A course of counterpoint and fugue

Chapter 6
Translated by James Alexander Hamilton (1785-1845) Luigi Cherubini (1760-1842)

FIFTH SPECIES — FLORID COUNTERPOINT.

This species is a compound of the four preceding species, employed alternately in the part which contains
the counterpoint, and diversified by adding to the figures of melody already allowed, quavers and dotted
minims.

RULE I.

Quavers, when introduced into this species, ought to proceed diatonically rather than by skips. To adhere
to the style of the ancient composers, we must not write more than two quavers in any one bar. These quavers
ought never to occur in the first half of a time, but only in the second.

EXAMPLES.

        
2 3

If we introduce four quavers into one bar, they must be distributed in the last two moieties of each time,
and not immediately succeed one another.

 
        
4 5 6 7

and not

In general, we must employ quavers with sobriety, and not introduce them too often, or else the
counterpoint will become too skipping and restless, and be altogether unsuitable to this kind of composition.
In other respects, quavers are subject to the same laws as crotchets, as far as regards passing notes or
discords of transition. We shall see, further on, how they must be treated in respect to prepared discords.

RULE II.

We must introduce all possible elegance in the melody, without, however, departing from that severe
character which, as we have said, belongs to strict counterpoint. It will not be out of place to recall here to the
student, that contrary and oblique motion, and consequently syncopations, are the best means that he can
resort to, for the purpose of imparting elegance to florid counterpoint. It is also essential to observe that, in
employing all the allowed figures of melody, we must intermix them with address, in order to avoid the too
frequent recurrence of the same forms.

RULE III.

The dot serves as a diminution to the semibreve, since it first changes it into a dotted minim, and then into
a crotchet or two quavers.

EXAMPLES.


        
Simple form. First diminution or variation. Second diminution or variation.
8 9 10
2
These kinds of variations may also take place in syncopations, and, by this means, diminish the duration
of the discords. Such diminutions impart much grace to the melody.

EXAMPLES.

11 12 13

             
Simple form. Variation I. Variation II.

        
8 7 6

14 15 16 Simple

               
Variation III. Variation IV. form.

        
6 7 6

17     18     19    

     
Variation I. Variation II. Variation III.

        

20   21    22   

       
Variation IV. Variation V. Variation VI.

        

RULE IV.

Counterpoint of this species is, as far as regards the last bar but one, subjected to the same laws as the
preceding species; we must therefore consult the sixth rule of syncopation, in which mention is also made of
the first bar, which must be treated in a similar manner in florid counterpoint.

EXAMPLES.

23
        
24 25 26

 
    
Subject.

27
3

     
     
28 29 30


    


31  
           
32 33 34

    


    
        
35 36 37 38 39

    
 

40
Subject.   

41 42 43

  
       



44
    
45 46 47

   
        


48
    
49 50 51

              



52
    
53 54 55 56


            
 