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Artofcounterpoin00kitsuoft PDF
COUNTERPOINT
AND
ITS APPLICATION
AS
A DECORATIVE PRINCIPLE
BY
C. H.
KITSON
OXFORD
AT THE CLARENDON PRESS
1907
HENRY FROWDE,
M.A.
LONDON, EDINBURGH
DEDICATED TO
D.MUS. OXON.
PREFACE
THE
seem
to
prominence given
to various
The
work
little
will
its
predecessors.
The
(a)
The
derivation
its
many
perfection,
harmonic resource
enlarged.
little
The
has
been
result is a
restricted
Little
by little,
and melodic idiom
connexion with the past and none with the present, con-
which
in
many important
features
To
art,
PREFACE
vi
More-
is
is
is
The
and useless.
illogical
This
reached
its
Period, and
is to
art
it
it
(b)
to details
commonly ignored or
it
is
treated than in
(c)
in use.
usually
little
subject,
bined Counterpoint
is
shows
much more
assistance.
Experience
Combined Counterpoint
some
length.
An
exhaustive
is
by the various possible combinawell-nigh impossible, but sufficient has been said to
It is
The
any
application of Counterpoint to
hoped
part-writing.
on Counterpoint as a means of
advanced students of Harmony.
modern
PREFACE
The
vii
tion of this
book
Fux
Albrechtsberger
Cherubini.
.
Ouseley
Rockstro
Macfarren
Gradus ad Parnassum.
Pearce
Counterpoint.
Prout
...
...
.
....
....
Gladstone
Jadassohn
Richter
Counterpoint.
...
.
...
....
Bridge
Saunders
Grove
....
Examples
in Strict Counterpoint.
Dictionary.
Strict
Wooldridge
Parry
....
vols.
and
ii,
The
Polyphonic Period.
vol.
iii,
The Music of
Prout
....
thank the Syndics of the University Press, Cambridge, for their permission to print Canti Firmi set at the
I
have
to
Oxford,
many
for his
invaluable help in
C.
H.
KITSON.
CONTENTS
PAGE
CHAP.
I.
PRELIMINARIES
II.
FIRST SPECIES
III.
SECOND SPECIES
IV.
THIRD SPECIES
V.
VI.
TWO PARTS
IN
IN
IN
FOURTH SPECIES
14
TWO PARTS
31
TWO PARTS
IN
50
TWO PARTS
76
87
VII.
COUNTERPOINT
IN
TRIPLE TIME
103
VIII.
COUNTERPOINT
IN
THREE PARTS
no
IX.
X.
XI.
THE THIRD
IN
PARTS
XII.
COMBINED COUNTERPOINT
IN
THREE PARTS
COUNTERPOINT
IN
XIV.
COUNTERPOINT
IN FIVE
XV.
COUNTERPOINT
IN six, SEVEN,
192
PARTS
214
OF
THE
XVII.
227
250
AS A DECORATIVE
PRINCIPLE
XVIII.
130
.139
FOUR PARTS
XIII.
XVI.
126
290
COUNTERPOINT ON A CHORALE
335
INDEX
349
INDEX
II
...
351
CHAPTER
PRELIMINARIES
THE
sions
main
divi-
A. In the
first
B.
Melody.
The next
in the possibilities
of procedure
1. That of adding a part to a given part, called in Scholastic
Counterpoint the Cantus Firmus, or Fixed Song.
:
2.
That of forcing
totally different
The latter method was probably due to the fact that men
found the task of adding three or more parts to a Cantus
Firmus (C.F.), so as to produce euphonious combinations, so
overwhelming, that out of sheer despair, or lack of the power
of concentration, they selected a course which left such conSuch a system, however, served the
of
before
men's minds the effect of various
purpose
bringing
harmonic intervals, and so helped them to form, in the process
of time, a judicious selection of consonances.
siderations to chance.
true that
among
in the direction of
Antiphony.
and the commentary upon it, called Scholia Enchiriadis, inaugurated this principle, as distinguished from the old Greek
It no
Antiphony, which was technically called Magadizing.
doubt had its origin in the fact that when several men were
singing the same melody together, some found it too high,
others too low and the distance of an octave usually caused
For reasons which need not
difficulties at the other extreme.
be here detailed, the intervals of the fourth and fifth were the
first to be selected as consonances
;
Organum.
Here we see a
freer
(circa
1050)
came a new
PRELIMINARIES
Cantus Mensurabilis.
Discant in
its
survival of the
fittest,
The
that
intervals
fifth,
which
and
sixth,
this will
in
Certain modifications
his works, is the subject of this treatise.
are of course necessary, in order to accommodate the system
to
modern
C.
conditions.
Now
the
work of Palestrina
has, as one of
its
chief charac-
periods.
The
following
~
aEzji
is
vertically, that
as blocks of harmony.
And so the third or
natural evolution of the second.
is,
may be
said
to begin
with
dawn of
the
the seventeenth
was the
work of
awakening harmonic
instinct,
Under modern
movement
is
entirely built
as
to
basis.
The
following
is
an
illustration
Das Wohltemperirte
Harmonic Sub-structure.
Motives.
Clavier.
J. S.
BACH.
PRELIMINARIES
"I
E
Each of these accents
and
may
The
secularization
for instruments,
tended
They had
structure.
who adapted
is
PRELIMINARIES
He used
ing complex movement under well defined heads.
a C.F. consisting of notes of uniform length; to this a part
had to be added in notes of the same time value, or in certain
such as two notes to one, four to
these
various
;
ways of adding a part to a
are
called
or
C.F.
Orders, and Fux analysed
Species
given
the technique under five headings, called the Five Species of
classified contrasted values,
technique
1.
and
it
in reference to this
What
movement
arising
parts ?
It will
is
a study
val,
The
a chronological study of Counterpoint and Harmony.
of
music
the
under
which
ecclesiastical
of
the
modes,
system
Polyphonic Period was written, has of course given place
modern major and minor modes. The modern
system demands a treatment of unessential notes quite different
from that which obtained under the old regime. A great deal
of the crudity of students' work is due to the fact that they use
this
will give
an idea of what
meant.
is
written
is,
J
(a)
(&)<=
minim
(c)
In
(c)
The
the second
is
much
if
he
first
The
(b)
(c)
following
Counterpoint
Harmony
First to
Dominant
Third Species.
ninth,
eleventh,
Two
and
parts.
thirteenth,
Suspensions.
(d)
Counterpoint.
(e)
The two
PRELIMINARIES
choice of progressions.
is
his technique
A great
course
but
when
it
will
be
dis-
of a modulation.
much
attention
io
the terminology of
Harmony
in reference
to these essential
combinations, without an adequate explanation of its real significance, puts the student at once in the wrong attitude of mind,
and makes it possible for him to confuse contrapuntal with
harmonic analysis.
A modern would analyse the following passage according
the figuring
to
the
a concord
seventh (B
(A).
The
flat)
fifth in
he has in this technique the origin of all our rules for the
treatment of six-fours and fundamental discords.
But the student may ask by what process was the use of the
its first inversion, as we moderns term the
combinations, settled ?
We
PRELIMINARIES
The
fourth
is first classified
as a discord in a
work by Marchetto
the fourth
came
by the
numbers of the
table quoted
shows how
common
it
IT-g
-gr(0
available concords,
(b)
Combinations which
ulti-
'
Musical Form,
p. 7).
The most
1.
2.
-.
12
C.F.
C.F.
It is
The
distinction will be
PRELIMINARIES
13
in Scholastic
men
new
that
is, it
enables
structure.
CHAPTER
COUNTERPOINT
IN
II
TWO PARTS
FIRST SPECIES.
As
Scholastic Counterpoint
is
part writing, certain limitations in reference to melodic progression are obviously essential.
1. The
governing principle of melody, in all Species, is that
of conjunct movement, judiciously varied by the use of disjunct
intervals.
2.
An
is inartistic.
interval.
Modern
or fourth,
if
the
or diminished
to
such interval
Though
the
sixteenth
century,
most
occasional employment.
3.
part should not proceed
by any compound
between
interval,
is
modern
by the
either
nor
one note
interval of a seventh,
directly or with
COUNTERPOINT
Bad.
Rare.
The
TWO PARTS
IN
Bad.
Iste Confessor, is
Ie
Ie
son,
in the bass
between
we have
son.
son.
lei
Here
Bad.
son,
lei
son.
it
entirely unobjectionable
Sift
Fac,
ut
te
cum
lu
ge
am.
interval.
The
following
is
unjustifiable
Fux.
i6
_^.
n^pziz
r^L
All bad.
The
following
is
Iste Confessor
i rTTzidzzi
,-Jj.
i
-
lei
Ky
son,
is
a rare exception
PALESTRINA.
ex
The
leap of a major
sixth
vii.
f=f
et
5.
Magnificat, Tone
__|_
f=f
e.
ri
al
ta
vit.
should be avoided in
First
Species Counterpoint.
6. The leap of a third followed by that of a sixth (or vice
versa)
is
inelegant
'
:
Palestrina*s
The governing
melody
is
COUNTERPOINT
IN
TWO PARTS
but
at generally hitherto,
remarkably so
reconciled to
it.'
3
r;
vol.
ii,
p. 376.)
i8
7.
8.
are inelegant,
formula,
The
10.
liable to cause
a halting effect
the leap of an
same
pitch) is
octave
of
is
Good.
Poor.
=m
I22ZZ
If,
however, the repetition occurs between bars forming the
end of one phrase and the beginning of another, there is no valid
objection
The
It
i.
way
cords
third,
COUNTERPOINT
The second,
fourth, seventh
TWO PARTS
IN
to
is
substructure, and
it
would
upper parts. The same is true of the diminished fifth but the
diminished fourth is not permissible as an essential harmony
under any circumstances
;
Good
In
all
the others.
Now
let
major scale
will
be taken
-&
Third.
Fifth.
Sixth.
C 2
Octave.
20
II.
Third.
Sixth.
Fifth.
Octave.
III.
IV.
BE
v.
22ZECI2Z
..
VI.
&
VII.
The
result of this
may be
stated as follows
=%j\
tr:
II.=
-S-""
fc-gi=
to indicate the
and so
3^S%
I b.
{jk
seven triads
forth (key of
we term
So
that
major).
the
first
is
true
it
COUNTERPOINT
TWO PARTS
IN
sounds of
this
first
inversions,
and lowest
Of these
fez^zi,
21
fifth,
i.
e.
a discord.
scale.
The
that
is,
proper
to
Any
is
B.
If
scale
with
its
relative
harmonic
minor
n
shall see that the one point which differentiates the minor
from the major mode, so far as the formation of harmonies
is concerned, is the chromatic alteration of the seventh of the
we
former, raising
it
a semitone.
22
Now
let
system
C.F.
In
from
(i)
the mental
A to B
thing from
harmony.
we
its
At the same
(2) is
(C).
Here there
is
no
character-
effect of con-
COUNTERPOINT
TWO PARTS
IN
and under modern conditions it has been catalogued as a chrowithout necessarily producing
is, it can be used
In
(3)
is
another case of an
chord
implied
(ft)
:.g:
When
the bass
submediant, the
See
minor
seventh
may
bear a
first
to the
inversion.
(3).
Modern
A minor.
if (3)
be allowed,
major.
V b.
I.
But
it is
hard to condemn
I.
24
The harmonic
and augmented
fifth
This
will
(c)
(a)
(b)
As regards
it
is
It
(a) it is
unnecessary to
insist
on modern analysis
harmony
is
a recommendation
COUNTERPOINT
make contrapuntal study
IN
TWO PARTS
25
Free Counterpoint.
3. Consecutive octaves and
similar or contrary motion
for
fifths
4. Except in the Cadence no perfect concord may be apthe objectionable effect is due
proached by similar motion
to the exceptional prominence given to the perfect concord
;
fifths
and octaves.
trary,
alternated.
8. Not more than three consecutive thirds or sixths should
be used, except when the parts cross, in which case the undue
prevalence of parallel movement is avoided
Bad.
Good.
9. If both parts move by step, the interval of the augmented
fourth should not exist between the C.F. and its Counterpoint
in successive
bars
26
alter the
flat,
To modern
procedure
maybe adopted
sake of euphony.
|
'\
emergency. Here is
may be introduced for the
always be made to nearly
in a case of
Modulations
may
The
in order to
progression
Bad.
ii. The first note of the Counterpoint must form a perfect
concord with the C.F.
C.F.
C.F.
C.F.
C.F.
C.F.
C.F.
C.F.
COUNTERPOINT
IN
TWO PARTS
27
;
this
is
12.
followed by a
28
c.F.
COUNTERPOINT
II b.
VII
lib.
V.
C.F.
b.
I.
TWO PARTS
VII
Ib.
b.
Ib.
VII
IN
VII
Vb.
I.
Ib.
b.
Vb.
b.
IVb.
lib.
29
I.
V.
VII
CJ.
b.
Ib.
I.
G maj.
G min.
C.F.
II.
I.
._
fig
b.
I b.
b.
I.
VII
b.
CHAPTER
SECOND SPECIES
Two NOTES
i.
IT has been
consisted of what
in
two
parts.
to
variety
It
shown
IN
III
TWO PARTS
AGAINST ONE.
we now know
was
one of the
first
means of
make
was
same
r
2.
The
first
**
C.F.
(a) is
(b) is
(c)
is
(f)
an imperfect concord.
a discord.
undesirable, as likely to
give
false
impression of
tonality.
(d)
and
3.
The
bars, that
(e)
first
is
between the
first
and
last,
all
the intermediate
Another concord
is
5,
it
All good.
J==b
Inelegant.
SECOND SPECIES
TWO PARTS
IN
33
generally
(b)
discord, which
junctly
-J
s
made on the second minim.
Whatever arguments theorists may adduce to prove that the
above are wrong are based on a false principle, and are quite
a change of harmony has been
Three
illustrations
from Palestrina
7&
*
will
\\
prove
this
34
One
Another example
is
clearer
still
No
fourth
is
present.
Agnus
Munera.
T
absurd to argue that because A is no portion of the
harmony of the first crotchet it cannot be quitted by leap. This
It is
is
Of course
y'-t
SECOND SPECIES
A
are added
(all
IN
TWO PARTS
35
A
5.
direction
ALBRECHTSBERGER.
j
cs
Such a progression
36
The
mistake commonly
made
modern composition.
thus classified
The use
of unessential notes
may be
Case
I.
When
I b.
I.
Case II.
When
VI.
Illb.
(a)
the
first
(see above).
(b)
When
it is
(c)
When
it
is
lower
the
same
is
SECOND SPECIES
IN
TWO PARTS
37
II b.
II.
The above
is
V.
III.
An
observance
of the
VI.
prevent such
crudities.
such a case as
In
this,
the second
crude
effects
may
is,
as being essential.
in its contra-
But even
in
such cases
be produced.
I
9J
In order to
make
Crude.
it
will
be well
to
The key
Now
is
major.
minor
is
if
minor requires
the scale of
sharp
but
Case II.
When
sharp
is
C must
the two
foreign to
be omitted,
unessential
9J
maj.
maj.
Good.
maj.
Good.
In writing an unessential
Hence we get a further rule
note between different harmonies, if such note is not common
to the scale of the first chord and that of the Tonic, it should
be capable of analysis as forming with the C.F. a good implied
:
X following examples
F
will
make
this clear
maj.
Good.
-fe^-
Good.
Good.
Poor harmony.
Poor harmony.
SECOND SPECIES
G
maj.
'
JL
A
<ri
Good.
Poor harmony.
Good.
\\
39
maj.
&A=*
TWO PARTS
IN
e^>
min.
e=
^** ^^
II
t^>
^i
<
-*
g?
j^__g:
Good.
The
Bad.
Vb.
in.
nib.
ib.
v.
Good.
Bad,
(3)
Good.
Good.
(4)
I
I
in.
V.
Ill b.
I b.
Ill b.
Bad.
Bad.
__
Good.
(3) is
subject to the
same
criticism
4o
(4)
SECOND SPECIES
The
IN
TWO PARTS
good
because the
in effect,
And
that of
Good.
Bad.
seventh
The
is
merely deferred.
remaining cases will require no further
is
Good.
Bad.
comment
rWeakr r
harmonv.
Species.
in
The
merged
treated.
Palestrina writes
Now
such a case
is
discords.
this will
be seen when
we come
to treat of
prepared
(3)
A
served to form a habit of mind which caused
men
to
use
ndU
fS.
^
In two and three parts, at any
rate, the
harmonic interval of
It is open
the second should not be quitted by similar motion.
to the objection that the discord is sounded against its resolution
at the distance of a second, and causes unnecessary congestion
It is quite
may
be found in Palestrina,
^The
and
subdominant
SECOND SPECIES
-&-
Good.
C.
be
An
TWO PARTS
IN
Good.
Bad.
common
monic
43
har-
Bad.
Good.
Good.
Passing notes used in connexion with the first inversions of dissonant triads do not fall under any of the above
Note.
considerations.
7.
between the
(a)
..a.
(b)
first
xJ-
bar,
and the
first
of the
next
r\
if
in the
two bars
Bad.
Good.
Harmonic
Harmonic
outline.
outline.
44
-0
the
first
is
J-
Good.
When
is
felt to
be unessential no bad
effect
produced
*,-5=3-
i
V
Nor can
&
Good.
the
first
and third of
three harmonies
-J:
IV b.
VI.
lib.
IV.
lib.
VI.
same
IV.
condi-
Good.
Bad.
8.
The
9.
in the
first
and
tritone,
last bars,
and
same
pitch.
The
4-
first
SECOND SPECIES
12.
note
TWO PARTS
IN
45
may
bar
r^
own
discretion.
14.
The
chapter
be thus summarized
may
The minor
(i) (a)
harmony
It
may
(c)
It
may be used
ing idiom
may be used
as a
Vb.
IV
b.
(b)
(2) (a)
in the previous
I.
expounded
in
-A
The major
2=
sixth of the scale
may be used
in the follow-
46
In
tial
(b)
In the Cadence
all
note
(3)
scale
nevertheless
it
seventh of the
SECOND SPECIES
EXAMPLES
=r
-^
IN
IN
TWO
PARTS
SECOND SPECIES.
SE
47
48
C major.
V.
Ib.
minor.
Ib.
x;
VII
II.
b.
I.
C.F.
VI
Ib.
V.
lib.
1.
IV.
b.
VI.
VI
b.
II.
Illb.
Ib.
'
VII
"
V.
IV b. IV.
I.
Vb.
b.
V.
Vb.
I.
e*
First
I.
Vb.
>
Vb.
II I b.
V.
I.
VI
b.
Vb.
II.
Ib.
I.
II.
IV
b.
Ib.
I.
V.
b.
Vb.
II.
I.
SECOND SPECIES
IN
TWO PARTS
49
C.F.
Vb.
I.
A
-
V.
IV
I.
b.
IV.
b.
major.
tt
==3
F75
Ib.
IV.
V.
Vb.
V.
I.
V.
VI.
m
Ib.
VI.
Ea^-P-H^Se
VI
b.
Ib.
V.
Vb.
I.
CHAPTER
THIRD SPECIES
IV
TWO PARTS
IN
THE
and except
in the first
and
Second Species.
First Species.
C.F.
3.
If the second
and
third, or third
discordant with the C.F. the part must proceed in the same
If the next step will not
direction by step to the next concord.
Good.
Good.
Bad.
Bad.
it
is
inelegant to leap to an
i*E*E
_22:
Bad.
Good
^.
THIRD SPECIES
IN
TWO PARTS
51
Changing Notes.
Much ingenuity was exercised by the writers of the Polyphonic
5.
One
became quite
thus
characteristic.
Mass, Se
la face
ay pale (Kyrie).
r r
(a)
is
Paschalis (Kyrie).
zE 2
3HE
I
52
(*)
^
EE3
==^
PALESTRINA,
(0
nrffr
O admirabile commercinm.
^-^^B
=^
3^
1
THIRD SPECIES
IN
TWO PARTS
53
Jj_j__~
PALESTRINA,
KZZ
g^-rp'
^o 5w pants vivus.
-I
BYRD,
54
WILLAERT,
Moiett.
Ave Maria.
GIBBONS, Hosanna.
j^
m
^=-
THIRD SPECIES
IN
TWO PARTS
55
DtL/C
is
added
SCHUTZ, 5. John Passion.
1
ES=
II.
3
-fConsider the following cases
^3
8.
6.
a *=*
(a)
In
i,
4,
i
f^rT
r
is
f-r
discord.
(b)
is
These are
(c) But in 2 and 7 the second and third crotchets are concordant with the C.F., while the last crotchet is discordant.
It
has been stated that these are also examples of the use of
harmonies
that the
THIRD SPECIES
IN
TWO PARTS
57
should be sought
Jf?
9=.
is
the
got so
far,
The
show
We
combination on the
the passage
may
i= s
third
(or)
fourth
crotchet
is
concordant,
stand.
PALESTRINA, Kyrie, Missa Papae
Marcelli.
58
(b)
As a Melodic
BUSNOIS
idiom.
-I
(d.
1480), Je suisvenut.
1-
OKEGHEM, Mass,
!
Citiusvis Tom'.
THIRD SPECIES
IN
TWO PARTS
59
A
J
BSh
J.
"^Jj.^.
It will
rgr~j
was inelegant
m
Now
here
we have
(4) it
three examples of
it ;
A, B, C.
and
phrasing
men,
men,
It is
true that
men,
and
But
this is
is
S3
-i
stated
&
due
was
are phrased
men,
&c.
6o
men.
It will
For general
point or the phrasing makes these justifiable.
cases the rule given in Chapter III (4) holds good. It is further
to be remembered that the constant changes of harmony render
the above quite satisfactory in effect any attempts of this sort
with a semibreve C. F. will be found to be harmonically crude,
unless the C.F. leap an octave
:
Good.
PALESTRINA, Sanctus,
Iste Confessor.
-J
Here we have
tied
(d)
PALESTRINA, Ego
sum panis.
THIRD SPECIES
Here
IN
TWO PARTS
61
divided between what corresponds in SchoCounterpoint to the second half of one bar and the first
half of the next.
the idiom
is
lastic
The above
serve to
will
It
the device in
was 'the
its
origin
and
Its
The first two only are recommended, and they should be used
with careful discretion. No examples should contain, as a rule,
more than two
The
of
harmony
6.
following
is
Unessential Notes.
It will
said.
in a bar
62
same harmony.
The observance
bar.
will
such
iE3
Good.
Bad.
(3)
Good.
harmony.
The
J-J-J
THIRD SPECIES
The
following
is
TWO PARTS
IN
objectionable
EEjL_J
Because the mental
effect
of the
first
bar
built
gz:
is
good
may be
Ib.
b.
by the
helpful
figuring.
Good.
=*
J-^LJ.
i
Good.
Bad.
it
Bad.
that
effect as indicated
is
Bad.
HI.
in.
-^-J-^-J
in.
III.
is
wholly
VII
II.
63
&
Good.
64
J
,
The
last is
U-J
*U
=
J
**
J.
I b.
Ill b.
Good.
Good.
at the
second
crotchet.
With
tolerated through
common usage
With
trouble
is
ft
THIRD SPECIES
C
IN
TWO PARTS
minor.
I b.
I.
"
i
Ib.
Ib.
IV.
66
7.
Consecutives.
The
We
cases, those in
be observed
effect
that
the
following
produce
to
an
one.
It will
objectionable
Fux.
-V(*)
(2)
*==x=t=^se=3.
THIRD SPECIES
The good
IN
TWO PARTS
67
or bad effect does not depend entirely on the disThe rules here codified refer
Consecutive
fifths
first
i a).
(i
e\
F2
first
of the
68
(F)
third of
the next, unless the placing of all the harmony notes of each
bar in the form of vertical combinations produces correct
harmonic progression.
(3)
1
See
(3
c).
THIRD SPECIES
The
TWO PARTS
IN
69
third of
In Third Species
It is
the
and third of three harmonies but in the simple combinaand Third Species it is not always easy to discrimiunless the Third Species approach the new harmony by
first
tion of First
nate,
disjunct
movement
7o
who
(3)
objectionable.
not form the
9. The extremities of a melodic passage should
tritone
Good.
Bad.
There
is
matters clear
The
make
Good.
Bad.
Good.
Good.
Bad.
Good.
-&
==
Not good.
It is
THIRD SPECIES
IN
TWO PARTS
then,
71
some
a
Time after
surely a | is being used on the last crotchet.
time this difficulty has arisen in the minds of students owing to
a confusion of principles.
And
The
D F
treated as discords.
ii.
bar.
PHI r
II
jrifafl^i
and
Major Mode.
(a)
Minor Mode.
C.F.
C.F.
THIRD SPECIES
and
(a)
IN
TWO PARTS
73
(b)
C.F.
rn
It
is
examples
First
C.F.
r
i
if^ft+ig
r
i
unnecessary to add
rr
the
figuring
to
the
33^
IP
following
74
X.
v/
Two-bar rhythm.
A
znr-T
-r
i*
r-^
THIRD SPECIES
IN
TWO PARTS
C.F.
L-
tl
-*
ES
V
C.F.
>
A-'
75
CHAPTER V
FOURTH SPECIES
TWO PARTS
IN
SYNCOPATION.
i. ONE of the most obvious ways of obtaining variety of effect,
besides the use of passing notes, is to withhold the movement of
one part while the other proceeds one step forward, and thereby
comes
to
moving one
step
into
consonance
again
()
(0
(*)
(d)
(/)
'
'
'
prepared at (a).
a further discord
'
(d).
S~~*^
move by
^"^
is
step to
<^^
"J
'
'.
J-
FOURTH SPECIES
2.
It is true,
IN
TWO PARTS
is
77
concerned,
7T -
gJ
bar,
first
Good.
In the
Bad.
C.F. and
its
Counterpoint
and experiment
in the
now considered
(1) is
service
(2) (4)
43
speaking, a suspension at
all
Now
5,
it
is
and
merely a
termed
is
5==
m
(i)
and
(2)
are what
r
we term
^i
^i
the suspensions 2 3 ; 4 5
Some theorists allow it, and
;
(4) is
it
is
FOURTH SPECIES
IN
LEOPOLITA.
This
is
essential.
There
is
79
TWO PARTS
(Agnus Dei)
?s
-rdr
subject to the
same
is,
we
(a)
note,
98
or
(b)
The
scale,
and
(c) The 4
3 is not used over the second or third degrees of
the minor scale nor on the leading note in both modes, because
8o
it
fifth,
and implied
All bad.
syncopation.
He
Feria
vi,
In Parasceve.
J=t^
We need
smooth.
r*ls=^-
it,
if
the
harmony be
FOURTH SPECIES
IN
TWO PARTS
Sicut cervus.
(ft)
Over a
pedal,
where the
sixth
81
becomes the
Benedictus.
in
men
the sixth as a passing note, so that they never kept the sixth
stationary as the fourth proceeded to the third. And this is of
The
65
is
| f.
56
i
No upward
From an
82
up, the note that prepares the discord (the second minim of the
bar) must be concordant with the C.F. and the discord is
downwards
22:
All bad.
The
is
as follows
23
r
(b)
the
45
(c)
the
56
It is better
fifth
as a suspended
i_
Ugly.
(d)
the
65
(e. g.
two harmonies).
a retardation
7r
Good.
6.
It
Bad.
has been pointed out that the second minim of the bar
FOURTH SPECIES
IN
TWO PARTS
The
83
following are
i
7.
The
may
be found by
first
9.
J J
l^i
Poor harmony.
Exposed octaves.
Good.
Melodic monotony.
G 2
84
ii.
The unison
is
12.
The
last
t_<*
^^-
The Cadences
are as follows
C.F.
"
tf
If
it
is
C?T-^
^^ ^
Rare."^
EXAMPLES
First Mus. B. Cantab.,
1/L
L_
May,
IN
1904.
FOURTH
SPECIES.
FOURTH SPECIES
IN
TWO PARTS
85
C.F.
/
_2_
m=^
H2fc
C.F.
C.F.
86
c.F.
|/T\
CHAPTER
FIFTH SPECIES IN
VI
TWO PARTS
FLORID COUNTERPOINT.
FLORID Counterpoint may be said
thetical
The combination
of two Species
and
3rd
3rd
and
3rd
4th
(*)
penultimate bar.
trina's
It is
works where
may be found
in Pales-
But
in the
88
There
notice.
biata
is
form
fa-
Such a
Why is
It
may be
is
asked,
_n
The reason
to
introduce synco-
pation
The
1 1
<^^-
I
,
Benedictus, Missa
3
Nota Cambiata.
Papae
f^-
Marcelli.
FIFTH SPECIES IN
TWO PARTS
89
tied
as the Counterpoint
The
length with the first, or half the value of the first, and no note
shorter than a minim should be tied into the next bar.
In
(b)
and never
to
rare that
may never be
Morley
tied,
in his Plaine
:
&c.
but
it
(Palestrina) for an
(c)
The
Two
example
use of quavers.
It is
in
Good.
There are
Good
in Palestrina isolated
any part
Undignified.
90
justifies
tt^*
The following uses of quavers, involving melodic repetition,
are bad :
The
used
study of Palestrina will show that quavers should be
sparingly.
(d) By the use of dots.
in
two parts
is
not practicable
A dotted
The
FIFTH SPECIES IN
TWO PARTS
fSf
!i^f
*aT
<.>u
These are
all
(4)
catalogued thus
(c)
(6)
(a)
(rf)
ment of the
B.
,
(a)
At
(a)
resolving.
before resolving.
These are really modifications of the use of the Nota Cambiata,
and may be catalogued thus
:
3
The leap or conjunct movement to a note higher in pitch than
the note of resolution and the use of quavers higher in pitch
than such note, though permissible, will be found to be extremely
rare in practice
2ZCH
TWO PARTS
FIFTH SPECIES IN
employed
it is
93
to the
first
(c)
last bar.
(d)
Aim
at
'
the greatest
dignity of style
true
'
(Rockstro).
F^
C.F.
C.F.
7.
Avoid over-elaboration,
8.
Avoid,
same
m
Poor.
9.
One
on the
theorist
third crotchet in
Such a
94
,J_^_
FIFTH SPECIES IN
TWO PARTS
95
Bad.
Bad.
ON A STUDY
Now
is
Good.
OF PALESTRINA.
The
view.
Every bar of the score correbars
two
of
Scholastic
sponds
Counterpoint, that is, in
reference to melodic rhythm.
(i)
horizontal
to
Thus
Credo, Iste Confessor.
Counterpoint
is
Palestrina
commences
T ^
that
it;
procedure.
Again
is
4 ^ ^
Here
-J-
The
(2)
The
Scholastic Analysis.
J_*
l^^3E^EE^^^^eE:
came
men
On
the use
In this connexion,
it is
it
notes.
may be
horizontal system
is
There
is
TWO PARTS
FIFTH SPECIES IN
\
no
definite
rule that a
change
of
harmony
97
'
trated
The harmonic
their parts.
concords may be
principle
quite simple
approached and quitted by leap, discords must be approached
and quitted by step. Prepared discords have nothing to do
with the essential harmony.
Some of the most beautiful harmonic effects of the period are
obtained by a process of combined conjunct and contrary motion,
It may be asked if one
involving the use of two harmonies.
change of harmony in the bar be allowed, why not two or three ?
Such a latitude would permit unnecessarily disjunct movement
between notes of short time value, and would foster a style
is
of the period
knew by
it
is to
respect further,
bar contains two accents.
:
how
The
writers
instinct
far
is rare,
and
this
It will therefore be
largely accounts for the dignity of his style.
seen that the restriction to one harmony in a bar and the use ot
two accents,
following
and
w.
&c.
be
felt
weak
accents.
Counterpoint
fr
is misleading in reference
bar clearly contains four strong and four
we
Putting
obtain
this
section
into
bars of Scholastic
FIFTH SPECIES IN
TWO PARTS
99
true, forms the foundation upon which all succeeding progress has
been made. And one of the chief reasons why so many students
seem
be found
fgv-
100
iJ
C.F.
*-*^C.F.
gSg[>9tII3
&-
^?==
FIFTH SPECIES IN
TWO PARTS
101
s
*jH
-HNM=l B =ai
C.F.
fy&Hi-t
f^^2=ZgZ=Zt
to strict
harmonic principles
T02
*
:
condemn
is
correct Counterpoint
the student
have no
difficulty in
CHAPTER
COUNTERPOINT
VII
IN TRIPLE
TIME
SECOND SPECIES.
i. IN a system of notation now
obsolete, a semibreve might
be considered equal to three minims
this value of the semibreve was termed the Greater Prolation, and was denoted by
the use of a circle, thus
:
Its
modern equivalent
is
of course
semibreve
i=i
2. The Counterpoint begins on the second minim of the. bar,
and must form with the C.F. a perfect concord.
bar must be in concord
3. The first minim of each succeeding
When
io 4
5.
A change
BEEzsEi
of
harmony
in the
bar
is
always allowable
COUNTERPOINT
ft\\
? <^v
IN
TRIPLE TIME
105
106
Jf
^ m
:J~
m ^H~J~
J p
COUNTERPOINT
7T
-*
IN
TRIPLE TIME
107
io8
as the
notes
C.F.
involved
are
,..-KM:
V.
I.
VI
Vb.
VI.
b.
IV
IV.
VI
b.
IV.
b.
(b)
V b.
a possible ending.
FIFTH SPECIES.
No
C.F.
(a)
VII
I.
b.
I.
VI
b.
II b.
mentally
COUNTERPOINT
v.
Ib.
IN
TRIPLE TIME
VII
109
b.
BIS
(a)
It is better to
each bar.
C.F.
fe
2rfcfc=:
rt/ ~.
CHAPTER
COUNTERPOINT
IN
VIII
THREE PARTS
For
it
was found
well
Ionian Mode.
Dorian Mode.
c. F
()
(*)
But the effect of the minor third (a), created by most of the
modes, was felt to be objectionable, insomuch as the Ionic
cadence sounded so satisfactory.
And so in the system of
Musica Ficta a sharp was added to the C, to make it like the
Ionian cadence, forming the upward-tending leading note, and
producing a satisfactory effect of completeness. This progression of the bass from V. to I. has become stereotyped as the
perfect cadence, and up to a short time ago was the universal
method of concluding a movement. Other experiments have
been made by modern writers with varying success.
It has been shown how men experimented with combined
COUNTERPOINT
sounds
in three parts
combinations were
left
IN
THREE PARTS
in
;
:
Z2I
The
fourth
basis of our
The
L_V
^
The
2.
3.
first
J.
for the
good
extreme parts
Wherever
also.
The
gap
No
I
apart.
When
is
Except
it
should be
discretion.
in the first
and
last bars,
and occasionally
in the
first
112
*
Bad.
Good.
The
minor mode:
CONSECUTIVES.
8.
by step
Many
(a) is
found in Palestrina's
admirabile commercium
tzac
(b) is
in the Stabat
Mater
(c) is
found
COUNTERPOINT
IN
THREE PARTS
&
=s?
dt
(
E$E1
isolated instances.
Now
it
is
quite
ing
opinion
is
But
Mun
Credo, Ibid.
modern harmony
in
That
It
is, his procedure in this case is accepted as absolute.
inconceivable that there can be any benefit in prohibiting what
was certainly a common procedure in the sixteenth century,
is
and which still holds good. It is obvious that there are many
things which may not be done in Strict Counterpoint which are
the reason is not
perfectly good in modern harmony
were ever wrong from an absolute point of view, but
;
that they
that they
n4
The use of
did not form a part of the technique of the period.
retardations is an obvious illustration. And if we see a procedure
common
is
inconceivable
allow
it
why
are forbidden between extreme parts for the purpose of discipline, it may be replied that if we can find no means other
There
is
no point in making
sake of intellectual
have
not
even the saving
imposed
sphere of technique.
Consecutives (exposed) between different positions of the same
chord are entirely unobjectionable
Good.
pro-
The
In
COUNTERPOINT
IN
THREE PARTS
Poor.
the following
of the period
is
^=^
"T
g^zzziz;
The
that
no guarantee
purely contrapuntal music
will
be equally effective
in
good
is
SULLIVAN, Te Deunt.
n6
Indeed,
good
in
by
things.
(/?)
extreme
Good.
Good.
Poor.
I
The
-^
i
Bad.
Bad.
Bad.
Bad.
Bad.
COUNTERPOINT
That
IN
THREE PARTS
is
One modern
allowed,
if
parts, if
the notes
fifths
are not
is
(e)
consecutive
all
But there
(8)
when
117
-SEM-
Thus we
fifths
and octaves
parts.
Now,
in
it
is
u8
so that
it
is
The
it
is
10.
&-
gp:
All good.
It is
allowed between a
part by contrary
motion
Good.
Good.
Ugly.
hardly wise to lay down any hard and fast rule much
depends upon the context, and the student should rely more
upon his musical sense than the mechanical application of rule.
But
it
is
CHAPTER IX
THE FIRST AND SECOND SPECIES
THREE PARTS
IN
ONE OF
i.
is
be a note
common
as possible
-&C.F.
Poor,
Good.
i
3.
In the
first
root
c.F.
Bad.
The
Good.
Good.
Good.
120
C.F.
C.F.
C.F.
(a)
C.F.
-The following
that
is,
is
quite correct
Examples
fifth is
open
to
no objection.
COUNTERPOINT
First
THREE PARTS
IN
121
~-^.
C.F.
C.F.
1=^=^=1
I
An example
in practical
form
C.F.
J-L
'
'
122
SECOND SPECIES
IN
1.
minim of the
the second
bar,
if it
The cadences
2.
are as follows
C.F.
-"
.fg-rg-
S__^4l-^=l
_^=j_Z^2
C.F.
^J
/^
C.F.
CF.
C.F.
Observe that the last two notes in some part are invariably the
Leading Note and Tonic. This is the case in every Species.
3.
(a)
is
is
is very harsh
above
COUNTERPOINT
THREE PARTS
IN
123
^t
(b) Wherever possible let the second minim form with the
holding notes either a modern essential discord, or a good
passing chord
H-<^r
e
(c)
i
Good.
Poor.
No
5.
The
first
concord
C.F.
Incorrect.
C.F.
Good.
I2 4
is
based on prac-
in
Bad.
but, as it has been pointed
arguments which support Palestrina's procedure have
ceased to have significance under modern conditions.
The
out, the
ZEi
COUNTERPOINT
IN
THREE PARTS
125
CF.
An example
in practical
C.F.
=p
EBE^E
or
S*
form
^n
nnn
CHAPTER X
THE THIRD SPECIES
IN
GREATER
First
7T
COUNTERPOINT
THREE PARTS
IN
127
C.F.
p
J-i.l
&
C.F.
U
^I-IU
h ligt^
J
J-JlglL.
C.F.
J-lJ
Ull
J
^^
C.F.
Good.
128
effect
of
a deferred
resolution
of the
seventh.
Compare the
rule in
harmony textbooks
auxiliary notes.
The
notes,
Examples
them
:
artistically
by
instinct.
The
early
COUNTERPOINT
IN
THREE PARTS
i
129
C.F.
The
these examples
CHAPTER
XI
ONE OF
IN
i. THE
accompaniment of the various syncopated discords has
already been adequately discussed in Chapter V. It is, however,
necessary to remember that the 98, besides being accompanied
by the third, may be accompanied by the fifth or sixth also
Root.
The
CCA
of course obvious, e.g. we have here the suspension of the root or third of a common chord.
Similarly, the
7
reason
is
^j
and the 4
*%J
=^=^-ttiU
fifth
which
is
suspended.
Thus
COUNTERPOINT
n ->
-\
->
IN
THREE
I32
Exposed consecutives are allowed under the conditions mentioned in First Species.
4. As to the accompaniment of syncopated concords, the follow-
make
things clear
^
Good.
Bad.
Bad.
Good.
(Retardation.)
When
may form
-&-'
Good.
6.
The
C.F.
C.F.
COUNTERPOINT
IN
THREE PARTS
133
C.F.
SBr
The
leading note
may be
doubled,
if it is
Bad.
Good.
a syncopated concord
PEDAL POINT.
Sometimes the lowest part contains the same note for two or
more bars: it then becomes a pedal point, and the next part
above it is to be considered as the real bass.
in
(0
J.
fc^ft"
From
modern
of suspension
the real bass on the second minim, the bass again becoming
essential on the third minim.
few examples are added
:
is
134
CHERUBINI.
last
discord be resolved by
C.F.
Examples
COUNTERPOINT
IN
THREE PARTS
=^-f_ if
135
-f-T
C.F.
I
C.F.
S
tr-r
S
C.F.
e^^f
136
COUNTERPOINT
THE FIFTH
Too
IN
THREE PARTS
SPECIES IN ONE OF
frequent syncopation
is
THREE PARTS.
The rules
unadvisable.
137
with
EXAMPLES.
m-2-^
4-
138
jj jp
CHAPTER
XII
COMBINED COUNTERPOINT
WHEN
first,
we have what
is
IN
THREE PARTS
parts are in
some
species
point.
This is a branch of the subject that has received very inadequate treatment at the hands of theorists. The earlier writers
merely gave a few examples of Combined Counterpoint with
little
in textbooks of the
Macfarren school,
But
it
must be admitted
that the
whole
some
detail.
under harmonic
conditions.
In reading the compositions
of the Polyphonic Period a modern can easily see what is
correct relatively or absolutely.
have seen that Palestrina's
We
We
The
it
We
The
great principle to be
140
is
all
Discords came to be used without preparation, and combinaand non-essential notes which were pleasing in
tions of essential
effect
theories were
devised.
PEE
COMBINED COUNTERPOINT
The
process then
is
IN
THREE PARTS
141
Fux.
This
142
No
is felt to
is
one would
tolerate
in
any case
=g
(6).
Now
'
above
The
it.'
All parts moving together at the same instant (i.e. all notes
2.
which are struck together) must be in concord/ except when two
moving parts are proceeding by conjunct and contrary motion ;
'
in this case
The
rules
they
may
following
is
strike a discord.
COMBINED COUNTERPOINT
y
$v~
xr?
'
IN
THREE PARTS
143
144
^=
These are only a few of the many examples of such crudity
day in students' work. There is
evidently something wrong somewhere.
The
fact
is,
it
is
all
that is necessary is
been said
to
rule.
J. S.
instinctive
harmonic
An
is
illustration will
COMBINED COUNTERPOINT
IN
THREE PARTS
BACH, Wachet
145
auf.
A,
b
^-
&
t
the effect here is that we have a supertonic ninth, with the
seventh in the bass, the tenor clashing into and reinforcing it,
and the resolution wanting. Bach intends the chord of E flat as
(a)
And
of course
The
shows
shows
3
*;
And under
^^
the present system it is probable that many comin the same way, will be in time catalogued as
binations, formed
chords.
resultant
146
new
progressions.
With
the
it
should be resolved as at
(b) if
the bass
(or)
^\)
^
'^
J.
COMBINED COUNTERPOINT
^.
_J
IN
THREE PARTS
147
148
But
unsatisfactory
It may at once be said that the effect will be good if the parts
concerned proceed in simultaneous and parallel movement, and
if the two contrapuntally essential combinations connected are
satisfactory as a harmonic progression, when the intermediate
sounds, which of course must proceed by conjunct degrees, are
omitted.
the
of a
new harmony.
All good.
But when the two parts involved take two unessential notes
by similar motion and then proceed by contrary motion to the
next centre
or
COMBINED COUNTERPOINT
IN
THREE PARTS
mind
149
at
"}
J.
r
There are cases
satisfactory in effect
in
;
headings.
want of attention
J-J^afe
f=f
B"^
i
15
fact is that
following,
which
is
unsatisfactory:
COMBINED COUNTERPOINT
IN
THREE PARTS
151
ing recommendations.
it
Q4
It is
1.
of
its
The
2.
lie in
the mainte-
bar conjunct
<$.r
COMBINED COUNTERPOINT
(c)
IN
THREE PARTS
153
(root E)
Note.
(C)
A change
of
Missa Brevis.
&-m=
"
'
~D
T\
Confessor.
Ibid.
(a) this
is
consonant.
A.
(i) If the
note,
quitted by step
crotchet form
bar
154
COMBINED COUNTERPOINT
B. If the second
minim
is
IN
THREE PARTS
155
form with
crotchet
it
Second Species
PS r
tZSL
All good.
The
commerciun
admirabile
dmirabile commercium.
Adoramus Te
Christe.
rrr
* *
SHTM/ c^ryMs.
^=$E
156
Sicut cervus.
to
be found in the
scores of Palestrina.
We
find in his
essential fourth
Aeterna Christi Munera.
fourth
is
not
step was to strike it bare according to ancient use, but with the
third or root sounding beneath it
The
effect
of this
better avoided
but
is
its
art,
as showing the
dawn
in
men's minds of
COMBINED COUNTERPOINT
IN
THREE PARTS
157
CONSECUTIVES.
4.
(a)
first
and third of
three combinations
r
Good.
Equivalent
0^"
158
E=PF=C
Good.
Ugly.
It
in treating of the
Second Species
inelegant
(j
,J
E=TT,
C.F.
EXAMPLES.
KB
it is
quite
good
that
COMBINED COUNTERPOINT
IN
THREE PARTS
159
in
C.F.
tive
160
--
The
effect
rules as to consecutives in
Combined Counterpoint
follow in the
principles of criticism.
^j
TJ
equivalent to
(d)
It
be accomplished
COMBINED COUNTERPOINT
d^b
^==~E=E3
~Jz?L
<"^
IN
THREE PARTS
161
U?
^zii^i^iz^rz
i
-r
--
are not
recommended
T
forms obscure and crude harmony.
a f quitted by leap. The above, in which the harforms
(b)
monies of the two bars involved are deducible from the same
such a procedure.
root, are the least objectionable instances of
(a)
3.
PREPARED DISCORDS.
162
dl
=fl
^
i^
m
liable to be very harsh and is not recommended, but
with the minor third is much smoother.
(2) is
(3)
(b) in
a change of
harmony
m
A
Observe in (3) the origin of our chord of the dominant seventh.
Note that in all the above cases in (a) and (b) the first minims
could have remained as semibreves while the discord resolved,
and the resultant combination would in each case have been
concordant,
I?D
"
e. g.
COMBINED COUNTERPOINT
IN
Good.
The
THREE PARTS
163
Bad.
U=
Students
often
ward
into consonance.
Ignoring
analysis
the
discord,
the following
M2
is
the
contrapuntal
164
'
1-
second case (b) the second minim in the bass (G) is discordant with the alto (F) and incorrectly approaches and quits
this discordance by leap.
in the
4. The extreme parts may not approach a fifth, nor may any
two parts approach an octave, by similar motion, when one of
them is resolving a discord
:
!E
COMBINED COUNTERPOINT
Palestrina avoids this as follows
IN
THREE PARTS
165
J.
The
5.
The
fourth
proceed to the
BE5I?
may be accompanied by
fifth
the sixth,
if
the latter
166
EXAMPLES.
C.F.
RZ
fsl
COMBINED COUNTERPOINT
is
IN
THREE PARTS
167
not to be criticized as
for
no exposed
fifth
occurs.
H
p
r
-J-LJLE=g=B
2.
pS3=^
168
4.
Prepared discords
may be used
JT~^L
leaps,
it
is
concordant with
COMBINED COUNTERPOINT
KB
IN
THREE PARTS
<E2E2
-tt
169
(*)
But
in the original
form
(a)
no
fifth
actually occurs,
and the
secutives
Now,
if it is
Species,
its
Palestrina
is
did
not
consider consecutive
fifths
nor
if
the
first
objectionable
the first two
Dei,
Missa Brevis.
m=
if
^~
L>
pant's,
170
He
also wrote
go sww pants.
fc=^
r
Fux considered
~-
IL
^
But modern conditions, where rhythm and harmonic substructure are salient features, do not allow of such arguments
holding good. However, the above examples from Palestrina
distinctly point to one fact, namely, that in the case of what are
termed syncopated concords the test as to consecutives should
not be exclusively limited to a reduction of the score to plain
First Species. It is more often a case where the Second Species
principles should supply the test, the second minim of one bar
and the first of the next bearing the same sound. Take, for
COMBINED COUNTERPOINT
IN
THREE PARTS
By
171
equivalent to
fact is, the ear often accepts the first minim of the bar not
as a note in place of the second, but as a distinctly separate
The
harmony note.
work this test
It is
is
bare and often so indefinite that the First Species test should
be strictly maintained ; nor is the above test always practicable
or aesthetic grounds
jo---
I 72
5
The former
is
is
correct
&>
latter,
--
COMBINED COUNTERPOINT
IN
when
when
W)
THREE PARTS
173
3~3-
9 J
COMBINED COUNTERPOINT
/\
IN
THREE PARTS
175
m
J -1~W
^
J
C.F.
E^===J
rr
*-
f if r f r
-+-
*-'
Jjcj^fLt&^i^
""
^=H^
i
=P
=t
'
176
s
C.F.
add parts
/L
to
in
it
COMBINED COUNTERPOINT
This
IN
THREE PARTS
177
(b)
tory
7k J
W"
178
Prepared discords
fashion, thus
may be accompanied
7=
an ornamental
Ornamented.
Plain.
(ffj
in
7=
COMBINED COUNTERPOINT
IN
IN
THREE PARTS
TRIPLE TIME.
179
ft -
182
Good.
or a good implied
=^
E^S
H*=^
i
i
.::
r-T-n-
J--U
m
Good.
pedal.
Good.
Good.
The
'
If
little
'
W
rffr=f
i
Bad.
Good.
Bad.
to the
law
ot
Bad.
Nor should
tion
proceed
r r
Bad.
combina-
COMBINED COUNTERPOINT
IN
THREE PARTS
183
Good.
or
when
the C.F.
satisfactory
f^y"
*t*
IE3E
^"v^.
Good.
It is well to
conjunct and
^w ^
Bad.
Bad.
Bad.
Good,
Good.
Bad.
Unresolved seventh.
i8 4
A
The
-
'+
'
j
:?~
A
sounded below the seventh.
p^
.
i
Harsh.
Harsh.
Bad seam.
=j
J
eJ
..
II
J
cJ
ZE?_
Good.
COMBINED COUNTERPOINT
As
is
IN
unessential,
on
When
THREE PARTS
it
will
on
to a |
185
is
a violation
may not be
the
from
of
inversion
another
approached by leap
chord, the
of
a
in
note
to
the
order
make
bass coninterpolation
passing
junct, does not remove the bad harmonic effect which is the
cause of the rule.
Examples of this sort are to be seen every
day and it is very difficult to undo the mischief, when the rules
in textbooks make such things possible.
of the spirit of the law.
it is
said that a
j|
it
is
impossible to
to
proceed
will
every turn.
Many
i86
Any one who has read the various early treatises must
once admit this.
facts.
at
'
to the
chord
was
correct.
It
may
common
sense.
is
non-existent
deserves.
We
COMBINED COUNTERPOINT
IN
THREE PARTS
187
'
to
and substituted
for
relatively correct cease to have any place under modern conditions ; as, for example, the treatment of unessential notes, and
from two distinct points of view, the horizontal and the vertical,
and he is thus taught how Counterpoint merges into and becomes
It is a system which can be directly
the basis of Harmony.
in
and he student who builds up his
modern
work
applied
;
i88
decoration of diatonic
who
is
best
resource.
EXAMPLES.
First Mus. B. Oxon., Nov., 1900.
C.F.
S*
Z2"
&
COMBINED COUNTERPOINT
zatss
IN
THREE PARTS
f^^-^^M
f*3
189
190
An
example
in
C.F.
is
the C.F.
tanzni
The same
aims of Scholastic
Counterpoint
5t=
\M/
rn^T
COMBINED COUNTERPOINT
(a)
The
last four
IN
THREE PARTS
(\\
^"^
191
CHAPTER
COUNTERPOINT
IN
XIII
FOUR PARTS
The
points
These are freely allowed between any but the extreme parts,
whether the higher part move by step or not.
(b) The doubled leading note in the second bar of each example
is
entirely unobjectionable.
Some
COUNTERPOINT
IN
FOUR PARTS
in
which
it
is
open
to
Bad.
motion.
But the
Compare
Mater
1&-
parts
itte
194
harmonic
effect.
SECTION A.
i.
UNCOMBINED COUNTERPOINT.
First, Second,
-&
fefcr
Nl
^
^
Hs
COUNTERPOINT
IN
FOUR PARTS
C.F.
.:
F=^
F==
P=5-
-^^
Ill l^
i
/f
*\
<*y
->
195
196
sr>
=t
C.F.
C.F.
m
n
(a)
b I
COUNTERPOINT
IN
FOUR PARTS
197
I
(0
discord on the
in
point.
1
,
C.F.
M
(b) As the complexity of the score increases, the rules as to consecutives between First and Third Species are rightly relaxed.
198
A
__
rr
9J
'
COUNTERPOINT
IN
FOUR PARTS
9 8 by I or either.
| or either.
'J
by
| or either.
4 3 by
or either.
(Bare).
Z by
4 or
2.
by 5 or
2.
199
200
C.F.
IS
COUNTERPOINT
i
IN
FOUR PARTS
201
m
to improve
(a) A bar of Second Species may be interpolated,
movement.
bad
avoid
or
to
the
or vary
disjunct
harmony,
J=3=ftf-?=&
C.F.
F=*
t*?.-
iEE3
202
SECTION B.
FOUR PARTS.
First, Second,
First
and Third
Species.
C.F.
Z2I
ft^
t?
SJ
=F^-K-
IN
COUNTERPOINT
First
First, Third,
Mus. B. Oxon., Nov., 1900.
IN
FOUR PARTS
and Fourth
g=^3=g ^ U
203
Species.
^g=d
t&
ti
E*gEgEsgi5=Bj
C.F.
First
C.F.
^^
204
C.F.
s
w=r=?
Double Suspensions
may be used
in
Combined Counterpoint
its florid
in
movement, preventing
m
(6)
With a
w=^
florid part
added
COUNTERPOINT
(c)
IN
FOUR PARTS
205
Species
fitl
206
-A
1-
may be combined
=i
!=**
I
First, Second, Third,
and Fourth
Species.
3
C.F.
"
ICD
[/
g*
rd
COUNTERPOINT
IN
FOUR PARTS
207
^
(a)
The doubled
leading note
is
unobjectionable.
and Fourth
Species.
C.F.
5
Three leaps
in the
same
208
THREE PARTS
IN
FLORID COUNTERPOINT.
i.
felt
as
harmonic obscurity ;
(a) passing notes, causing
(b) passing chords ;
often such possible combinations have to be discarded, and the
score simplified sometimes the addition of another note makes
:
s\
[HA
H"
COUNTERPOINT
IN
FOUR PARTS
Good.
209
Bad.
In this case, the bass is felt to be a pedal, and the F and G the
seventh of a passing dominant seventh the effect
root and
therefore
3.
is
good.
Occasional combinations of groups of quavers
may be
employed.
4. The score should be kept as simple and as clear as possible.
Movement should never be made merely for the sake of doing
something nor should any possible move be made, irrespective
;
C.F.
210
mm
An
example
modulations
First
in
^fef=M
C.F.
^=E-^^3LrUL-U^=e^
COUNTERPOINT
IN
-f
211
a==5
First
FOUR PARTS
isfc^^s
=^
lOg-Tzg
C.F.
P 2
2i2
=[
nzrj*Tf~r~c
-J
_.i
v..
fa
C.F.
"
M-r
COUNTERPOINT
FOUR PARTS
IN
213
^^F
1
=e
si
m
^XiZJI-JL
CHAPTER XIV
COUNTERPOINT
HARDLY any
i.
in
IN FIVE
PARTS
five parts,
necessary
idioms of Counterpoint should be observed.
need
to
style,
There
is
never any
suffer
(a)
suspended discord may be sounded against its resolution, except at the interval of a second, by contrary and conjunct
movement.
M^A
Harsh.
Tolerable.
Such a procedure
is
combined
Species.
The
j
r
* "
.HI i
,^ni
f~l
^^
COUNTERPOINT
IN FIVE
PARTS
215
be heard
examples.
Students often find
the following
it
difficult to
0K-3-4 J
avoid
fifths in
d-
difficulty
such a case as
2i6
Gloria.
Missa Brevis.
trJ
tolerated.
Good.
Undesirable.
C.F.
1
A^-La.
COUNTERPOINT
/L
b-fr
IN FIVE
PARTS
217
2l8
C.F.
I/
I/
_.
i
4?
2.
To
it
first,
in
is
would be well
not as being
to write the
final,
Fourth
but as giving a
characteristic
(i.
e.
conjunct).
COUNTERPOINT
IN FIVE
PARTS
219
Preliminary Sketch.
()
C.F.
^^
mM
220
IA
r~r
f
i
COUNTERPOINT
(r)
f"
c^
IN FIVE
PARTS
221
222
The following
are necessary.
is
the problem
worked out
a few
comments
;=
C.F.
rzr
EEEg=3=3=Fr^HF-f
r~P"^i
=F^
3
^^?^
COUNTERPOINT
IN FIVE
==
-&
PARTS
223
y=^:
^s=
rJ
$&>-
~
3
%
The
(a)
in difficult
is
JEt
p. 168.
(c)
This
is
parts,
It is
The
on Combined Counterpoint
in three parts,
combinations.
insertion of an additional part in First Species makes the
working difficult for if two harmonies are to be used in any
The
224
felt
to
?Tj..
Jj.
*-j
-"
COUNTERPOINT
Four of the parts
in Florid
PARTS
IN FIVE
Counterpoint
225
Hi
:.F.
_
&
m
m
m
(a)
See
p.
16
(4).
226
^
No comments
are necessary
satisfactory.
CHAPTER XV
COUNTERPOINT
IN SIX, SEVEN,
AND EIGHT
PARTS
THE
may
fifths
by
Alma
Redemptoris.
221
and the writers of the period considered them far less objectionable than consecutive octaves, which rarely occur in less than
six parts.
decision.
(b)
to
have reversed
(e)
this
Chapter VIII
may
in
be
followed.
(c) The doubling of the leading note at the unison, which
merely reinforces the sound, is open to no objection.
228
VI.
III.
V.
III.
V.
VI.
V.
III.
e. g.
note
is
bad
For though
in four parts
such a progression
is
based on judgement of
allowed to stand in the
2.
way
Academic pedantry
is
sometimes
of common sense.
It is
the last
good
COUNTERPOINT
beat of the bar
and
IN SIX
OR MORE PARTS
some
229
point
of imitation.
t>
Bad.
relief.
Neither
All bad.
may
be approached by
similar motion.
4.
5.
In florid work,
it
is
better that
some of the
parts should
begin imitatively.
is
consecutive
bars
in
the
course
of a
problem.
The
The
confusion of
harmony
over-
obscurity of harmony ;
congestion of harmony.
student must guard against these, and he must be particuharmonic seams are good. He must form
2 3o
may
find
it
useful
to each
In
The
student
is
recommended
to read Palestrina's
Stabat Mater
O admirabile commercium.
work
work
\-Aeterna
Christi Munera
Four-part
Five-part
-
Missa Brevis
Iste Confessor.
Lauda Sion
Ego sum
panis
Sitivit aninia.
studied.
The
Eight-part Chorus
(a)
Song of Judgement,
(b)
Domine.
(b) Double Chorus
The Righteous
live]
(a)
Harwood, Inclina
Egypt,
-
8.
(c)
(b)
wrestle
Why
Bach,
(a)
A few general
useful.
and pray
COUNTERPOINT
(a)
It is
IN SIX
OR MORE PARTS
231
piece of work.
It is insufficient that the work should be merely technically
correct; it must show in addition artistic perception in the contour of the parts, and in the choice of harmony.
The rigid use
moreover,
The
(i) 5-6.
6.5.
(2) 8. 7 .
If
not so limited.
Species
is
not true.
The
with each
Compare Bass
Second Tenor
First Tenor
Alto
This
will
part above
) t
,,
grammatical errors.
it.
is
free
from
232
e*
1^FtP=pgg
CF
a= ^
COUNTERPOINT
IN SIX
PARTS
233
234
Six parts.
combined
C.F.
m
w- r
Im
,r_
COUNTERPOINT
IN
SEVEN PARTS
235
s
m
l^rrrr
es
C.F.
^fe
^^
ii.
236
-&'
-JZ:
S
EJEE
g
&
~1
1
&fcZ2I
COUNTERPOINT
IN
EIGHT PARTS
(1
<=-
C.F.
.C^
C*i
237
238
_r
iE
^=-rrtg^=
C.F.
Eg
(a) In writing in alia cappella time a semibreve may be occaThis will be very rare in Scholastic
sionally tied to a breve.
Counterpoint, for the breve is of course equivalent to two tied
COUNTERPOINT
IN
EIGHT PARTS
239
ftpizpzqj^i
^3=Z
(a)
?S
^
semibreves.
reality only
But
&^
it
will
IP*
^^, the
24-0
by the
sixth bar.'
2C-4
COUNTERPOINT
IN
EIGHT PARTS
241
gsjt
S
4
-t
fcr
Si
242
Kft-^4-
L_-
COUNTERPOINT
IN
EIGHT PARTS
243
all parts.
JSL
gsfe*
m
C.F.
R2
244
f/b
COUNTERPOINT
IN
EIGHT PARTS
245
c*
E^
-
>&$=S=
fff^pll
246
Ox on.,
Mus. D.
1899.
1
33
<
c*
C.F.
1
r
C.F.
g);
ft
-^-
COUNTERPOINT
IN
\-
EIGHT PARTS
ir
247
\"=3
^=r^=r
248
fcft
*=3=t
C.F.
mmi
fc^
F^=^
^rr?
31
&=
C.F.
COUNTERPOINT
pi
IN
EIGHT PARTS
249
CHAPTER XVI
THE ELEMENTARY HARMONIC SUB-STRUCTURE
OF MODERN CONTRAPUNTAL DECORATION
THE
'Nuove Musiche'
resource.
It is
led to the
enlargement of harmonic
this treatise to discuss this
subject ; but it has been thought well to deal with the material
of the Polyphonic Period from a vertical standpoint, and by
touching slightly upon the use of the unprepared seventh, the
essential six-four, and dissonant triads unavailable in the Polyphonic Period, to cross the frontier that separates the old art
It is
hoped
The
how
resource.
(2)
The
(3)
Rhythm.
all
modern
HARMONIC SUB-STRUCTURE
(4)
The means
(5)
Differentiation of style.
(6)
The
251
of modulation.
The
raised
in
way
the basis of
all
decorative work.
SECTION
I.
the
Major Key.
formation of phrases.
But before we proceed to this we have to
consider the very simplest fundamentals of harmonic progression
words the
aesthetic
(i)
arrangement
the following
is
252
v.
IV.
The Secondary
We omit VII.
V.
II. to
Root
(b).
I.
(c)
falling a third.
to VI. ; III to I. ; IV. to II.
Root
V. to
III.
VI. to IV.
rising a second.
III. to
J.
VI.
The
(a)
III.
IV.
I.
Root
The
progression
is
tolerable
if
the
first
strong accent.
(b)
Root
VI. to V.
chord occur on a
HARMONIC SUB-STRUCTURE
253
m
VI.
V.
Good.
We
The Iambus.
The Anapaest.
The
1234
first foot is
often incomplete.
The
last
^-r
^
r
F
V.
I.
to -, except
in the relation
of
254
(a) at
1?
(b)
when
1ST
(c)
O'rJ
&
T^r
Examples of phrases.
J.
&
When
the
^=A
it
first foot is
HARMONIC SUB-STRUCTURE
-p~-5
-\
T^
pR~?
Er r
1
255
256
3
Jp
HARMONIC SUB-STRUCTURE
25?
not be used for the second and third accents of a bar of triple
time, because it has the effect of a displacement of accent.
-t-*
**
r-r
(a)
Note
that the
first
<U
()
this
produces what
rW r T r r
I
_,
Hfed
^
^--1t
1
I
w--U
J.
h
on the
termed a
falls
is
258
(b)
Feminine Cadence.
accents
should be
SECTION
II.
*"j^3
IV.
I.
combination of these
V. to IV. is best thus
Any
V.
is
*-^
VI,
good.
V.
IV.
Examples.
I
i01-2_^
I
ei-g
i
^
^g^E^^
-J.
HARMONIC SUB-STRUCTURE
259
__C-?
II.
VII.
III.
(a)
~22I
1
IV.
(b)
III.
II.
VII.
II.
and
VI.
III
(c)
V.
is
V.
VI.
II.
I.
V.
V. or VI.
III.
VI.
impracticable.
III.
J-
EEpEi
S 2
260
(0
triads.
(4)
(3)
(5)
It
is
followed by V. and
I.,
9J
it
is
the melody being the last three notes of the ascending melodic
minor
scale.
~r
The
following
is less
":J
j-
<-
1
(3)
(n\
^'
The
jyf
W&
may
its
use.
HARMONIC SUB-STRUCTURE
261
"5"
-p,
The
demands harmonization.
(5)
A minor.
to the
fulfilled
(a)
C major.
conditions
key of
following
In order
must be
The
must be a fourth
Thus
first
262
Neither
The
is
for neither
is
following
maj. to
an example of modulation.
maj.
maj. to
maj.
r^n
'
T^m
HARMONIC SUB-STRUCTURE
*V
gj
33
*==&
263
J
Bad.
As
cases
a matter of
fact this
in
two
m
P
^^
(b)
When
is
tonic.
?m
The
flr=
following
is possible,
r=F
but not recommended.
264
^=
&=:g
(4)
VI.
It
should be preceded by
I.
and followed by
third.
r =z-j
:
;
"
^^
-A
Lastly
?5
j^^E^E tz^z::i:irr]:zzg^tl
H
[
"^
we should have
^'=3?=f ==3f=3=^==&
j.
_J-
(5).
Bad.
scmiSr
S^tE
HARMONIC SUB-STRUCTURE
_gl
L
.1,1
-g^
-^j
1
xr?
I
,
-g
r
(1)
The
i.
^n^
*v^
p=1^=
e
I.
Izigzi
365
characteristic
common chords
of the minor
mode
arc
common
chord on IV. should only be used when the major sixth of the
scale occurs in the highest part.
the melodic
(3) The additional chords derived from
minor
Examples.
!_l
Using
I.
IV. V.
VI
266
Introducing
v
II.
and
'
III,
_*
'
~L
j.
degree
degree
HARMONIC SUB-STRUCTURE
I
II
ry-
.>
jjt^j
ij
'""1
f-*^-
/a
"Iffg
B2^
r^
^=^-7^^
r
"""
p=_J_dS
fifth.
^-zji^
,^^
r r
J C^
d
/'j
^
_
'
"
^
I
F-
^:
p-
f=F
^ r
:
267
268
FM
common chord on
HARMONIC SUB-STRUCTURE
269
-A
'
'
77"
_[/' 4r
Tj.
g3^..
If
^H
"^'
']
C^
.it
^5
M-^:
we
-^
S
'
T- -f
XI
'
r
J-
'
'
'.
.'
write
.n.
i_i
1
,
_3_
6
1
1*
C.af>*uir*
*j
'
4
*i
7
1*
i'
r*~~\
270
m
Caesura.
Xw
HARMONIC SUB-STRUCTURE
'
i
271
i.
*rf
T
x
.J ~~\2'-~-\3L
(Caesura.)
T~
~T
z-
Completion of
3E^
first foot.
2 72
1
a
I
i
____!
6006
__
ft
.
66
ti
SECTION IV.
First Inversions of the Triads of the
Minor Mode.
in
has also
J.
Bad.
Good.
Good.
Further,
avoided.
i
"
gJ
&>
>=F=P^3
IfJ
J-
&
i
\\
HARMONIC SUB-STRUCTURE
273
Examples.
i
^-^(^.
I
-J
J-
^,-&
(2)
lib.
is
VII
Illb.
lib.
(a)
b.
b.
effects.
3
JSSL
III b. is best
T
preceded or followed by
II
~l
II
I. I b.
IV. or VI.
'
Illb.
I.
VI.
V.
All good.
Illb.
IV.
Ill b.
r
VI.
274
(c)
VII
b. is
3E23E3
*E*
*
\-
l
'
*-
J J J J
=pgstecJ
I
<:
Cadence.
Cadence.
*=* 5^T
F ^
rr ry'r ry-rr-i^ F?
tf
^--*-
-^g-
f
,
p^rt^pztd
61
'
'
Cadence.
Cadence.
A
6
Cadence.
"
jjl5=^^^===E;^=JE^
fS=
Cadence,
HARMONIC SUB-STRUCTURE
JL
275
J.
Cadence.
J.
J.
Cadence.
m
Ji__J
rTTT
Cadence.
4=J
r
Cadence.
T 3
The
following
(1)
(2)
first
notice.
&=r
it.
HARMONIC SUB-STRUCTURE
recommended
themselves to them
to confine
277
of their work.
EXAMPLES.
^==g====^==^^
IF
J
&>-
fr3
..^
fe^rrn
1
A
it
6
fi
i^JbL^_JJ
AA
-^-s^-
^^^^E-E-^^^U^-^
'I 66
80
le
10
'
278
SECTION V.
The use of
It
the
Chord of
the six-four.
bar.
It is
Suspensions.
Here we have
It
It
Hence we
discord.
HARMONIC SUB-STRUCTURE
279
J
1
J.
1
Good.
{-
Eir
"
-A
<s
jgz=EiE^H
ftfc
Good..
(b]
Over a
Bad.
moving
^
(c)
As an
JL
unessential harmony.
H!:
i
-
280
be used on
If
at
r
^
^-
LzE
All weak.
equally satisfactory
m
A
J:
in (b)
appoggiaturas.
BOYCE.
4-
be
found?
HARMONIC SUB-STRUCTURE
And
this of
281
six-four.
Thus
in
ticular way,
the following
is
in
this par-
irregularity.
Equivalent.
II
II
A
EXAMPLES.
h-H
-I
=P
g
~^=:z^--
!1
J.
===P===.
282
lEEsF
-iii._^jj_i
n
-F^
i-?-r-
<
Jf
p-
HARMONIC SUB-STRUCTURE
.1
"^ J
"^J
283
_J
=m
e
The second
inversion 4
is
seventh added
(b)
the seventh
may
or
same
may
where
it
is
not be prepared.
Secondary sevenths.
V
Roots
In using these
(1) the seventh must be prepared.
(2) the root of the next chord must be a fourth higher than the
root of the secondary seventh.
&C.
284
^A
gJ;
M^.
r
/T3
(=
L.
1_
r
This technique
methods.
The
is of
may remain
to be the seventh ot
the next.
r
^ T^~^
AV
r
EXAMPLES.
(i)
The dominant
seventh.
weak
accent).
^js^iz^pzzqz^-
\-r-j
g?
^2
ipi^inzgs
-2=^=f=fE^=f*=^^<^e=^^^
.
-J.
2S
1
(2)
Unprepared.
4
--
HARMONIC SUB-STRUCTURE
285
r
-F
r
"'LL'
Note, in
2-
~r>6
JJ
i
._d_
o~
^~
all
==*
^g
r~"
is
<=>__
F=P
...._..
Secondary sevenths.
J d
i
nrg^
~
JtI
J ~
g>_gj
r-
J
^
286
SECTION VII.
A>y
As
We
Distribution.
proportion so far as the chordal centres themselves are concerned, and we have now to consider the principles which
govern the use of variety of tonal centre.
shall employ the form invariably used in short sen-
We
16
or
5-8
halves.
HARMONIC SUB-STRUCTURE
The
first
287
or through
on the
The second
first half,
indicate sections.
formula
is
A2
i.
^^^^i
-^
Resolution deferred
^-
'
'
'
BS.
4.
288
A 2.
r.
#^
3.
D8.
I2Z
r
This at the end of one phrase and the beginning of the next
The
make
is
always good.
close.
means
consideration of the
01
is
Nothing is
and rigid rhythm
but the power of avoiding this involves
a knowledge of the normal structure, and it has been our aim in
this treatise to foster this sense ot balance and proportion.
Students who are interested in the matter will find it worth
while to study the following from this point of view
*
Mozart,
Ave Verum.
HARMONIC SUB-STRUCTURE
Church Music Society Reprints, No.
by Vittoria and Pearsall).
'
Parry,
God
(Communion
289
Introits
'
(Judith).
viii.
CHAPTER
XVII
is
claimed that
if
lines
(i)
It
length.
of
no value
eEEEli
is really in g time, that is every bar contains four accents, and
therefore the scholastic analysis is
:
The
is
first
The
modern
strict
style,
of unessential notes.
(3)
The
chordal centre
classified chord.
APPLIED COUNTERPOINT
So
r
are:
3G3ZB
Centres
"j
291
292
The
Combined Counterpoint
There
no
must
be
crude, obscure, or confused
apply absolutely.
and
the
harmonic
seams
be satisfactory. The
must
harmony;
(5)
problems.
SECTION
I.
to
a given Bass.
We
first take one of the simplest cases, that in which the bass
In the following problem
consists of notes of uniform length.
(Ground Bass, Third Mus. B. Oxon., May, 1905), each bar con-
tains
three accents.
Scholastic Counterpoint.
Add four parts to the following
Ground Bass.
Scholastic equivalent.
It
like
modern
yg-;
"T
1|
APPLIED COUNTERPOINT
293
*=*=*^=^-i
++
EB
^m
&i
^fc
+tt? 1
&-
294
^~m
m&~^^
"~
T~
^
T~a
!__&
**-r-
~^^\
'
35=1=:
3-9
S=E=ESE=fe^^^E
APPLIED COUNTERPOINT
C
minor
295
example
in Stainer's
The
following
may
also be studied
Add
minim
is
The
student
is
The
letters serve to
recommended
to write out
scholastic form.
One bar
is
s^=
The
=== ^
draw
attention to
some examples
in
29 6
10
12
11
13
14
15
&c.
out
At.
C.F.
A 2.
APPLIED COUNTERPOINT
2 97
tr
SECTION
The adding of parts
to
II.
a given melody.
ClfclftTr-r-fr-r-r-j=Z=Z=
298
out
APPLIED COUNTERPOINT
(H+
-*
fe
;=^:
^P
299
^^
.2i^rz>.
5ffi
^S
M5t
j^feefr^g^a
F^F~
j
^
In the next example (Third Mus. B., Nov., 1905) the chordal
is, each half bar represents a bar of
C.F. fi.
300
APPLIED COUNTERPOINT
301
would be possible
Zj? -_g5>
^g:
m
h$
i
The
what
is
The
following
is
is
a parallel case.
also a principle of
The
modern
for
it
will
Scholastic Counterpoint.
Each crotchet represents a bar of Scholastic Counterpoint.
302
APPLIED COUNTERPOINT
Third Mus. B. Oxon., May, 1906.
(Centres are Crotchets.)
Adagio.
C.F.
:C*
33
3 o4
APPLIED COUNTERPOINT
forgetting that
principles,
35
such
It is at once felt that the centres are quavers, that is, every
crotchet corresponds to one bar of Scholastic Counterpoint. In
order to make this principle perfectly plain, we give in the first
Modern
flf
APPLIED COUNTERPOINT
30?
3o8
c
APPLIED COUNTERPOINT
309
Problem.
To the following 2nd Violin part add parts for ist Violin,
Viola and 'Cello.
Mus. D. Oxon., Nov., 1905.
Ji
A grasp
of the
3 io
We
now
centres.
Changing
notes.
Changing
notes.
APPLIED COUNTERPOINT
311
rail.
j*r"Tirirr^jg|g
APPLIED COUNTERPOINT
c
Problem.
Add
'Cello.
=rf=
all
plain bass.
to connect
smoothly with next bar.
Harmony arranged
(8)
-i
Now
free parts.
used
(1)
(2)
(3)
(4)
second half of
the beat.
APPLIED COUNTERPOINT
Evolved from A;
Part of
developed.
3 i6
The
first
in
the
form of Scholastic
Counterpoint.
&c.
T-
fecz;
*?
^-
*
1
i*
'
1*
APPLIED COUNTERPOINT
Third Mus. B. Oxon., May, 1905.
difficulty.
Al
A2
B3+4
APPLIED COUNTERPOINT
319
Contrapuntal Analysis.
=i
^
SECTION IV.
working of problems in modulation,
the
opening bars
being given.
Method
(1)
The
(2)
of working.
Problem.
Begin as follows
and modulate
to
minor,
flat,
flat,
flat,
and back to F.
320
It is felt at
Now
n
A
crotchet
254-5.
thus
is
j-3
see pp.
four bars,
effect,
we have
n
j-3
A a.
n
j
first half.
Since
Ai and A 2
completion
D minor.
It is
necessary to avoid
harmonic monotony ;
repeating the idiom of the modulation, or anticipating
at the
cadence.
i.
LT
Ly
LJ
L;
LJ
its
APPLIED COUNTERPOINT
321
As.
IS
LJ LJ' LJ
tJLJ?
^3
6
^
It will
The
third phrase
Bi.
Bs.
tr
tr
CLT
tr
LT
II
tail.
We
i.
fzJfrL.
b,
\,_
i^=L-^=fcrz==--j
Lf LJ
^z^i^zq
LJ
322
2.
667
its
will
It is
underlying
it.
T"
APPLIED COUNTERPOINT
323
maj.,
to F.
First
Begin as follows,
Gmin., Cmaj., and back
triple time.
324
(a)
JT:
and
(b)
so
we get
A i.
Cadence.
JT3 JT:
A
at
JT3_J;
2.
JT3 JT3
JT3
Now, as the given bar forms only one half of A, the next
bar should differ rhythmically, else Ai and
2 will form four
and
a
create
monotonous
effect.
parallel rhythms,
very
Again
we
canjDnly reach
key (B
flat) is
D min. by the
on the
flat
end of the
first
A i.
Feminine Cadence.
The second
motives.
phrase
is indivisible.
LLT
ttr
r-
nr
LLT
r-
cij- r-
APPLIED COUNTERPOINT
325
-0:
c/rr
r-
irr
r-
t?3
The
following
is
&
The working
A i.
of the problem
2.
fff-m
Sub-phrase
i.
TT
agj
|
i
||
>-J
326
Problem.
A maj., F
maj.,
min.,
B flat
maj.,
min.,
maj.,
min.,
min.,
min.,
FJ
min.,
major.
Hi
opening (D maj.,
min.) be
Handel
on Form).
Each
crotchet represents an accent, that is, the centres form Counterpoint in triple time. Then, when the centres are decorated, each
is regarded as the equivalent of one bar of Counterpoint
First we draw up the chordal centres in terms of
duple time.
crotchet
in
Scholastic Counterpoint.
APPLIED COUNTERPOINT
16
15
14
13
P
m
r
i6
Next we put
tj
this in correct
The working
of the problem
327
328
Cf. bar
i.
Problem.
Begin as
min.,
follows,
flat
maj
D maj Ff min., F$
and
back to B min.
min.,
and modulate
maj.,
to
maj.,
APPLIED COUNTERPOINT
329
Schertando
The
student
may be
left to
i.
As.
33
The
(i)
First
ft*
Now,
at first sight,
crotchets
it
would seem
*-
were
APPLIED COUNTERPOINT
is all
33i
wrong.
Here we have
five bars.
The
quavers
and the first beat of the first bar counts for nothing, so that it
takes just four bars to complete the phrase (e. g. counting by
motives and not bar lines) ; and the second phrase will end not
in
first
(Add a Coda.)
The reason
tence
is
that
we have
33 2
demands a
follows
parallel response.
had been as
expression 'dominant of F minor' implies two modulamin. and C maj., else the latter could not be called the
dominant of the former, as a key.
The
tions,
The important thing to note is that the rhythm of the first two
bars implies the displaced accent as a characteristic feature.
i.
APPLIED COUNTERPOINT
G min.
Bb
maj.
min.
333
maj.
I
It is strongly urged that along with the study of Counterpoint,
and harmonic progression, the student should pursue the follow-
to
accents,
2.
CONSTRUCTIVE.
outlined,
of figure,
It is
how many
It
how Counterpoint
work as a decorative
principle,
334
The
prove useful
following recommendations as
study may
Melodic Form: Parry, Art of Music, chapter on Folk Music
:
(Kegan Paul)
art.
on Sonata
(ib.); art.
on Symphony
(ib.); art.
on Concerto
Applied Forms
(ib.)
CHAPTER
XVIII
COUNTERPOINT ON A CHORALE
IN THE STRICT STYLE.
i.
Add an
Alto, Tenor,
and Bass
in Florid Counterpoint.
(g
by notes
shorter than
occasionally employed.
(c)
The
student
is
The Counterpoint
following
ways
differs
in the
336
(b)
When
first line
(double
scholastic bar
e. g.
on each
crotchet.
if
the change of
harmony be
too frequent.
need not
hardly necessary
melodic curve of the points being roughly followed)
and that strict imitation or ingenuity in device will never justify
to point out that the imitations
It is
be
strict (the
crude harmony.
Example. (The addition of words
is optional.)
CHORALE.
Bless'd
are
the
Bless'd are
the
pure
pure
...
in heart, the
pure
in
in heart,
For
pure
*=r-*f-t-p=*=Z=Z3X==3==3
Bless'd are
the
pure
COUNTERPOINT ON A CHORALE
heart,
337
338
Christ's
2.
Bless' d
bode,
Their soul
IN THE
is
Christ's
bode.
FREE STYLE.
In work of this kind, the strict idioms of Scholastic Counterpoint are discarded.
Unprepared discords and chromaticisms
are used, and the student
auf.
made
and the use of formulae. The student should analyse the Bach
Choral Preludes for himself under the following headings
:
COUNTERPOINT ON A CHORALE
339
(ii)
and
benefit to
(i)
Formulae
(a)
Wir
built
Christenleuf
rftnr-f^
"
r
fi-"r
*~
r br r *
340
to
point.
(c)
Formulae
built
upon the
basis of two
compound
scholastic
bars.
iEESE
(*)
that is at
the centres.
(a)
we have
So
that
it
COUNTERPOINT ON A CHORALE
Each crotchet corresponds to a bar of Scholastic Counterpoint,
we have here really a compound time, e. g. eight notes to
but
one.
(3)
bars.
(a)
gfrrfr
7
Implied C.F.
Two
(a)
(b)
342
When
CONCLUSION.
may be
Counterpoint
(d)
Pearce,
vols.
(c)
and
;
(b) Grove,
Rockstro, The Rules of
ii
Composers' Counterpoint
(e)
Prout,
Harmony.
2. Having gained a knowledge of the modal system, the
student should proceed to a deeper study of Palestrina.
It
CANTI FERMI
343
in
any
clef,
and transposed
to a
key
The
is
for guidance in
i.
ZARLINO.
a.
/
MORLEY.
/
MORLKY.
4.
/
344
HAYDN.
/
HAYDN.
/
ALBRECHTSBERGER.
m
CHERUBINI.
8.
CHERUBINI.
/
j=j
CHERUBINI.
m
CHERUBINI.
II.
1
H
"I
CHERUBINI.
12.
CHERUBINI.
/
ALBRECHTSBERGER.
/
CANTI FERMI
345
15.
Fins.
16.
CHERUBINI.
may be
C -F.
^
I
l.t
1754).
/
f-
taken thus
I-
-4-=\ ()
or
/
346
i.
HAYDN.
ALBRECHTSBERGER.
ALBRECHTSBERGER.
CHERUBINI.
CHERUBINI.
g*
CHERUBINI.
Fux.
8.
^v
10.
II.
h-i g
CANTI FERMI
13.
"
14.
g
i
347
INDEX
Consecutives
of, 145.
BACH,
Anapaest, n, 253.
Antiphony, 2.
Appoggiatura, 154, 280, 314.
Sixth, origin
(conf.)
Four
Augmented
4, 6.
224.
Diaphony,
145.
Cadence,
12.
Two
Combined Counterpoint,
no,
Exposed Consecutives,
see
Consecu-
tives.
n,
Fourth,
158.
anticipation of, 27, 255, 259, 282.
Feminine, 257, 281.
Perfect,
2.
Discant, 2.
Dorian Sixth, 24, 29.
Dots, use of, 90, 178.
70, 80,
in,
208.
Ground Bass,
253.
292.
Caesura, 254.
Cantus Firmus,
Harmonic Progression, 18
i.
Change of Harmony,
Changing
n, 253.
Imitation, 229, 336.
Chordal centre,
Iambus,
33.6.
notes, 51 et seq.
6, 290.
Clausula vera, 12.
Concords, 10, n, 18, 19, 32, 97.
Consecutives
Two parts
First Species, 25
Sec-
126
no.
et seq.
et seq.
Combined Counterpoint,
167, 168 et seq., 189.
157, 160,
Two
251
INDEX
35
Modulation, 9, 23, 26, 261, 286.
problems
in,
319
et seq.
Musica
Nota Cambiata, 51
no.
et seq., 88.
Notation, 96.
Secondary
triads, 252.
Organalis, 2.
Organum, 2.
Ornamental resolution, see Resolution.
Oxford History of Music, 342.
quoted, 16, 17.
of,
Seventh, chords
320
of,
et seq., 331.
282.
216.
n.
PALESTRINA, 3, 9,
the study of, 95, 230, 342.
his technique, 16, 17.
his treatment of consecutives, 112,
117, 169.
Passing chords, 147, 148, 149, 180,
182, 183, 208, 298, 340.
Passing notes, 43, 93, 94, 122, 127,
141, 152, 153, 181, 182, 208.
Syncopation, 76.
broken, 83, 221.
internal, 89, 310.
Syncopated Concords,
76,
132,
Principalis, 2.
Prolation, 103.
Unessential notes
Second Species, 35
Quavers, use
of,
179, 180,
Resolution, anticipation
deferred, 40, 41, 128.
et seq.
Combined Counterpoint,
209, 335of,
91, 214.
169,
206.
181.
INDEX
II
1899
1900 Nov.
1901 Nov.
1902 Nov.
1903 May.
Nov.
1904 May.
Nov.
1905 May.
Nov.
1906 May.
Nov.
1
Mus. D.
Mus. D.
First Mus. B.
First Mus. B.
First Mus. B.
Mus. D.
Third Mus. B.
Third Mus. B.
First Mus. B.
First Mus. B.
Third Mus. B.
First Mus. B.
First Mus. B.
Third Mus. B.
Mus. D.
Mus. D.
First Mus. B.
First Mus. B.
First Mus. B.
Third Mus. B.
First Mus. B.
First Mus. B.
Third Mus. B.
Mus. D.
Mus. D.
Third Mus. B.
Third Mus. B.
Third Mus. B.
Third Mus. B.
Mus. D.
Third Mus. B.
Mus. D.
Harmony,
314.
Harmony,
325.
Harmony,
327.
Counterpoint, 174.
Counterpoint (Cambridge),
Harmony,
73, xai.
323.
Counterpoint, 194.
Harmony,
296.
Counterpoint, 225.
Harmony,
329.
Harmony,
33O.
an.
Harmony, 302,
Harmony, 318.
312, 332.
Counterpoint, 237.
Counterpoint, 207.
Harmony,
Harmony,
Counterpoint, 224.
Harmony, 310.
Harmony, 303.
Counterpoint, 240.
is
not given.
OXFORD
PRINTED AT THE CLARENDON PRESS