87. There is also retrograde imitation, in which the conser

quent takes the antecedent backwards, i.e., from end to beginning, termed per recte et retro, or cancrizaris (crab-like), and
reverse retrograde
a combination of retrograde and contrary
motion but little practical use can be made of these forms.
* Canons which answer by inversion ('.., the consequent ascending where

the antecedent descends, or vice versd) are also said to be êr arsin et thesiitt,
(See Appendix.)
CHAPTER
IX.
PARTIAL IMITATION.
88. These various methods may be used to effect Luth partial
(also called periodical) and canonical imitation. Partial imitation
is when only a certain strain or period of a preceding melody is
Canonical imitation is, strictly speaking, when the
imitated.
Partial or
whole preceding melody is imitated throughout.
canonical imitation is conperiodic imitation is intermittent
;
tinuous.
8g. Partial imitation
is
now used
far
more frequently than cano-
nical, the introduction of short points of imitation
often adding
which might otherwise be
interest to a composition
insipid or
In vocal music much use is made of it in choruses, which,

without being strictly fugal, are by this means made more contrapujital in character.
The various kinds of imitation already
explained may be combined, one or more of the parts imitating
by contrary motion even when the others have answered by
similar motion
or some may enter by augmentation or diminution.
If it is not possible for every part to imitate the complete
phrase, yet all may often enter with the first few notes, and thus
preserve a semblance of imitation. Frequently also, though the
general form of the phrase is preserved, the intervals are much
altered, thirds answering seconds, fifths answering sevenths, &c.
these variations from the exact repetition of the phrase of course
rendering the introduction of so-called points of imitation more easy.
dull.
The student should practise the working out of various imita^

tions in two parts, afterwards passing on to three and four parts.
good method of practising imitation is by working on a theme
or canto fermo.
Ex. ii6, 117, 118, are quoted from Cherubini's
Treatise on Counterpoint and Fugue. The student should endeavour to construct other imitations on these two subjects.
Cherubini.
Ex. 116.
:>
^^
P
Imitation in
=^=-^ *
t^-
^^
*3S=
*#:
tlie
=?i=i=
it=z|=
unison.
^=
f^
BiE
--*-
IMITATION ON CANTI FERMI.
|d3E^
-jzr
65
t^
'g-
eE^
^^
?-ri*~
dist
i|=*;
j-j-|î.a^
=H!=tt
:|1ft:
Free part.
Ex. 117.
: 9- m
m
iMr
Cherubini.
^^^
=i=F=
J^=2lJ-
?2Z
--F4=t:
-Hsfr
Imitation in the second above.
-!S
S^-
T'
'
Z2Z
W:
IM
:tl=tt
Ê
66
*fr
-g3
t=t^
F ' m F
ICZiL
*it
ri~~rrrrrrr^
flgfF
41*:
4^
=P=S:
-HeH-
3=
**:
^Mi
dM^
4Pit
rj
|eff
*=tt=
=P[f
Ex. Ii8.
Cherubini.
^m
ferrrrr
^
Imitation in the
fifth
below.
T^
i^
Imitation in the seventh below.
=pa=
m^
m^
'
NI
Ty
=fHt
tf^
^
IMITATION ON CHORALES.
^^
r^
^
-
67
iwt
-^f=^
-*=-
IZ2I
^
^
Mh
jj^^tfrrj;
i
-P-
liMz
tHt
-^
=H=*:
**
Chorales are very suitable as themes on which to construct

The chorale may be placed in any part, and the
imitations.
imitations may be founded on some part of tho subject, or on an
The chorale may enter at the beginning of the
original theme.
movement, or after a bar or two. A break may be made between
the phrases of the chorale, the imitation being thus at these points
brought into greater prominence. The point to be imitated need
not be of great length
indeed it will be found that a phrase of
a short distinctive character will more readily lend itself to the
kind of work proposed for the student.
Ex. 119 is a specimen of
this method of imitation, the point
go.
1=
S^
appearing frequently both above and below the canto fermo, sometimes also by inversion,
i^S
and even being introduced between the phrases of the canto

See Ex. 119, a, b, c, d.
fermo.
pm^m-T\ ''^[ Cc^

Ex. iig.
Rink.
"
^-
Canto fermo.
^^
}=^
tr
^ ^^^
5^
I*
68
^g
^^1
^ * j-^*=
^M^TT^^r
:t:
=F=^
^^'^"T-F=^^^^
^Frf=^=f[^=q=F^
p-
*J*
f If
=
1
>
^ 3t
^P^-F^
FTTf
ipi^r
^ '^J^J,J
ffi
*f7
^^
Seltefe:
ige:
i^sz
1^
i"^
r^
^ni!5
-f^-^-
m^
@i?
69
^^^
*-"-
'r^=r
I
r-
^^^^^^^=^^^^^
^^
î
=t=t*z
Ex. 120 is a good specimen of Bach's treatment of a chorale

with imitations. Each phrase of the canto fermo (in the soprano)
is taken as a " point "
for imitation by the other parts, the
method pursued being that referred to in the early part of par. 90.
70
Ex. 120.
Bach.
Canto fermo.
=P2=
arFjFfF
1"
_f
-m
M'^^r^^r
?3Z
-?2=
E^^g^F^^
l-r^Mrf^
]^B
>
=t=t:
^-
3=1=3=
he:*:
-i !I-
fc^^:j:4]=
uij^^^
i&
rPfTPf
BE ^JJJT^^TO
i
g^ffr^
ifcufe
^H-ft^
fi^^^r
sismzf
^
^b'j,
r
^-^
\ ?=i^
^^55
^^
^
i^
i^
zar
::?sp
atitat
fTW
H,'-rT-t^=^
=it:it
i35t
, r-p=
^*
^^p^.^^îl>^^g^-rrg^^^
w-
*=?
J-'
bJ
3tjt
j-
iîSt
T=t:
r-j-r-
q*=P=
-^J^=feEJE
ei=t
=H:
ii^^
H*-!*-
fcufe
71
-P
fcfc
i^
N
T ^*'^
it*:=t
feufe
'
P^^gr'^rf
nL^rarTL'
gs
^
^^
^^J
^:ri:r
'
3Ci3t:
r r
r'i,'=r=^
i"hJ
^' [Tj-
if;f=f=
^^^^^^^^^^^^g
-r
ZSZM.
^^
'
u=t
.K<
"
>
lS'
uP
^5^
DOUBLE COUNTERPOINT AND ÂNON.
72
^
j:P\FTh
p'Ki}.^.
M=^
n;
fttVj
^ rt^
? ^^T^ 1 r
^3
11
i>
ji
^î^
1^
-t^^^g:^:^
^
^^
b ," r
^^
H-
=f==
!
a^
^5:
'
'^-^4-^
3^
I&
^
*
gfcE
i>
:^
=f2=
s6
i^
^
i
#J
*CJ
i^
5^
^^~^^=^\
^ ^
rt
73
T?~
r-
*=^
I^
^
is
^P P
^^=F
itii*
-d
>1 l-J^
iat:
=1=3=
Ex. 121
-8
î=q=
:t=tFt
=fc=fi
*-
a portion of another chorale (too long for quotation
in its entirety),
accompanied by many interesting points of imi-
tation.
Ex. 121.
Bach.
Soprano.
Alto.
Tenor.
-pc
fe
t=^
J-- ^J
=?^
3i:
Bass.
-f^-T^
Basso Continuo.
S
E&

Canto fermo.
i
i
tf
^=t
=#^=t
^>-
=r=t
^^1
/'-a^
Fr=?=
-!-
4=t
@=
^^
3=F
-^-
^F
- -J
-i^*-
^^1
î==p=
4=t:
e^
i
i
q=^
3:
^ ^^
-7-j-
f
r>
=n=i
tr-t^
-P-iM-
EEE
75
=t=t:
^^
i
-^
îiS
-f3-
'
2:1:
J^r
itatit:
I
.
f a P
F=rT^
<j
-p-
T7-
^^
P =
>
^
H
gj -
^^
^^^^
^
J-r-td-^
a^
1^=FF
Sa:
f^
T^
S^c
^^
^ -^ ^
"r
It
rJ
* ^
JT^
;5=^
:?2Z
^^
The student should endeavour to construct imitations

Ex. iig, 120, 121, on some suitable chorales.
style of
&c.
in the
CHAPTER
X.
CANONICAL IMITATION.
-
91. In paragraph
88,
it
was
said,
"Canonical imitation
is,
speaking, when the whole preceding melody is imitated

throughout.* Partial or periodic imitation is intermittent canoniIn a canon the imitation may enter
cal imitation is continuous."
at any point, may be in any interval, and in any number of parts.
All the various methods of imitation before explained may be
applied to canon, and the different parts of the same canon may
If desired, only some
3be written in imitation of various kinds.
of the parts may -be in canon, the others being free, completing
the harmony. There may also be more than one antecedent or
subject and frequently two, three, and sometimes four are used,
each being imitated by one or more parts in various intervals.
strictly
92. It is usual to describe canons by giving the number of the

parts and subjects (or antecedents). Thus, canon 2 in i means
a canon for two voices or instruments, in which one subject is
used 3 in 1 having three parts and one subject ; 4 in 2 having
Four parts and two subjects (sometimes termed a double canon),
the number of parts being shown by the first figure, the number
of subjects by the second.
;
Of the
two explanations are given

which signifies rule,
the leading phrase, as it were, ruling what shall be performed
by those which follow the other, from the Canoni, as they are
termed, signs which were used in canons not written in score,
mdicating where the" various following parts entered. (See par.
If we consider, however, the form in which this class of
117).
composition was at one time exhibited, a better explanation of
the origin of the term Canon seems possible. What we now call
a canon was termed Fuga Ligata {a fettered fugue). The various
parts were seldom written in full, only one being given, and
all explanations as to the number of parts and the places of
entry, &c., were to be found, not usually in the music (although
sometimes given there also) but in a preceding sentence called
"the canon" {i.e., rule by which the composition was to be
93.
origin of the term Canon,
one, deriving
>
it
from the Greek word
xaviiv,
unravelled).
It is
obvious that the whole antecedent cannot well be imitated in canoni
ly augmentation, and even
in finite
canons generally.
CANONICAL IMlTAtlON.
'
yy
The
following remarks and examples are quoted from an

.94.
old work,* in which Fuga Ligata is explained : " Sometimes
they write only the Principal, and prefix a Title, declaring both
the distance of the Reply and the time when it comes in (adding
afterwards in his due place the mark of his close) which Title the
Musicians call Canon, as in this example of Calvisius."
Ex. 122, a. " The Canon is : Fuga in Epidiapjison, seu
octava superiore, post duo Tempora (Brevia non-seroifcrevia).'*
Ex. 122.
fc=^==
22Z
ifc:^
=?=a:
|o
fJ
3tS
~r3~
-7?~
g=^=^ =^
=S=F:
iV^d-
/ J
ez
o
I
-yd-
33r
i?*
Fugue in EpiEx. 122, 6 (explanation): The Canon is:

diapason, or higher octave, after two times, or bars (breves, not
semibreves);
Ex. 122.
b
ir
-o
^-t-o o a
c^-
c^
d'
78
i^g
-I.-
t=Z2=
*=t:
=PJ=
tJz
r>
P2=
=?=:
aCstat
^=^:i^
-^
Eg
'>
:t:t:
^ 3^
*4:
fc=^
fe^
Zt
Ex. 123, a.
superiore, post
Ex.
"The Canon
Tempus."
=P=^=
:?2=
:=*:
:t
is:
Fuga
vocum,
in
Tertia
1 23.
II
1^
3i:
'"-
-^
'
'
s>-
Ht=&:
=pz:
I&p*:&c.
A Fugue
Ex. 123, b (explanation) : The Canon is :

voices, in the higher third, after a time, or bar.
of five
Ex. 123.
m
b
im
s 4E
î
=p=
f^-H-el- 3d:
-?2=
-Q
CANONICAL IMITATION.
-^
Ziziz
-G>
r
io
^J
-^
r-
-s^
-f^^
s>-
,^
r ->
79
g3=
-e>
f2_
^
tf..
95. From these remarks and examples it is clear that the

term "Canon" is derived from the fact that a canon or rule of performance always preceded a " Fuga Ligata." The latter term has
fallen out of. use, and the word Canon been substituted.
CHAPTER XL
FINITE CANON.
96. Canons are divided into Finite and Infinite or perpetual.*
Finite canon generally concludes with a coda, the canon97.
ical imitation being discontinued (see Ex. 124), or the parts may
conclude one by one in the order in which they began (see Ex.
^
^^
^
^^
i
fcfc:
^
^^
Mozart.
Ex. 124.
'-^
:?2=
5^
Quintet for
Wind
Ez
ffTfr^^^^r^
-f
=ti=t:
^S
ft
Instruments.
y *
^f r ^
pc
^^^
Coda.
>'!.
fTf^n
^^
Êff
T^
H
I
* By some authors called " circular," but this term seems more suited to the
canons which induce modulation and make the circuit of the keys. (See Ex, 136.)
FINITE CANON.
81:
Ex. 125.
Beethoven.
'rj-
S
dtn^
i:^^=st
rT~in^
=15=
-!^ -f-
f=t=h
^^
Both the above examples have accompanjring parts which, hovirever, it is not
thought necessary to give here. Other examples will be found in the Appendix.
g8. An Infinite or perpetual canon does not come to an

immediate and regular conclusion, but on the termination of the
antecedent a repetition is made by this part to the beginning, or
to a sign (X) the other following parts completing their points'
The terminating chord is
of imitation, and in turn repeating.
See the following
indicated by a pause, or the word " fine."
well-known canon 3 in i :
Ex. 126.
\i
Byrde.
K
Non
Ig
:P2-
rJT
no
- bis,
-mi
Do
i^
fcufe
non
ne,
/^N
^^
T3~
Non
no
bis,
Do
mi
non
ne,
w^
Non
no
bis,
82
=?2-
no - mi
sed
bis
ni
da
-*0- -PC
=t=t:
^
Do
mi
no-mi-nt
sed
bis
non
ne,
sed
bis
i:
glo
tn
ri
am,
no -mi-
sed
tu
ni
ii==t
-ts-
da
m.\>
^^:ir
^&-fc
t==t
o
tu
ni
da
glo
.o F=;;
da
glo
ri
ri
am.
X;
^^
r>
nomi-ni
sed
ri
r- :P2:
no - mi
y= b
glo
Non
am.
r>
no-
bis,
I
Do
mi'
=t=3=
32Z
da
glo
ri
Non
am.
no -
bis,
^fc3^
'
sed
no-mi
ni
da
M
glo
ri
am.
- The following
is a good example.
There is no indication
of the terminating chord in the priginal, but it might occur
at bars four and five,* "as here giveii
:
* " The pause willsometimes be found over notes which are not
placed under
each other. When that happens those notes which first have the pause are'
severallj to be held on till the others copv* in." Horsley.
,
INFINITE CANON.
83^
Ex. 127.
Simon Ives
11=
=fv=Ps=
up
Lift
your
hearts
up
Lift
your hearts
and
It
up
Lift
your
the
Lord with cheer
m^
the
-p-d-
head,
He
=FEe=
and our head,
is
Cap
^
is
tain
Christ our
voice.
is
ris
our
the dead. Lift up
= y^~ i=3t
^-f
ir
Cap
tain
en from the dead, Lift
:r^
-Jizzmz
ris
and
en from the dead, Lift up
If:
en from
ris
* p
''[>'
He
-
He
CF=5=
E^
head,
Christ our
voice.
ful
Christ our
Lord with cheer - ful
our
=F=;
voice,
=t=
Captain and
E^S=^
Lord with cheer
ful
Praise
re-joice,
fIf
B tÊ
.
Praise
and
hearts.
=1=^
:?=
the
Praise
re'-joice,
-.-=-
Stfc^
re-joice,
=P5=
-.
and
-N>-
l-M-4
Zt
(died 1662).
your hearts
Qup
your
84
gg.
coda
is no convenient resting place a

canon, as in Ex. 128
Sometimes when there

is
added to an
Ex. 128.
i 1^
infinite
^ ^
F. E.
Gladstone, Mus. Doc.

~
iS
w a=
T"
x=t
5=t
tTj^LTf^
1=it
-r rf-' tf\f^r-^
'K Coda.
^m :&
m ^^^.
?E5:pc
rf Q
-77~
For other examples of infinite canons see Appendix.
100. A finite canon by augmentation cannot, of necessity, be

of any great length, as the consequent being in notes of at least
double the length of those in the antecedent, is soon left so far
behind as to be devoid of imitative eifect. The consequent often
starts at the same 'time as the antecedent or after a very short
rest.
It is obvious that the latter part of the consequent must of
necessity be free, i.e., not intended. for imitation.
FINITE AND INFINITE CANON BY AUGMENTATION.
85
Ex. 129 is part of an organ movement too long to quote in its entirety, but
which the student will do well to examine. The canon (by augmentation) is
between the first and third parts.
Ex. 129.
J. S.
Bach
(Vol. V. of
Organ Works.)
Manual.
Sirm
Pedal.
EEE
101. An infinite canon by augmentation is more difficult to

construct, and an important point in its working must be noticed.
As with finite (see par. 100), so here, the consequent often starts
at the same moment as the antecedent,* or after a very short
rest, and the end of the antecedent is reached, when the conse-
quent (having notes of double the length) has done but one half.
From this point there are two methods of continuing the part
which has the antecedent
:
To effect this it will be

(i) It may be repeated in its entirety.
necessary that from the first every note of the antecedent shall be
The whole antecedent may of course be taken first, with advantage, as
then the imitation would be more perceptible to the ear. The first two bars of
Ex. 130 might thus be heard alone.
86
designed to combine with the consequent at two different points

(see Ex. 130).
Ex. 130.
m^&^
T^^=i=3=g
ê
Lobe..
m-
^j_jj
i ^^5
^=?=
^ *
g^riEr^
!=Sfc:
^s
=^
+*
d *
=t=t
âcf^
î
^^J
:a3f3B
=P=f=
(2) The antecedent instead of repeating itself may be continued by a free part.
Many examples of this more easy method
of imitation by augmentation may be met with, but it is evident
that the essentially canonic character of the composition is somewhat interfered with by the interruption of the imitation when the
free part enters (see Ex. 131, bar 6, last note of uppej part).
Ex. 131.*
^^
^
m
(p)\ii^-
Cooke.
^r-*-
**
J:
men,
No.
men,
For other examples see Appendix, and also Bach's " Musikalische Opfer,"
7.
INFINITE CANON BY AUGMENTATION.
87
^^:k^m^^-A,jp,:.
men,
J'-'
1.J.4
men,
P-
4=t
men,
P^
^^^^^^
p=^ ?=^3
A -men,
men,
w^
i
m^ ?^
men,
*3tt=
men,
rrrr
f^
r^
men.
i
men,
^^
A
p==?=
Ê
o
A
r-*
?^
f=^H
i
102.
canon by diminution cannot be of any great length, as
the consequent soon overtakes the antecedent (being in notes cf
88
only one-half the length), and thus ceases to imitate. The following quotation from Emanuel Bach will show this the canon is
at first in notes of equal length, and then by diminution
;
Emanuel Bach.
Ex. 132.
li?
'A
CANON, RECTE ET RETRO.
89
104. The construction of this canon appears extremely simple.

Write a counterpoint to the whole of the antecedent, then instead
of letting it stand below in its propei place, add it reversed {i.e.
last note first) to the end of the antecedent and the composition
But (and here comes the diificulty) the student will
is complete.
find on trial that passing-notes and discords, effective and innocent enough when standing below as a counterpoint, and sung
from left to right, will all be displaced and fall on the wrong part
of the bar when sung from right to left in a retrograde canon.
Simpson, in his " Compendium " (London, 1732) on this point, gives a caution
against dotted notes, saying, " In the Retro they if.e. the dots) will stand on
" Also," he goes on to say, " you must be wary
the wrong side of the notes."
how you use discords therein, lest in the Revert, or Retro, they hit upon the
beginning instead of the latter part of the note."
105.
The following simple example and remarks (also from

Compendium ") will perhaps make the above explana-
Simpson's "
tion plainer
'^=H^
^ ^
Canon, Recte and Retro.
Ex. 134.
^FS;
r^=3=t
i=^
23t
Reverted thus-
^^
-ry-
-rJ-!'F
-r
tti*
" Either of these alone is a canon of two parts one part singing
forward, the other beginning at the wrong end and singing the
notes backward
the composition whereof is no more than this
which follows " :
Ex. 135.
i^
i
" Only the
-r-i-
*=t=
-rrr-
-rir
end of one part
is
3=ti
joined to the end of the other in
a retrograde form."
A circular
canon (^per tonos) is usually one that modulates

key of the note above, the antecedent recommencing
every time a note higher, and, by making the circuit of the keys,
returning to the original key in which it started.
The conclusion
106.
to the
go
of the antecedent must lead naturally to the repetition in the new

Sometimes the repetition is
key, this being the chief difficulty.
made in some other interval than the note above.
Ex. 136
is
a circular canon, each repetition beginning a note
liigher.
Ex. 136.
tN^
Agostini (1593-1629).
ENIGMATICAL CANON.
time
it
appears
{i.e.,
at its sixth repetition)
gi
it
will
have reached
octave of the original model. A circular canon passing

through all the keys can only result when the repetition takes
place at a fourth or fifth higher or lower, or when it proceeds by
semitones.
the
io8. Ex. 142 is a circular canon of this kind, each repetition

beginning a fourth lower. Sometimes it is necessary to transpose
one or more of the parts an octave higher or lower (see Ex. 142, 6).
109. An enigmatical canon is, as itg name implies, one, the

subject of which gives no qlue to the kind of imitation, or the
number of parts in which it will work. Old authors were very
fond of setting this " riddle " canon, and for its solution '' it is
frequently necessary to have recourse to inversion, to contrary

motion, to retrograde and inverted retrograde motion, and to
transposition of the clefs ; lastly, it is necessary again to try
semibreve, minim, crotchet, quaver, and other rests, augmen-
and diminution, etc., and ajl the means that we have

previously indicated as proper for varying a subject."*
Sometimes a motto preiceded the canon contiadning a hint as to the
proper resolution, or the solution was indicated by a cross, a hand,
or other device, with an enigmatical Latin inscription. The day
of such things is now past, and the student is not .advised to
give much time to the elaboration of such useless problems.
Bach has, however, left some interesting specimens of the enig
matical canon in his " Musikalische Opfer," from which Ex. 133
is taken, the workifig out of wtiich cannpt fa^l to interest and
improve the student.
tation
* Albrechtsberger.
CHAPTER
XII.
POLYMORPHOUS CANON.
1
10.
A POLYMORPHOUS canon has an antecedent capable of many
As will be seen from

of which will work in canon.
Ex. 139, the imitation is sometimes made on a point derived
from the middle of the antecedent, or by some re-arrangement
of the position of the various phrases of which it is composed.
Passing notes which were not in the original are sometimes
All the various
inserted when it appears in an altered form.
antecedents however, should be founded upon the origfinal as
regards harmonic structure. Stolzel has left a celebrated specimen of the polymorphous canon, which is worth quoting.
forms,
all
A Close
Ex. 137.
Canon
a; 231
FN^
12
(see par. 117).
The sign shows the entrance of the various parts. The figures indicate
the distances below the first note of the antecedent (see par. iig) at which
each part enters.
The
III.
length
following
is
Ex. 137 resolved,
i.e.,
written out at
r>
Canon 4
in
=1=
i.
J.
=^
-p-r.
^F5=
a6i'
Kin=
EE
^
^
?3-
3S
rrr^
-^
-^-^ A.
f W o-l
"P"
=^
-^
f-
POLYMORPHOUS CANON.
Canon 4
in
i.
:^=
:?2-
^.fE32I
LBE
93
Antecedent by contrary motion.
Ex. 138.
iz
zi:
The above resolved-
SE
^P
r?-
=^
U,ê^
=5=
=!=*
-rj-
I-
it-
:im
:p&
T3~
It
az
112. In Ex. 139 the antecedent is formed by beginning at bar

four of Ex. 138 and introducing passing notes (* * *).
Canon 4
Ex. 139, a.
EB
Mh
in
i,
* *
P=t
* *
ES
=P2=
=t
The above resolved
Mf=l?^
m=is
w=i=ii--
-G>-^-
iit=*:
^-0
JJ:-A
'
*=?=
M
^^
=S=P-
^0-K
-U4-
itf^
2dz
^ctzizqe
p-
g
rt*
=P=
&c.
94
Ex.
139, b.
The same by
contrary motion,
Canon 4
tzzt
i ^=P=g=F
2=t
F==r=^
=3=
P=d=^=^
The above
i BE
resolved
E^
I^Z^.
I
rr
ii i.
^^
r
'F
The above
are the chief canons to be obtained from this

But there aie many other possible
subject.
changes ; for instance, (i) the accents may be changed, the
above four antecedents beginning at the "second part of the
bar, ifistead of the first (Ex. 140., a, b, c, d) -.-^
113.
Jjoly-morphouB
Ex. 140.
i E3E
<*)]
'-yrsr^
$^
r->
i^^
J=gg=
fi
(2) The antecedent may begin on any of the (essential) notes

of the originalinstead of the-first (Ex. 141, a, 6, c) :
POLYMORPHOUS CANON.
95
Ex. 141.
a
:^3E
v-f^^^F^
;^
r-ig-
t^z
^.
?3=:
l=t
3i:
^3
fi'l'P
Z2
rzi:
114. It can also appear as a four-part circular canon in two

ways (Ex. 142, 143). In Ex. 142 the key changes at each return
of the antecedent, the latter beginning every time a fourth lower
The parts are transposed an octave
(a) or a fifth higher (6).
in the latter
case (see par. 108).
Ex. 142.
iE
-o
^"^
E
lfc^=^
^+2^
-J-^
J.
T"
J-^^J.
^^
^
ii
96
115. In Ex. 143 the antecedent begins every time a note higher,
sequential canon seems an
remaining in the original key.
appropriate term for this species, differing as it does from an
ordinary circular canon, which continually modulates.
still
^ 3-^^^
Ex. 143.
EE
Z33Z
=cii=:
"F"
ê
:^
=g=
-Â
Ul
=P2=
-Aqt=P=
:i=F:
J- J
CHAPTER
XIII.
CLOSE CANONS.
117. Formerly there were many methods of writing canons,
or rather of exhibiting them when written.
a canon was
given complete in open score, the term "open canon" was
applied.
It was, however, very usual to write only the principal
part, stating the number of parts for which it was composed, and
indicating the various entries by the sign (see par. 117).
This
was called a " close canon."
When
This term must not be taken to indicate a canon in which the consequent
upon the antecedent, though this is the sense in which the
term is used in Fugue (see Primer, p. g).
follows very closely
118. Sometimes also all the clefs belonging to the parts composing the canon were prefixed thus
:
'^^=ft-r=#
119. In unravelling canons so written, the student must
remember that the system on which the clefs are prefixed varies
very much. According to Albrechtsberger
:
"
When
desired that the answer to a canon shall not be

above or below,*
it is usual to place before the time
signature all the clefs in
retrograde order.f"
It is also usual to indicate the place of
entry by the sign .
Sometimes figures are used to denote the
interval in which the canon is made, and these are placed above
or below those notes on which the succeeding parts enter."
made
it is
in the unison, but in the fifth, or octave
And
also in other intervals.
The
(See Ex. 123.)
which entered last was written Jtrst, at the beginning

one next, and so on, the leading part having its clef
immediately before the first note, and being in no way affected by those which
clef for the part
of the stave, the last but
t
preceded
it.
(See Ex. 123.)
98
Canon 4
Ex. 144,
m ^-
m =^ ^=g^^
i
^ ^
ej
fc^
in
i.
ipz:
ISt
" Canons in which the entries are indicated iDy figures may be
written in one clef. The figures placed above the staff indicate
the intervals above, and those beneath the staff the intervals
below. The same observation applies to the sign .
" The intervals indicated by the figures are always reckoned
from the first note of the first part (antecedent), and not from
that note above or below which the figure is placed.* Thus, in
Ex. 144, a, the tenor takes <5 at the figure 5 a fifth above the first
bass note, and the alto enters with C in the octave above at the
figure 8, the treble entering with
at the figure 12.
In Ex.
144, b, the alto enters with A a fifth below, at the figure 5 ; the
tenor with E in the octave below at the figure 8 and the bass
with A a twelfth below, at the figure 12,"
120. Another method was to give, in addition to the clefs, the

requisite rests which every part had to observe before enteringThis plan would enable the canon (or rule), and also the mark
showing the places of entry, to be dispensed with.
For a
specimen of this method see Ex. 123.
121. Placing the clefs from right to left, i.e. in retrograde order,
oldest systemf, but later writers depart
seems undoubtedly the

*
Even
this
has been departed from.
t Morley in his " Plaine and Easie Introduction to PracticaB Musicke

(London, 1597), says :" But the F/rench men and Italians, iiave used a waie
that tho^h there were foure or five partes in one, yet might it be perceived and
sung at the first, and the manner thereof is this. Of how manie parts the
canon is, so manie cliefes do they set at the beginning of the verse, stil causing
that which standeth neerest unto the musick, serve for the leading part, the
next towards the left hand, for the next fdlowiog parte, and so consequentU?
to the last.
But if betweene anie two cliefes you find rests, those belong to
that part, which the cliefe standing next unto them on the left side signifieth-
CLOSE CANONS.
99
from this. Kollman, in his " Essay on Practical Composition "

(London, 1799), arranged the clefs from left to right, in the order
in which each voice entered, thus
:
Ex. 143.
4 IN
I,
PER TONOS BX FIFTHS.

^
*fe
rz2
The
^
clefs
122.
here given precede a circular canon.
The
following shows the entry of
all
the voices in the
canon given above (Ex. 145). It will be seen that the parts
enter in the order of the clefs, from left to right.
Ex 146.
iF$
1^
^m
^ ^
33t
^^
^^
=rt
-r-
Lobe, in his " Lehrbuch der Musikalischen Komposi123.

_
tion " (Leipzig, i860), and even Albrechtsberger, whose rule we
have quoted (see par. 119), follow the old system of placing the
clef of the part which begins immediately before the first note,
but the other clefs are placed from
grade order.
Ex. 147
in
is
which the
left
to right,
and not
in retro-
a canon by Albrechtsberger, sent by him to Haydn,

stand as mentioned above.
clefs
Ex. 147.
Canone Perpetuo a 4 Voci,
mm E
ft
r-^
in
Hypodiapente, ED Hypodiapason.
=P2=
^m
100
124.
The
above canon
following shows the entry of
all
the voices in the
Ex. 148.
iTir-f
fi
i-r
JT!
CHAPTER
XIV.
HINTS TO THE STUDENT.

127.
To compose
a canon
we proceed ihus
Write the antecedent up
(i)
to the point of the entry of
the consequent.
Transfer this in the proper interval to the part which

has the consequent.
(2)
(3)
Continue the antecedent as a counterpoint to the
(4)
Add
consequent.
this
new
progression to the consequent, and so
on to the end of the movement.
canon be at the octave or unison there will be little

if the answer is to be strictly at the fourth or fifth,
an accidental will be necessary to make the semitones fall in the
The scales already given (on page 54, will show
right places.
what accidentals are necessary. If we wish to escape modulation, we must avoid that particular note in the antecedent, which
128. If the
difficulty,
but
requires the accidental in the consequent.
One of the most frequent modulations is to the domiThis employed in a canon and answered at the fifth above
would lead us to the key of the second dominant, the return from
which would prove embarrassing. If however instead of the
harmony of the second dominant we use the minor chord on
the supertonic of the original key, we preserve the key relationship
and materially help the return (see Ex. 128, bar 4).
No difficulty will arise in a canon answered in the fifth above (or
fourth below), if the antecedent modulates towards the subdominant, as the modulation in the consequent leads us back to the
neither will any difficulty arise if
original key (see Ex. 126)
the antecedent does modulate to the dominant if the consequent
be at the fourth above or fifth below (see Ex. 127, bar 6).
129.
nant.
130. To be really effective a canon

In
ear, and not merely to the eye.
ensure, and the student may easily find

examples to which he may refer.
difficult to
lent
must be perceptible to the

a canon 2 in i this is not
many
excel-
I02
131. The following hints may be of assistance to the student

:
in his efforts to attain desirable clearness in canonic writing
(i)
Let the consequent follow the antecedent at a

moderate distance and before its effect on the ear
Too long a lead renders the construcis weakened.
tion comparatively easy, but detracts from its value
as a canon. On the other hand the closer the canon
the easier is it to make it infinite, and vice versa.
If the canon be in more than two parts it is generally
necessary to let the consequents enter at unequal
distances.
(2)
(3)
(4)
continuation of the antecedent above or below

the consequent should, if possible, differ from it
rhythmically, for the sake of contrast.
The
Occasional rests, letting the consequent be heard

between the phrases of the antecedent, will be an
easy and ready means of making the canonic
character of a movement apparent.
In a canon formed on two or more subjects, endeavour by all means to contrast these subjects. This
is too often overlooked.
132. Double counterpoint, imitation, and canon, are of universal value and importance to the musician, not only in fugal
writing of which they are the very essence but in every kind
of musical composition.
The Appendix includes examples taken from orchestral and
pianoforte works, and the student will be well rewarded who
searches for and discovers other examples which abound in the
Writing
instrumental and vocal works of the great masters.
these artificial combinations will, with diligence and welldirected practice, become easy, and the young composer who
regards them as a means to an end and not the end itself, will
realise how vastly these studies have expanded his powers.
APPENDIX.
EXAMPLES OF DOUBLE COUNTERPOINT.
No.
1.
Meno
mosso.
Langsamer.
R.
Schumann.
Kreisleriana.
^m
^P=Pf'E1
tt=fc
Lj'
'
i
f
f^?ff#
f f
Zj-
1^5^
^S?=t
2^
4-3^ ^g?
t^t--
a
it
Preceding Bass inverted in the fifteenth.
Ss^B
"r^"
APPENDIX.
104
No.
2.
Spohr.
D.
Coriii in
Overture to " Last Judgment."
i=s
Violino I
Viola.
m^
:Sfc
H'+f
Inversion of ist
Cello.
m^=^^-rr-
into.
-ITS-
^^
Ê
m=^
-zr
Inversion of Cello part.

-irr-
Violin part,
^rj
No.
J =;1==F
$J
^-y-in
'
J J_
-d
3.
Mozart.
Violino
I.
Overture to " Die Zau berflo te.'
APPENDIX.
105
L^
No.
4.
Beethoven.
Pianoforte Sonata, Op. 28.
^TrYrM-^
^gf^
S
/-^
^J J J.1
;
&c.
^^
APPENDIX.
io6
No.
Violino
3.
m
^^:
E3_
In
D.
J3^
^^^=^
Viohno
From Symphony
Havdn.
i.
2.
m f\T'f
-t
1^^^
ifeES
t-
F=E
Viola.
P^
i
-
li=M^
^F=*M
:#*::
4r
JCIi-
tr
ES
s=T-rrn
'J
Cello.
^PF^
^ ^
^s
f=r^^
-
\f
q^=p3
=P5:
ir^-
^S
F-
XPPEKDIX
No. 6
107
ÊXAMPLE OF QUADRUPLE
COUNTERPOINT.
J. S.
Bach.
fe:
is
EEE
^
m
ZgZZMZ
^=T: :^=A-
^Ê?E
^51
Sfe^^^gl^:^^^?^^^^^
|i:?^?^|i^
Eî^ft=5î
^fÊEt^
I
r^
M^
^'W
M^^^^
^
:=i:
'^&
The above may
P=V^^
-F=*
EE^
m^
1^=^
E^
:t^
=tr^
-=^
s^^^^s
^!ses:
^=^
-
w=^~
-^=1--
be looked upon as a Round, and when all

it, quadruple counterpoint results.
voices are taking part in
fotir
APPENDIX,
io8
No. 7. IMITATION
AT THE SEVENTH BELOW, AND BY.INVER.

THE SECOND ABOVE.
Mozart, From Sympho ny in D
SION AT
Violino
I.
Viola.
jteE
Cello e Basso,
^%-rT-p^^
ivt-
E^
^S
APPENDIX.
109
No. 8. CANON 4 IN
^m
Francesco Turini.
fcrp::
-n::/^
ti:^
le
i-son,
tJ
lei
:^^
:i^
son
le
son, e
le -
^
I9
son,
TH
frf^
fo fZ
^rtr-k
I
y
=t=F
te
^P o
e-
=t
Chris
X.
son.
L,
**:
itt
i -
le
The above canon (from Burney's " History,") shows a little variation in the
method of exhibiting a close canon. The clefs here are placed as explained in
;par. 123, but the notes on which the various consequents enter are indicated by
"The tenor leads
a direct (w) instead of figures (see par. iig). Burney says:
oil the subject and is answered at the second bar by the soprano in the octave.
At the third bar the bass begins a fifth below the tenor, and is answered at the
fourth bar by the counter-tenor an octave above the bass."
APPENDIX.
tio
No. 9. CANON 4 IN
i.
S.
J.
as^^
^
SS
tt=E!t
U-^-=-id=
*#
^^^^
K
43^
--^^^
"I
!
^=ib^'-r^
q=f;
::#*^
iSS #-:
*-
-^*-
T M"^^.
i î
5^^H
Bach.
yTT-ry^
^ rr
mr
* J *
^^r?=r
^*
fLT
f r
LîU
=*z?zi *-i^
&=^^
^^^^^^^^=z^^=^
4r
^'
Pi*
t=?^:^
u r
I
f *.
^=tT=?r7
*=rH5r
il\l::t^
% PPE^^^S
^m
-m0^
^ ^^
--^R*-r
^tis^
Ê^^PÊfe
APPENDIX.
Ill
-i-d^
-1^ *.-
=t2=t
f ^
@^
-f^-i
-^
TJ
^
"^T
ÛJ
:^
^^^^^^
'^
-*
a^-
1
H
I i^
r-^fl I
:
--
^m ^
=^
^=^j=j=^
The following canon and
^^^
Em=tf^
qfi
ji
i:
^^
were sent by Mendelssohn
letter
to
G. Smart, in fulfilment of a jocular promise to write a Viola

duet for their mutual performance
Sir
my
coft*
"The idea of 'the Tenor Duett' presented itself to
I would have written it down
Science, and I felt myself guilty.
and sent it to you immediately, but as I do not exactly know in
what style you- would like -it, I think it better to send you first a
specimen, here, in Order to ask' you whether I shall continue it in
someway."
APPENDIX.
112
No. 10 CANON 2 IN
Viola
I.
(Sir
^m
We
^
Viola
Mendelssohn.
rirrrrr
=?2=
4:
it
mf
2. (F.
M.
B.)
Z2Z
^=^=^ -r>
'
-1
i*
-F
W^
3E^
^b-^
fr
^
T^
:^
, r-f;
iv.-r
^^^gg 1=4=^ :t^r?:
"^^ff
tt f f fi
-I
^^
E^.
PPC^
L r r
i:
=g:
rrHrrrrT
-rtt
V- nr
L /rrr-f4^ ''
tT,>
^^ ^
t^
;u^
e^
i^ =
JU
fffc^^
EztzEzzE
I
i
^fe
"^
-ww-~w
y r-
p ^p r
'/î
5^
iy=^
i.
G. Smart.)
E^
APPENDIX,
" You see in this mamner it goes to eternity, and perhaps you
would like to have the duett somewhat shorter."
This Letter was received by Sir George Smart, fuly ii, 183 1.
No. II. CANON,
PER ARSIN ET THESIN AND AUGMENTATION.
yt
I SE
Smith.
J, S.
i^^^m^^
n> m ^ mW-
t^=^=tl
Al-le-lu-jah, Al
X
?z=
'^
Al
le
lu
-ri-
Al
jah,
le
=1=1=
A
For
rJ
God
Lord
the
*3:
=F---
i!
jah,
lu
^^
Al
le
lu
jah, Al
le
lu
jah,
=s=
Om
-^MK-
-w
w =t=l=
=t=
le - lu -jah.
=pm
Al
ie
lu
jah,
Al
le
lu
^dJ= 32Z
po
tent
reign
jah.
^m
eth.
APPENDIX.
114
No. laCANON 4 IN
BY INVERSION.*
From
H. tuRCELL.
^=^
ze:t:
zei;
be
fy
fcit
Glo
Glo
ther,
be
to
ther,
Son, and to
and to
the
M-=^
Son, and to
the
fc=?3=
ther,
Q-
the
and
to
:pc
Ho
Ghost, and
ly
ZEti
the
to
Ho
^-=P=
=t=t
Ho
the
to
r-
the
=Pt
Ghost, and to
ly
Son, and
the
Son, and
:t=t:
^
the
to
-iî
Fa
the
P=F
^P=*
the
to
=^
Fa
=F
and
-*L_6L.
fc=fc
i ^
im ^
let
the
to
,be
lizzac
Fa
ry
and
q=^
to the
^rftsfe^sz
Glo
ry
4=t:
be
ry
ther,
:?=:
Fa
the
to
SH
iR-^s-
'B\f.
=t:
GJo
M=^-
Service in
rp:
Ho
the
=t:
m
-
Ghost, and to
ly
t5>-
Ho
As
it
in the
be
was
in
ly Ghost
MEE^
ZX:.
Ghost, and
to
Ho
the
ly
Ghost;
i:
Ho
the
may be
ly
Ho
As
Ghost
ly
Ghost;
it
was
As
it
looked upon also as a specimen of 4 in 2, as there are tw6

antecedents, although that in the Bass i^ derived from the Tenof by inversion.
^
This
APPENDIX.
=t-
VZix:
was
nEE t=t
the be gin-ning,
in
feE
^^T=rT:
l=:t
As
is
now,
and
ev
the be
in
gin-ning,
and
is
M=
er shall
41
utzt=e=t
was
it
-P*-
-3:
ev
er
:?3Z
gin-ning,
^^
^F
is
q=F
itzt:
the be - gin-ning,
^
i
^
ai
shall
Iti?.
ev er shall
â
is
i^
and ev
^-
%*=^
=F=F
-f^
er shall
tit
Â
end.
=pi:
end,
world
r=r^^
=^
-t
world without
with-out
F=I^
men,
M-:.
fciFif^
mi^=i
^^
with-out end,
men,
end.
be,
men,
world without
be,
world
3^Z
now,
be.
world with-out end,
be,
and
now,
men,
with
world
APPENDIX.
Ii6
No. 13. CANON
BY AUGMENTATION AND IN CONTRARY.

MOTION.
KiRNBERGER.
'^ 73
r
^s
fr
rr?^
^^??^
J J
i
r
No. 14. CANON
isgî
J.i
iu
If
BY DIMINUTION AND CONTRARY MOTION.
-^
^^
.rr
^^^ ^^
i'
P"^
h-
=^^
^^3=
APPENDIX.
117
No. 15. CANON 4 IN 2.*

Bridge, From ** Mount Moriah," an Oratorio.
J. F.
Andante con
jnoto. != 80.
-3^
Soprano.
Tbnor.
slaugh
*^
ter,
is
brought as
iamb
lamb
brought as
lamb
to
the
to
the
lamb
slaugh
the
to
slaugh -ter,
ter,
brought as
is
brought
slaiigh - ter,
IXJ^
m^^^
slaugh
to
the
to
the
ThU Canon
ttr,
fr
Iamb
slaugh -ter,
r
a
lamb
to
lamb
to
the
slaugh
the
J
slaugh
has an independent orchestral accompaniment.
ter,
r
- ter,
'
APPENDIX.
ii8
sheep
be
fore her shear
and
not
month,
dumb,
ers
is
as
sheep
HtB
mouth,
is
dumb,
be-fore her shear
He
be
ers
is
pen- efh
'
APPENDIX.
^^
He
lamb,
i^
as
He
tamb,
is
brought
lamb,
as
IS
brought
as
lamb,
amb
to
the
slaugh - ter,
APPENDIX.
120
lamb
to
the
slaugh-ter,
lamb
brought as
to
is
the
brought
slaugh
as
lamb
to
the
- ter,
m
He
lamb,
brottgtit,
aa
lamb,
'
ai
is
brought
as
APPENDIX.
No. i6. CANON ^ IN
ON A GROUND
121
i.'
BASS.
Henry Purcell.
=g=pr^-g^
jj-f^-TTr-^
:^^^-
^^
^^
From
*
^s^^^M
^^
iS
a Manuscript in possession
is
now
of.
C. Taphouse, Esq., by
whose kind permission
iSEinted. it is believed, for the fir4 time.
it
122
APPENDIX.
APPENDIX.
123
APPENDIX.
124-
|=Û^|Eg^:^,
f^j
r
\
^^
jta=r=rf&i:^-
#-,^r-
Novello,
Ewer
&
Co.'s
Music Prifners
Edited by Dr. Stainer.

PRICE
TWO
SHILLINGS.
HARMONY
BY
D r. staine r.
CONTENTS.
Chromatic, Enharmonic Variety of forms of Minor Scale

Relation of Scales Diagram of Division of Scales Key
Relation of Keys Cycle of Keys Method of reckoning and
naming Intervals Major, Minor, and Diminished Intervals
Table of Diminished Sevenths Simple and Compound Intervals
Diagram of threefold Division of Intervals The Construction
of Chords Common Chords Rules governing the Succession of
Common Chords Examples and Exercises, Inversion of Chords
Figuring of ChordsDistribution of Parts Treatment of
Leading-Note Examples and Exercises. Different kinds of
Motion Rules governing the filling in of Bass Parts Examples
and Exercises. Analysis of Simple Harmony ^Chorals
be
Analysed Chord of the Dominant Seventh
inversions
Their figuring and treatment False relation Examples and
Exercises. Suspensions Suspension of nine
eight Inversions
Examples
eight
and Exercises. Chord of Dominant
of nine
Ninth
inversions, treatment, and figuringExamples and
Exercises. Suspension of four
three
resolutions and
inversions and resolutions
inversions Dominant Eleventh
resolutions and inversions ExamSuspended Leading-Note
ples and Exercises. Double Suspensions Triple Suspensions
Examples and Exercises. Different Triads Their nature and
treatment Chords of the Augmented Sixth Suspension six-four
five-three on the Tonic Six
five on Dominant Neapolitan
Sixth Passing-Notes, Diatonic and Chromatic Cadences
Attendant or Relative Keys Modulation Exercises. ConcluSubjects included in the study of Harmony ; Scales, Intervals,
The different kinds of Scales : Diatonic,
Chords, Progressions
to
Its
to
to
Its
to
Its
Its
to
sion.
to
Its
NOVELLO.
EWER AND
CO.'S
MUblC PRIMERS.
Edited by Dr. STAINER.
A DICTIONARY
OF
MUSICAL TERMS,
BY
DR.
STAINER & W-
BARRETT.
A.
(Compressed from the Imperial 8vo Edition by K. M. ROSS.)
One
Shillinq; Paper Boards, Is. 6d.
OPINIONS OF THE PRESS.

"
"
careful and judicious abridgment of the larger work, and will be found
Athenaum.
useful to those by whom the original is inaccessible."
most serviceable abridgment of Stainer and Barrett's well-known DicFew, if any, words that the student can wish explained are absent
from this little volume, which should be in every amateur's library." Daily
tionary.
Telegraph.
" Of even more general utility is Musical Terms.' As a dictionary of relittle volume should be on the table or shelf of every musician."
'
ference this
Gra/>hie.
" Most of the special information contained in the large volume has been reproduced in this shilling pamphlet, the compression having been judiciously
made by Mr. K. M. Ross." Illustrated London Nems,
" In its condensed form the work contains a mass of information which is
rarely to be met with in books of the class. It is particularly copious in German
terms, which are now becoming of nearly as much use as the Italian." Britiih
Mail,
" The musical learner will find much useful information on the principles o)
music and on many technicalities of the art only to be found in high-priced
productions."
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" No individual with any pretensions to a musical taste should be without this
excellent book of reference." Perth Citizen.
" An important addition is made to Messrs. Novelio's series ri Music Primers'
shape of an abridgment, or rather compression, of Messrs. Stainer and
Barrett's well-known Dictionary of Musical Terms.' 'That work has ranked as
a standard one ever since its publication, and Mr
Ross, who has performed
the task of reducing it to the slim dimensions of its primer form, has executed
the business with evident care and intelligence.
For its dimensions, this little
book is unquestionably the best dictionary of musical terms in our language."
The Scotsman.
'
in the
'
KM.
'
"
The
issue of this abridgment of Messrs. Stainer
was a decidedly
happy thought.'
'
and Barrett's dictionary
Many amateurs
cannot well afford the pric(

of the complete work, while many others find its varied contents, if not superfluous in themselves, an embarras des richesses as part of a book of reference for
words in common use. The present issue exactly meets the wants of the many.
Us pages are crowded with succinct definitions of musical terminology, hardly a
word being omitted
No other work of the kind conveys so much
accurate information within the same compass. The little book is the best
shilling's worth in all musical literature."
The Musical Times.
'
LONDON & NEW YORK: NOVELLO. EWER &
CO.
Novellas Original Octavo Rditions of
ORATORIOS, CANTATAS, MASSES,

&c.
FRANZ ABT.
s.
The Fays' Frolic (Female Voices)

(ditto)
(ditto)
(ditto)
(ditto)
(ditto)
(ditto)
(ditto)
Springtime
Summer
The Golden City
The Wishing Stone
The Water Fairies
The Silver Cloud
Minster Bells
(Sol-fa, 6d.)
(Sol-fa, 6d!)
6
6
6
6
Mass, in
Water-Sprite's Revenge (Female Voices)
St.
Peter
W.
B minor
Missa Brevis in a
The Passion (S. Matthew)
Ditto (Abridged as used at St. Pau:l's)
The Passion (S.John)
363.
*>
fi
6
6
6
o
Young Lochinvar
BRADFORD.
Harvest Cantata
The Song of Jubilee
Praise the Lord
BRADSHAW.
J. BRAHMS.
Destiny
CHARLES BRAUN.
W.
F.
Gaspar Becerra
A Song
of
Sigurd
RUDEL
J. C.
BRIDGE.
F.
BRIDGE.
J.
rockofages(latinandenglish)(s0l-fa.4d.)
Mount Moriah
I
I
o
6
Boadicea
Callirhoe (Sol-fa,
BARNETT.
...
3
2
IS. 6d.)
Nineveh
2
2
6
6
6
The Inchcape Rock

The Lord's Prayer
The Light of Asia
DUDLEY BUCK.
3
6
6
6
o
EDWARD BUNNETT.
Out of the Deep (Psalm
130)
W. BYRD.
Mass for Four Voices
BEETHOVEN.
No.
3
z
Daniel
97)
LEONARD BARNES.
i2;9,/92-
The Bridal Day
The Praise of Music

Ruins of Athens ...
BARN BY.
The Ancient Mariner
E.
...
J.
RsBEKAH (Sol-fa, gd.)
The Raising of Lazarus

Paradise and the Peri
Thee
(Sol-fa, 2s.)
Priceless Treasure
When will God recall my spirit
F.
M. BOYCE.
The Lay of the Bkown Rosary
Jbsu,
J.
o
o
BEXFIELD.
R.
J.
King (Psalm
The Day of Rest (Female Voices)
Christmas Oratorio
Magnificat
is
JOSIAH BOOTH.
BACH.
praise
...
Israel Restored
Mater
now will we
...
G. R. BETJEMANN.
The Song of the Western Men
ASTORGA.
The Lord
is. 6d.)
The May Queen (Sol-fa, is.)

The Woman of Samaria (Sol-fa, js.)
International Exhibition Ode (1862)
ASPA.
God goeth up with shouting

God so loved the world
God's time is the best (Sol-fa, ed.)
My Spirit was in heaviness
LIGHT Everlasting
Bide with us
A Stronghold sure
Be not afraid (Sol-fa, 4d.)
Blessing, Glory, and Wisdom
1 wrestle and pray (Sol-fa, 2d.)
Thou Guide of Israel
W. STERNDALE BENNETT.
SIR
Endymion
Jesus,
...
Sol-fa
The Legend of St. Cecilia (Sol-fa,

Passion Music from St. Peter
The Gipsies
in
o
o
6
SIR JULIUS BENEDICT.
Barnabas
Mass
WILFRED BENDALL.
Ditto
Hezekiah
St. John the Evangelist
Stabat
(Sol-fa, 3d.)
The Lady of Shalott (Female Voices)
ARMES.
E.
Sol-fa
KAREL BENDL.
B flat
P.
St.
Ditto
A Calm Sea and a Prosperous Voyage ...

Meek, as Thou livedst, hast Thou departed
...
4d.)
s. d.
...
Mass in C
Communion Service in C
Mass in D
The Choral Symphony
Ditto
(the Vocal Portion)
ARGENT.
I.
the Wilderness
THOMAS ANDERTON.
W.
in
The Choral Fantasia
Albano (English)
Yule Tide
The Norman Baron
Wreck of the Hesperus (Sol-fa,
Engedi; or, David

of Olives
6
6
..,
BEETHOVENcoM^mw^rf.
Mount
AGUTTER.
B.
MissA de Sancto
d.
(in
F minor)
CARISSIML
Jephthah
ORATORIOS, &c. Continued.

CARNELL.
F. D.
s.
Supplication
ROBERT FRANZ.
d.
Praise ye the Lord (Psalm
GEORGE CARTER.
SiHPONiA Cantata (Psalh
Psyche
CHERUBINL
The Crusaders
is.)
Christmas Eve (Sol-fa,
1
z
J.
is. 6d.)
is. 6d.)
MAUDE CRAMENT.
WILL MAGNIFY ThEE, O GoD (FsALU
I45)
Idyl)
'.
W.
6
6
W.
G.
Voices)
M. E. DOORLY.
Lazarus
DOSSERT.
minor
ANTONfN DVORAK.
Ludhila
Ditto (German and Bohemian Words)
The
Spectre's Bride
Ditto (German and Bohemian Words)
Stabat Mater
Patriotic
Hymn
Joan op Arc (Sol-pa,

Passion Service
2
2
2
is.)
is.)
...
a Triumph Song (Male Voices)
J.
137)
...
NffiNIA
Praise to the Holiest
Voices)
ROSALIND
Mors et Vita (Latin or English)

Sol-fa (Latin and English)
The Redemption (English Words)

Sol-fa
o
6
HENRY FARMER.
Mass
in
B flat (Latin and
MYLES
B.
The Lady of the Isles

The Angels of the Bells (Female Voices)
The Paraclete
i
i
2
8
10
i
i
i
6
6
i
i
2
2
o
o
6
6
Alceste
Semele
Ditto
ditto
Sol-fa o
The Bonnie Fishwives
(ditto)
2
8
6
The Passion
The Triumph of Time and Truth
HANDEL.
Acis AND Galatea
Ditto, New Edition, edited BY J. Barney
Ditto, ditto. Sol-fa
FOSTER.
HALFORD.
Alexander's Feast
English)
GRIMM.
The Soul's Aspiration

G.
I
I
of Song
O.
J.
ELLICOTT.
F.
Elysium
The Birth
CH. GOUNOD.
Te Deum
The Water-Lily (Male
HERMANN GOETZ.
Ditto
(French Words)
Ditto
(German Words)
Mbsse Solennelle (St. Cecilia)
5
Out of Darkness
Communion Service (Messe Solennelle)...
Troisi&me Messe Solennelle
5
De Profundis (Psalm 130) (Latin Words)...
8 o
Ditto
(Out of Darkness)
o
3
The
Seven Words of Our Saviour
6 o Daughters
of Jerusalem
2 6
Gallia {Sol-fa, 4d.)
2
2
2
2
GLUCK.
EDWARDS.
GLADSTONE.
F. E.
Ditto (German and Bohemian Words) 3

A. M. GOODHART.
Requiem Mass
5 o Earl Haldan's Daughter
.
Arethusa
A. E. DYER.
Salvator Mundi
2 6
C. H. GRAUN.
Electra of Sophocles
1
6
The Passion of Our Lord (Der Tod Jesu)
H.
The Ascension
The Epiphany
GERNSHEIM.
FR.
Ditto,
Ruth (Sol-fa, gd.)

The Holy City (Sol-pa, IS.)
Ten Virgins (Sol-fa, is.)
Israel in the Wilderness (Sol-fa,
Ditto,
F. G.
St.
H. DIEMER.
Bethany
in
GAUL.
By THE Waters OF Babylon (Psalm
CUSINS.
6
a
G
MACHILL GARTH.
A. R.
FIELICIEN DAVID.
P.
2
4
2
Philippi
The Desert (Male
is. 6d.)
Orpheus
2
TsDeum
(Sol-fa,
(ditto)
G. GARRETT.
Harvest Cantata (Sol-fa, 6d.)
The Shunammite
The Two Advents
Salamis.
CUMMINGS.
H.
The Fairy Ring
Mass
Columbus
R.
W. CROTCH.
Palestine
o
o
o
o
Alcestis (Male Voices)
W. CRESER.
Budora (A Dramatic
HENRY GADSBY.
o
O
2
4
is.)
4d.)
The Wild Huntsman

6d.)
A Song
gd.)
Lord OF THE Isles
H. COWARD.
The Story of Bethany (Sol-fa, is.
F. H. COWEN.
St. John's Eve (Sol-fa, is. 6d.)
(Sol-fa,
COMALA
MICHAEL COSTA.
The Dreah
(Sol-fa,
3d.)
FREDERICK CORDER.
RuTh
of Thanksgiving
Sleeping Beauty (Sol-fa,
is. 6d.)
Erl-Kihg's Daughter (Sol-fa,
ZiON
Requiem Mass, C minor (Latin and English)

Second Mass in D minor
Third Mass (Coronation)
Fourth Mass in C
E. T. CHIPP.
SIR
(Sol-fa,
Spring's Message (Sol-fa,
WILLIAM CARTER.
Placida
(Sol-fa,
NIELS W. GADE.
iiS)
The Bridal of Triermain
,. i.
117)
2
i
i
i
2
3
3
o
o
ORATORIOS, &c, Continued,

HANDEL
continued.
HUMMEL.
s. d.
Alexander Balus
Hercules
3
3
3
3
3
3
o
o
o
o
o
o
2
2
o
o
o
i
Pocket Edition
2
Judas MACCABiEUS (Sol-fa, IS.)
i
...
Judas MACCABiEus. Pocket Edition
a
Samson (Sol-fa, is.)
2
Solomon
2
Jephtha
2
Joshua
2
Deborah
2
Saul
I
Chandos Te Deum
i
Dettingen Te Deum
1
Utrecht Jubilate
O praise the Lor"d with one consent
1
(Sixth Chandos Anthem)
Coronation and Funeral Anthems. Cloth 5
o
o
o
Athaliah
Esther
Susanna
Theodora
Belshazzar
The
'.
edited
Messiah,
(Sol-fa,
by
V. Novello
is.)
...
The Messiah, ditto. Pocket Edition
...
The Messiah, edited by W. T Best
Israel in Egypt, edited by Mendelssohn
Israel in Egypt, edited by V. Novello.
o
o
Zadok the Priest
My
heart
is
Let thy hand be strengthened
...
H. H. HUSS.
Ave Maria (Female Voices)
John the Divine
JOHN WILLIAM JACKSON.

cried unto
ILIFFE.
F.
St.
God
W. JACKSON.
The Year
JENKINS.
D.
David and Saul (Sol-pa,
2s.)
JENSEN.
A.
The Feast op Adonis

8
W. JOHNSON.
EccE Homo
3
8
6
inditing
The ways of Zion

St. Cecilia's Day
W. H. HUNT.
Stabat Mater
o
o
flat
Communion Service, ditto

Second Mass in E flat
Third Mass in D
Alma Virgo (Latin and English)
Quod in Orbe (ditto)
Or, singly
The King shall rejoice
First Mass in
C.
WARWICK JORDAN.
Ode on
L'Allegro
Blow ye the trumpet in Zion

N. KILBURN.
The Silver Star (Female Voices)
The Creation (Sol-fa, is.)

The Creation. Pocket Edition
...
The Seasons (Each Season, singly, is.)
First Mass in B flat (Latin)
(Latin and English)
Ditto
Second Mass in C (Latin)
Third Mass (Imperial) (Latin and English)
o
o
o
The Epiphany
(Latin)
Ditto
Sixteenth Mass (Latin)
The Passion or, Seven Last Words
Te Deum (English and Latin)
Insane et Van^ Cur^ (Ditto)
o
o
o
o
HAYDN.
...
3
i
i
i
i
2
i
o
4
ALFRED KING.
OLIVER KING.
By the waters op Babylon (Psalm
The Naiads (Female Voices)
in a
Vineyard (Female Voices)
(Female Voices)
H.
Jubilee
HEALE,
Ode
The Sleeping Beauty (Female Voices)

Sol-pa
LEONARDO
as.)
EDWARD HECHT.
LEO.
Dixit Dominus
H. LESLIE.
The First Christmas Morn
F.
SWINNERTON HEAP.
C.
Fair Rosamond {Sol-fa,
LAHEE.
H.
BATTISON HAYNES.
Fairies' Isle
Sol-fa
Ditto,
Ditto,
The
KINROSS.
J.
Songs
137)
The Legend op
St.
LISZT.
Elizabeth
Thirteenth Psalm
C. H.
LLOYD.
Eric the Dane
Alcestis
O MAY
Andromeda
Hero and Leander
The Song of Balder
The Lonobeards' Saga (Male Voices)
The Gleaners.' Harvest (Female Voices)
A Song op Judgment
^
^
'
*
4
join
the Choir Invisible
GEORGE HENSCHEL.
Out of Darkness (Psalm
HENRY
130)
HILES.
Fayre Pastoeel
The Crusaders
LONGHURST.
HAMISH MACCUNN.
FERDINAND HILLER.
Nala and Damavanti
A Song of Victory
Lay of the Last Minstrel (Sol-pa, is.6d.)..

Lord Ullin's Daughter (Sol-fa, 8d.)
G. A. MACFARREN.
SoNos in a Cornfield (Female Voices)
HEINRICH HOFMANN.
Fair Melusima
Cinderella
Song of the Norns (Female Voices)
W. H.
The Village Fair
..
...
May Day (Sol-fa, 6d.)

The Soldier's Legacy (Operetta)
Outward Bound
..
ORATORIOS, &c.~Conhnued.
A. C.
MACKENZIE.
Jason
a
3
The Bride (Sol-pa, 8d,)

The Rose OP Sharon (Sol-fa, 2S.)
Jubilee Ode
The Cotter's Saturday Night
The New Covenant
z
...
...
,..
2
2
Veni, Creator Spiritus
B.
The Vision OF Jacob
J.
McEWEN.
H.
Horatius (Male Voices)
MENDELSSOHN.
Elijah (Sol-pa, is.)
2
Elijah (Pocket Edition)
i
o
As the Hart pants (Psalm 42)
i
o
Come, LET us SING (Psalm 95)
i
o
WhbnIsraelout op Egypt cAMB(SoL-PA,gd.) i o
Not unto us, O Lord (Psalm 115)
i
o
St. Paul {Sol-pa, is.)
St. Paul (Pocket Edition)
a
i
z
...
Sol-fa
Hear my prayer (s. solo and chorus)
...
Ditto
ditto
Ditto,
Sol-fa
Lauda Sign (Praise Jehovah) (Sol-fa, gd.) ...
The First Walpurgis Night (Sol-pa, is.) ...
Midsummer Night's Dream (Female Voices)
o
o
4
o
4
Athalie (Sol-pa, is.)

Antigone (Male Voices) (Sol-fa, IS.)
...
Man is Mortal (Eight Voices)
Festoesanq (Hymns OP Praise)
Ditto (MAle Voices)
Christus (Sol-fa, 6d.)
Three Motets for Female Voices
Son and Stranger (Operetta)
LoRELEY (Sol-fa; 6d.)
CEdipus at Colonos (Male Voices)
To THE Sons op Art
(Ditto)
Ditto,
Sol-pa
Judge me, O God (Psalm 43) (S .l-pa, ijd.)
Why rage fiercely the Heathen ... ...
My God, why, O why hast Thou forsaken
me (Psalm 22)
Sing to the Lord (Psalm 98)
Six Anthems for the Cathedral at Berlin.
For 8 voices, arranged in 4 farts ...
Ave Maria (Saviour of Sinners). 8 voices
2
4
...
Ditto,
Ninety-first Psalm (Latin)

Ditto
(English)
x
i
o
o
o
i
1
3
i
o
o
o
o
4
6
6
8
MOZART.
King Thamos
First Mass (Latin and English)
Seventh Mass in B flat

Communion Service in B flat, Ditto
...
Twelfth Mass (Latin)
Ditto (Latin and English) (Sol-fa, gd.)
Requiem Mass
Ditto
(Latin and English)
Ditto
Ditto,
Sol-fa ...
Litania de Venerabili Altaris (in E plat)
Litania de Venerabili Sacramento (in B
flat)
Third Motet
The Martyrdom of
...
...
...
...
x
i
x
x
x
i
o
o
6
o
o
o
o
i
I
Polycarp
St.
PAINE.
The Lord Reigneth (Psalm

The Prodigal Son
Great is the Lord
93)
PALESTRINA.
o
o
3
3
3
...
PARKER.
H. W.
The Kobolds
H. PARRY.
C. H.
De Profundis (Psalm
Ode
on St. Cecilia's
130)
Day
(Sol-fa,
Blest Pair of Sirens (Sol-fa,

Funeral Ode (Shirley) ...
Prometheus Unbound
Judith
L' Allegro (Sol-fa, is. 6d.)
Eton
The Lotus-Eaters (The
is.)
8d.)
,
Choric Song)
Job
DR. JOSEPH PARRY.

Nebuchadnezzar (Sol-fa,
is. 6d.)
PARSONS.
The Crusader
T. M. PATTISON.
The Miracles of Christ (Sol-fa, gd.)
The Ancient Mariner
The Lay of the Last Minstrel
St.
A. L.
John THE Baptist
PEACE.
PERGOLESI.
Abraham
Glory, Honour, Praise.
HERBERT OAKELEY.
Selection prom a Jubilee Lyric
B.
MOLIQUE.
Splendente te, Deus. First Motet

O God, when Thou appearest. Ditto
Have mercy, O Lord. Second Motet
De Profundis
MEYERBEER.
B.
...
NESVERA.
J.
Missa Assumpta est Maria

MiSSA PAPiB MaRCELLI
MiSSA Brevis
Missa "O Admirabile Commercium"
MEE.
Hymn op Praise (Lobgesang) (Sol-fa, is.)

Lord, how long wilt Thou forget me
Jeremiah
R. P.
MARSHALL.
F. E.
Prince Sprite (Female Voices)
J.
JOHN NAYLOR.
DR.
REV. SIR FREDK. OUSELEY.
W. MARKULL.
F.
Roland's Horn
Victory of Song (Female Voices)
o
o
6
o
MUNDELLA.
E.
s. d.
Thb Dream op Jubal

The Story op Sayid
Stabat Mater (Female Voices) (Sol-fa,
6d.)
GIRO PINSUTL
Phantoms Famtasmi hell' ombra
A. H. D. PRENDERGAST.
The Second Advent
E.
PROUT.
Damon and Phintias (Male Voices)

The Red Cross Knight (Sol-pa, 2s.)
The Hundredth Psalm
Freedom
Hereward
Queen Aimê (Female Voices)
PURCELL.
Dido and ^neas
Tb Dbum and Jubilate
Harold
J.
in
F. H.
D
READ.
Bartiheus
Caractacus
The Consecration of the Banner
In the Forest (Male Voices)
Psyche
J. V. ROBERTS.
Jonah
W.
S.
ROCKSTRO.
The Good Shepherd
ROLAND ROGERS.
Prayer and Praise
ORATORIOS,
SecContinued,
ROMBERG.
SVOHR.continued.
The Lay of the Bell (New Edition, translated BY THE Rev. J. Troutbeck, D.D.)
Ditto,
Sol-fa
The Transient AND the Eternal (Sol-fa, 4d.)
ROSSINI.
Stabat Mater (Sol-fa,
^
Moses
in
is.)
CHARLES
B.
o
o
Egypt
RUTENBER."
Divine Love
C. SAINTON-DOLBY.
Florimel (Female Voices)
declare
Heavens
(Psalm
The Star
Cceli
enarrant
ig)
FRANK
in
J.
SAWYER,
the East
SCHUBERT.
.
JOHN STAINER.
The Crucifixion (Sol-fa, gd.)

St. Mary Magdalen (Sol-fa, is.
The Daughter of Jairus Sol-fa,
{
CAMILLE SAINT-SAENS.
The
Calvary
Fall of Babylon
Last Judgment (Sol-fa, is.)
The Christian's Prayer
God, Thou art great (Sol-fa, 6d.)
How lovely are Thy dwellings fair
Jehovah, Lord of Hosts
Mass in A plat
Mass in E flat
^
Communion Service^ ditto
Mass in B flat
Mass in C
Mass in G
Mass in F
Song op Miriam (Sol-fa 6d.}
Gideon
The Tournament
ARTHUR SULLIVAN.
The Golden Legend (Sol-fa, as.)
Ode FOR the Colonial and Indian Exhibition
Festival Te Deum
SCHUMANN.
W. TAYLOR.
John the Baptist
A. GORING
The Sun- Worshippers
St.
is. 6d.)
FERRIS TOZER.
Advent Hymn, "In Lowly Guise"

New Year's Song (Sol-fa, 6d.).
King Neptune's Daughter (Female Voices)
VAN BREE.
SCHUTZ.
St. Cecilia's
The Passion op our Lord

and
Incidental
(S.
(S.
to
3
George)
Joseph)
J.
Mass
Mass
Music
Troas"
in
SHORT.
E. SILAS.
Mass in C
Communion Service in C
TOASH
R.
SLOMAN.
Kino Rent's Daughter (Female Voices) ..

The Bride of Dunkerron (Sol-fa, is. 6d.)
The Good Samaritan

R. H.
WALKER.
WEBER.
Order (Hymn)
Mass in G (Latin and English)
(ditto)
Mass in E flat
Communion Service IN E FLAT
In Constant
Jubilee Cantata
preciosa
Three Seasons
2
2
In exitu Israel
Dixit DoMiNus
O
O
8
M. SMIETON.
S.
is.)
ALICE MARY SMITH.
The Red Kino (Men's Voices)

The Song of the Little Baltunq
Ditto,
The Village Queen (Female Voices)

(ditto)
The Little Mermaid
Jerusalem
HENRY SMART.
King Arthur (Soi^fa,

Ariadne (Sol-fa, gd.)
(Sol-fa, gd.)
W. M. WAIT.
Supplication and Praise
J.
Day
CHARLES VINCENT.
BERTRAM LUARD SELBY.

"Helena
THOMAS.
E. H. THORNE.
Be merciful unto me
Faust
Choruses
STORER.
J.
C. SUCH.
Narcissus and Echo
God IS OUR Refuge (Psalm 46)
The Minstrel's Curse

The King's Son
Mignon's Requiem
Paradise and the Peri (Sol-fa,
Pilgrimage of the Rose
Manfred
H.
gd.)
VILLIERS STANFORD.
C.
Eden
*
The Voyage of Maeldune
Carmen S^culare
The Revenge (Sol-fa, gd.)
God is our Hope (Psalm 46)
CEdipus Rex (Male Voices)
The Battle of the Baltic
H. V\r. STEWARDSON.
S- S.
(ditto)
I
1
Soi^fa
Ode to the North-East Wind

Ode to the Passions
A. SOMERVELL.
Mass in C minor
CHARLTON T. SPEER.
The Day Dream
SPOHR.
WESLEY.
WESLEY.
Lord, Thou art my God

C. LEE WILLIAMS.
The Last Night at Bethany (Sol-fa,
is.)
...
Gethsemane
THOMAS WINGHAM.
Mass in D
Te Deum (Latin)
CHAS. WOOD.
Ode to the West Wind
J. M. W. YOUNG.
Mass (Five Solo Voices and Double Choir) 2
I O The Return of Israel to Palestine
Hymn to St. Cecilia
Most of the above Works may be had in paper boards at 6d. each extra, or handsomely
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VOCAL ALBUMS.
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MACCDNN, H. Cycle of six Love
MACKENZIE,
L}nics
Songs
I.)
. .
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..
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VARIOUS COMPOSERS-
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Songs), dp. 42 .
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Dichterliebe (A Poet's Love).
Sixteen Songs (Op. 48)
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..
10
Songs),
(Twelve Songs), Op. 39
'Vocal Album
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Op. 25
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i
LISZT Twenty Songs
'
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"Die Schone Miillerin (The Fair
Maid of the Mill)
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HAYNES, BATTISONElizabethan
.
4
6
ney), Op. 89
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Twelve Songs for Tenor
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.
A.
. .
SCHUMANN 'Songs.
HANDELTwelve Songs for Soprano
Lyrics
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Sop.)
FRANZ, R.Thirty Songs ..

Fourteen Songs (Robert Burns)
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gilt 21
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Twenty Songs (Sop. or Tenor)
..
Cloth
SCHUBERTTwenty Songs (Mezzo-
Twenty-one
ANTONIN *Sixteen
five Illustrations
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Songs
Five Songs (W. Morris)
Songs (Op. 2, 5, 17,

31)
Eight Love Songs (English, German, and Bohemian Words), Op. 83
ELLIOTT, J. W. National Nursery
Songs and Rhymes. With sixty-
MOORE
RUBINSTEIN,
DIBDIN, CHARLES
..
2
Ditto, Bass
. .
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Irish Melodies
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low voice. Six Books each
BRIGHT, DORATwelve Songs .
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Portrait.)
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Domestic Life,
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Nine Pieces. Op. 4,
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" Les Clochettes," '* Feu FoUet," &c.
Nos.
13,
U, and
13, in
to
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32, 33,
No. 3S.Mackenzie, Dr. A.. G. Eight Pieces. Op. 13.

No. 36.Mackenzie, X)r. A. G. Nine Pieces. Op. 20,
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Pianoforte
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Buonamici.
Nos. 35, 36, and 37, in One Vol., cloth, 4s.
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No. 38.Altschul, Rudolf. Fifty Hungarian National

Son^s.
Twenty-one Pieces.
No. 41. LiadofT, Anatole.
Op. 2, Nos. I to 14; Op. 3, Nos, I, 3, 4, and 6;
Op. 6 Op. 15, Nos. I and 2.
No. 42. Liadoff, Anatole. Seven Pieces. Op. 4,
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Ten Pieces. Op. 8;
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Op. 9, Nos. I and a Op. 10, Nos. i, 2, and 3 ;
Op. 13, Nos. I to 4.
;
No. 44. Gui, Clsar. Thirteen Pieces. Op. 20, Nos.

Op. 21, No. 3,
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No. 4S. Gui, G^sar. Eleven Pieces. Op. 21, No. 4;
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No. 46. Gui, G^sar. Seven Pieces. Op. 22, No. 4
Op. 29, No. I Op. 30, No. I Op. 35, Nos. i and
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2
;
Ho. 16. Schweizer, Otto.

Eight
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Scottish
Airs
Nine Pieces, including

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Nine Pieces, including
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*'Le Carillon," "The Evening
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Ho. Id. Spindler, Fritz.
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Hermann. Four Compositions.
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Seven Compositions.
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Ro. 25,Rheinberger, Josef. Seveti Compositions.
Ho. 23.Rheinberger, Josef.
Ho. 26.Tours, Berthold. Juvenile Album.

Characteristic Pieces (Duets), 2S.
Eight
No.
No.
No.
Schubert, Franz. Four Impromptus. Op. 90.

Schubert, Franz. Four Impromptus. Op. 142.
Schubert, Franz. Moments Musicales (Op.
94), and Adagio and Rondo (Op. 145).
47.
48.
49.
No. 30. Schubert, Franz. Three Sets of Variations,

Andante, and Klavierstiick.
No. 51. Schubert, Franz. Adagio, Allegretto, and
March
in
major, &c.
No. 52. Schubert, Franz.
Two
Scherzi.
Nos.
50, 51,
and
52, in
Five Klavierstucke and
One
(Op.
2).
No. 54,Hoftnann, H. Italian Love Tale (Op.

and five other pieces.
No. 55. Hoftnann, H. Fourteen Pieces.
Nos. 53, 54, and ^5, in One Vol., cloth, 4s.

22/9/93.
Vol., cloth, 4s.
" The Trumpeter of SakNo. 63. Hofmann, H.

kingen " (Op. 52) and Two Valses Caprices
CO.
19)
VOCAL DUETS.
F.
ABT.
TWENTY FOUR
Book
and Cont.).
TWENTY FOUR
2/6
. .
Book
(Sop and Cont.).
2 ..
2/6
STERNDALE BENNETT.
FOUR SACRED DUETS

F. H. COWEN.
.
SIX
DUETS
(Sop.
2/6
E. DANNREUTHER.
FIVE TWO-PART SONGS.. 2/6
. .
THIRTEEN
TWO PART
SONGS
..
.. Folio
THIRTEEN TWO PART
SONGS (German and English)
SIX
MYLES
SIX
SIX
B.
..
Threepence
2/6
SIX
TWO-PART SONGS ..
TWO PART SONGS.
1/0
1/0
2/6
2/6
DUETS
(Sop.
and Cont.)
CARL REINECKE.
Singly,
Threepence
1/6
TWO PART
-
2/6
H. SMART.
NINE SACRED DUETS (Sop.
and Cont.)
2/6
SCHUMANN.
2/6
THIRTY
DUETS
each.
VOCAL
FIVE
(German and Eng-
words)
2/6
CHARLES WOOD.
SONGS OF THE FOREST.

.
1/0
SIX
TWO-PART SONGS.
For Solo Voices
(or
Female
Chorus)

I2/9/9S.
Two
RUBINSTEIN.
EIGHTEEN
SONGS
lish
. .
2/6
TWELVE CANONS (for Two-
JOHN KINROSS.
Six Two-part Songs
1/0
2/6
Solo Voices)
OLIVER KING.
SIX
4/0
part Female Chorus or
each.
DUETS (Sop. and Cont.)

TWO-PART SONGS ..
2/0
GIRO PINSUTI.
SIX
BATTISON HAYNES.
SIX
SIX
2/6
MOORE.
IRISH MELODIES. Duets..
FOSTER.
TWO-PART SONGS ..
TWO-PART ANTHEMS
Singly,
2/0
FORD.
TWO-PART SONGS
1/0
0/8
Second Set
E. C.
S3
1/0
and Cont.^
||
ho
TWO PART
THIRTEEN
SONGS
Tonic Sol-fa
DUETS
MENDELSSOHN.
|.
DUETS
(Sop.
II
2/6
CO.
4/6
ORATORIOS, &c.Continued.
HANDEL
continued.
Athaliah
Esther
Susanna
'
'.
Theodora
Bblshazzar
The Messiah, edited by V. Novello
f (Sol-fa, is.)
...
The Messiah, DITTO. Pocket Edition
...
The Messiah, edited by W. T Best
Israel in Egypt, edited by Mendelssohn
Israel in Egypt, edited by V. Novello.
Pocket Edition
IDDAS MACCABiEUS (SOL-FA, IS.)
...
Judas Maccab;eus. Pocket Edition
SAMSON (Sol-fa,
is.)
Solomon
Jephtha
Joshua
3
3
3
3
3
3
3
H. H. HUSS.
Ave Maria (Female Voices)
i
i
o
O
o
i
i
o
o
o
o
o
Cloth
o
o
o
o
o
o
2adok the Priest

inditing
My heart
Let thy hand be strengthened
is
John the Divine
JOHN WILLIAM JACKSON.

I
cried unto
Qod
W. JACKSON.
The Year
3
8
C.
WARWICK JORDAN.
Blow ye the trumpet in Zion

N. KILBURN.
The Silver Star (Female Voices)
The Epiphany
HAYDN.
The Creation (Sol-fa, is.)
The Creation. Pocket Edition
The Seasons (Each Season, singly, is.)

3
i
First Mass in B flat (Latin)
i
Ditto
(Latin and English)
i
Second Mass in C (Latin)
Third Mass (Imperial) (Latin and English) i
i
(Latin)
Ditto
i
Sixteenth Mass (Latin)
2
^HE Passion or. Seven Last Words
...
i
Te Deum (English and Latin)
o
Ihsan^ et Van-e Cur^ (Ditto)
;
By the waters of Babylon (Psalm

The Naiads (Female Voices)
o
o
o
6
o
...
SWINNERTON HEAP.
...
HENRY
The Crusaders
H. LESLIE.
The First Christmas Morn
F.
The Legend of
LIS2T.
Elizabeth
St.
H.
LLOYD.
6
2
4
i
Lay of the Last Minstrel (Sol-fa, ia.6d.)...

Lord Ullin's Daughter (Sol-fa, 8d.)
G. A. MACFARREN.
^
4
o
o

The Soldier's Legacy (Operetta)
Outward Bound
HEINRICH HOFMANN.
C.
Andromeda
Hero and Leander
The Song of Balder
The Longbeards' Saga (Male Voices)
.The Gleaners' Harvest (Female Voices)
A Song
...
,^..
...
of Judgment
W. H.
The Village Fair
LONGHURST.
HAMISH MACCUNN.
Songs
Melusina
Norns {Female Voxcbs)
LEO.
o
o
FERDINAND HILLER.
Cinderella
Song of the
LEONARDO
HILES.
Fayre Pastorel
Fair
Sol-fa
Alcestis
...
130)
Nala and Damayanti

A Song of Victory ...
Ditto,
GEORGE HENSCHEL.
Out of Darkness (Psalm
The Sleeping Beauty (Female Voices)
EDWARD HECHT.
the Dane
MAY I join the Choir Invisible
LAHEE.
H.
Thirteenth Psalm
2s.)
Eric
Sol-fa
Ditto,
o
4
137)
KINROSS.
Songs in a Vineyard (Female Voices)
o
o
HEALE.
Rosamond (Sol-fa,
J.
Dixit Dominus
Ode
C.
Fair
...
OLIVER KING.
BATTISON HAYNES.
Jubilee
...
ALFRED KING.
>L'Allegro
H.
W. JOHNSON.
.,.
^ The ways of Zion
^de on St. Cecilia's Day
The Fairies' Isle (Female Voices)
JENKINS.
D.
David AND S'aul (Sol-fa, 2s.)

A. JENSEN.
The Feast of Adonis
EccE Homo
Or, singly
The King shall rejoice
ILIFFE.
F.
St.
Lord with one consent
PRAISE THE
W. H. HUNT.
Stabat Mater
(Sixth Chandos Anthem)

Coronation and Funeral Anthems.
flat
o
o
Saul
.;

Second Mass in E flat
Third Mass in D
o Communion Service, ditto
o Alma Virgo (Latin and English)
Quod IN Orbe (ditto)
Deborah
...
First Mass in
o
2
2
2
2
Chandos Te Deum
Dettingen Te Deum
Utrecht Jubilate
HUMMEL.
s. d.
Alexander Balus
Hbkcules
in
a Cornfield (Female Voices)
...
6
o
ORATORIOS, &c. Continued.

A. C. MACKENZIE.
The Dream OF JuBAL
TH5,ST055f OF Sayid
JasoK ...
b. d.
THE Bkide (Sol-fa, 8d.)

The Rosb of Sharon Sol-fa, 2b.)
JuBiLBB Ode
The Cottei^*s Saturday Night
The IfBW Covenant
(
F. \y.
RoXiAND's
o
6
o
De Profundis
Selection from a Jubilee Lyric
Veni, Crsatcir Spiritus
MARKULL.
Horn
J.
H.
MEE.
MENDELSSOHN.
Elijah (,Sol-fa, is.)

2 o
Elijah (Pocket Edition)
i
o
i
o
As THE Hart PANTS (Psalm 42} ...
i
o
Come, let us sing (Psalm 95)
When Israel OUT OF Egypt CAME (Sol-fa, gd.> i o
i
o
Not unto us, O Lord (Psalm 115}
St. Paul (Sol-ja, IS.)
St. Pa,ul (Pscket Edition)
'
Hymn op Praise (Lobgesano) (Sol-fa, is.)

Lord, how long wilt Thou forget me
...
...
Sol-fa
...
Hear Uy prayer (s. solo and chorus)
ditto
...
DXTTo
Ditto,
Sol-fa
Lauda S'ion (Praise Jehovah) ( Sol-fa, gd.) ...
The First Walpurgis Night (Sol-fa, is.) ...
Midsummer Night's Dream (Female Voices)
Ditto,
...
Athalie (Sol-fa, is.)
Antigone (Male Voices) (Sol-pa, IS.)
...
Man is Mortal (Eight Voices)
Festgesang (Hymns OF Praise)
Ditto (Male Voices)'
,.
Ghristus (Soc-FA, 6d.)
Three Motets for Female Voices
Son and Stranger (Operetta)
LORELEV (SoL-FA, Gd.)
CEdipus at Colonos (Male Voices
To the Sons of Art
(Ditto)
Ditto,
Sol-fa
Judge me, O God (Psalm 43) (Sol-fa, i^d.)
WHY rage fiercely THE HeATHEH
My God, why, O why hast Thou forsaken
me (Psalm 22)
Sing to the Lord (Psalm 98)
Six Anthems for the Cathedral at Berlin.
For S voices, arranged in 4 farts ...
Ave Maria (Saviour of Sinners). 8 voices
-
B.
First Mass (Latin and English)
o
2
i
i
z
4
...
Ditto (Latin and English) (Sol-pa, gd.)

Requiem Mass
Ditto
(Latin and English)
Ditto
Ditto,
Sol-fa ...
Litania de Venerabili Altaris (in B flat)
LiTANiA DE Venerabili Sacramento (in B
FLAT)
SPLENDENTE TE DeuS. FirST MoTET

God, when Thou apfearest. Ditto
Have mercy, O Lord. Second Motet
Glory,'Honour, Praise, Third Motet
...
is
...
the Lord
PALESTRINA.
H.
W. PARKER.
The Kobolds
Prometheus Unbound
Eton
Nebuchadnezzar
The Crusader
i
i
id
i
o
O
DR. JOSEPH PARRY.
o
o
O
4
6
8
i
i
o
o
x
i
i
i
i
i
i
i
PARSONS.
T. M.
PATTISON.

The Miracles of Christ (Sol-fa,
The Ancient Mariner
The Lay of the Last Minstrel
St.
A. L.
John THE Baptist
gd.)
PEACE.
PERGOLESI.
Stabat Mater (Female Voices) (Sol-pa,
Phantoms Fantasmi nell' ombra

A. H. D. PRENDERGAST.
The Second Advent
E.
PROUT.
Damon and Phintias (Male Voices)

The Red Cross Knight (Sol-fa, 2s,)
The Hundredth Psalm
Freedom
Hereward
Queen Aimê (Female Voices)
PURCELL.
o
6
Dido and Mveas

Tb Deum and Jubilate in D
J, F. H. READ.
Harold
Bai^timeus
o
o
...
o 3
o
3
3
6d.)
GIRO PINSUTI.
(Sol-^fa, is. 6d.)
B;
...
...
...
MissA Assuupta est Maria

MissAÂPA Marcelli
MissA Brevis
o
o
o
o
o
o
.1
flat. Ditto
Polycarp
-0
MOZART.
King TitAMos
St.
R. P. PAINE.
The Lord Reigneth (Psalm 93)
The Prodigal Son
Judith
o 4 L'Allegro
i
MOLIQUE.
Abraham
Seventh Mass in B flat

Communion Service in B
Twelfth Mass (Latin)
REV. SIR FREDK. OUSELEY.
C. H. H. PARRY.
o De Profundis (Psalm X30}
o Ode on St. Cecilia's Day (Sol-fa, is.)
o Blest Pair of Sirens (So-fa, 8d.)
o Ajax and Ulysses
MEYERBEER,
Ninety-first Psalm (Latin)
(English)
Ditto
>/
NESVERA.
J.
HERBERT OAKELEY.
Great
HoRATius (Male Voices)
JOHN NAYLOR.
DR.
Jeremiah
The Martyrdom of
MARSHALL.
F. E.
Prince Sprite (Female Voices)
E. MUNDELLA.
Victory op Song (Female Voices)
'
...
2
3
2
Caractacus
The Consecration of the Banner
In the Forest (Male Voices)
Psyche
...
J.
V.
ROBERTS.
W.
S.
ROCKSTRO.
Jonah
The Good Shepherd
ROLAND ROGERS.
Prayer and Praise
1^
Asw/h;

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ORGANIST AND MASTER OF THE CHORISTERS OF WESTMINSTER ABBEY;

study Double Counterpoint and Canon

There seems no reason why the

good knowledge of harmony.

who has been through

this preliminary work, should

debarred the use of the resources of modern harmony

he has diligently worked

will not fail to feel its

progressions of melody and har-

good influence, and

consistent with the greater ireedom he

application of Double Counterpoint and

view the Author has thought

of his examples from works of a fugal character.

use of his knowledge of this branch of

composition that Double Counter-

most used and most necessary, yet

has often been

music not of a fugal character, examples of and

which are g^ven

in the course of this work,

take the pains to master a subject so necessary and

so useful to the true musician.

useless and pedantic

time, for the student, rules are absolutely

he -has acquired the

departing from the

best thanks are due to Miss Smart, for kindly

allowing him to insert the interesting canon by Mendelssohn,

to F. Locker, Esq., for

bringing to his notice and permitting him to copy from the

Bach (No. 9 of Appendix)

James Higgs, Esq., Mus. Bac,

Dr. Gladstone for Example 128, together with

assistance and most useful advice which his well-known acquire-

special studies in this branch of the musical art

The Cuoistees, Westmifstbf Aensr.

Double Counterpoint General rules Double Counterthe octave

Examples Quintuple counter-

Canonicalimitation Origin of term Examples

Infinite Finite by augmentation Infinite by augmentation By diminution Retrograde Circular Examples

Examples Sequential canonExample

Methods of exhibiting canons

To compose a canon Modulation in canon

free parts to model for Double Coun.

circular (per tonos)

Clefs prefixed to a close canon

oblique motion generally 1

(g6 (note ,106,

59, a, b, c; 60, 61,

Counterpoints invertible. in various intervals

Double Counterpoint in the octave