F A PT TT TV Presented to the

r\iY TO i/^ Faculty of Music Library O MUMC by

F. Gordon Stanley

UNIVERSITY OF TORONTO

COUNTERPOINT

BY

J. FREDERICK BRIDGE

MUS. DOC., OXON.

ORGANIST AND MASTER OF THE CHORISTERS OF WESTMINSTER ABBEY; PROFESSOR Of

HARMONY AND COUNTERPOINT AT THE ROYAL COLLEGE OF MUSIC; EXAMINER

IN MUSIC FOR THE UNIVERSITIES OF OXFORD, CAMBRIDGE, LONDON, DURHAM,

AND THE VICTORIA UNIVERSITY; GRESHAM PROFESSOR OF MUSIC.

OLIVER DITSON COMPANY

THEODORE PRESSER CO.. DISTRIBUTORS

BRYN MAWR, PENNSYLVANIA,

MADE IN V.S.A,

UNIV.

FACULTY Or LIBJvARY

MY best thanks are due to Sir John Goss, for kindly allowing me to insert several examples, written in 1864, when I was receiving instruction from him ih counterpoint ; to H. Keeton, Esq., Mus. Doc., Organis* of Peterborough Cathedral, for Examples 121, 122, 127 ; and to James Higgs, Esq., Mus. Bac.. Hon. Sec. of the Musical Association, for many valuable sug- gestions-

J. F. B,

THE CI.OTSTF.RS,

WESTMINSTER Ai«E\ March, 1878.

INTRODUCTORY OBSERVATIONS.

THE first attempts at combining parts to be performed simul- taneously, about which anything definite is known, resulted in what was called Diaphony of Organum, the part to be accom- panied (corresponding to our subject or canto fermo) being termed Principalis, and the accompaniment, Organalis. This accompaniment consisted of fourths, fifths, and octaves, some one of these intervals being continued throughout, either above or below, and sometimes both above and below, the principalis.

Various innovations on these crude forms, both as regards intervals and motion, were made from time to time, developing about the end of the eleventh century into what was termed Descant. This was a great step forward, for while diaphony was generally " note against note " — the organalis moving through- out in similar motion, and at the same interval (i.e. in fourths, fifths, or octaves) — in descant, notes of various value, contrary motion, and even accidentals were used. The principalis was now termed the tenor (from teneo, u I hold ") , this part as it were holding the subject and controlling the descant, as the organalis was now termed. This was added according to numerous rules depending upon the progression of the tenor. Descant in its turn gave way to Counterpoint (see Definitions), the word contrapunctum instead of descant being first used by a celebrated musical theorist of the fourteenth century, Jean de Muris. The term and functions of the tenor in like manner were supplanted by the Canto Fermo. This frequently consisted of some fragment of ecclesiastical music, hence it was called the " plain song," although secular themes were sometimes adopted as Canti Fermi even of music for the Church. Counterpoint was written in the old Church modes, and its laws, constantly improving as they were, governed the art of musical composition up to nearly the end of the sixteenth century. From this time rapid strides in the direction of modern tonality were made, and counterpoint having become closely associated with artificial devices, a new art gradually sprang up by which a melody could be accompanied without special reference to the inter-relation of the parts. This was called Harmony, of the development of

(3)

4 INTRODUCTORY OBSERVATIONS.

which we are not, of course, treating. In England and in some other countries it became customary to teach harmony only, or at «*ny rate before counterpoint. To a certain extent a reaction has set in, and many eminent musicians* now urge that counter- point should be taught with, and made the basis of, harmony. The author has, however, in conformity with the more usual method of teaching, presupposed some slight knowledge of harmony ; and with this view he has ventured to use, without strictly defining them, a few technical terms familiar to those who have thus studied.

There is no doubt that the study of counterpoint is most bene- ficial, exercising the powers in many directions not altogether covered by the study of harmony, particularly in the important matter of part-writing. It will be seen that the essence of counterpoint lies in the equal interest which should belong to each part added to the canto fermo. This should be specially kept in mind in note against note and florid counterpoint, which are, after all, the species of most artistic value, since the others, though most useful as steps between the elementary form of note against note and the developed form of florid, are in them- selves of less value as music. Our feeling for modern tonality need not necessarily be violated, since canti fermi free from ambiguity of key can be chosen. This point has been kept in view in writing the examples in the following pages, and the author trusts this will be accepted as his apology for using, for the most part, original examples, instead of inserting the well-known ones of Fux and other writers. It has been his desire to reconcile the spirit of ancient counterpoint with the feeling for modern tonality, and to put before students examples which they may readily understand and imitate.

*" The modern student should master the laws of counterpoint, and so approach the fundamental or massive harmonic school by the path of history." — Six Lectures on Harmony, by G. A. Macfarren, p. 35.

DEFINITIONS.

Canto Fermo. — A short diatonic passage, generally of whole notes, used as a subject for contrapuntal treatment. (See Intro- ductory Observations.)

Although, following the usual custom, the whole note has been chosen as the notation for the canti fermi in all the examples illustrating this work, it is of course open to the student to use a note of any length. The notes employed in the second and third species of counterpoint (usually half notes and quar- ter notes) will be regulated by the character of the note employed in the canto fermo, being respectively two and four notes to one. The notation of the fourth species is similar to the second, but syncopated.

Counterpoint. — Notes were formerly termed points. Adding a counterpoint signifies the setting one point or note against another. Counterpoint is of two kinds, simple and double. The latter of these terms, in its ordinary acceptation, comprises con- vertible counterpoints in three, four, or more parts (i.e. triple, quadruple, &c.). Simple counterpoint includes five species or orders, i.e. five methods of adding a counterpoint to a canto fermo. The term florid counterpoint is generally applied to the fifth species.

Concords are the octave (or unison) and perfect fifth (termed perfect concords), and the major and minor sixth and third (termed imperfect concords). All other intervals in counter- point are discords, including the perfect fourth when it exists between the lowest and one of the upper parts.

SIMPLE COUNTERPOINT.

CHAPTER I.

FIRST SPECIKS IN TWO PARTS : NOTE AGAINST NOTE.

1. IN this species, every note in the canto fermo is accom panied by a note of equal value in the counterpoint, adder; according to the following rules : —

2. Concords only may be used.* If the counterpoint be above the canto fermo the first note must be an octave, fifth, or unison (i.e. a perfect concord) ; if below, the counterpoint cannot com- mence with a fifth, but must be an octave, or unison.

3. The parts must proceed diatonically, skips of a major and minor third, perfect fourth and fifth, minor sixth and octave being freely used.

The skip of a major sixth was forbidden by the older contrapuntists, and, though more freedom is now desirable, it is perhaps better to avoid its use until the second species (two notes against one) when it can be taken in the same measure without change of harmony, thus : —

Ex.

4. Skips of a seventh, of all augmented and most of the diminished intervals, should be avoided ; but the diminished fifth may be occasionally used with advantage, if care be taken to resolve the second of the two notes forming the interval.

The term " diminished " here includes the fifths and fourths sometimes called imperfect or minor.

EX.2.

5. Consecutive perfect concords are of course forbidden, as are also hidden consecutives, i.e. the progression by similar motion to a perfect concord. The rule with regard to hidden consecu-

* See Definitions on previous page. (7)

SIMPLE COUNTERPOINT.

tivcs is, however, sometimes relaxed : in the case of the octave if the upper part is approached by a semitone (Ex. 3, a), and in the case of the fifth if the hidden fifth be diminished. This is also produced by one part moving a semitone (Ex. 3, b) , but this progression is hardly admissible in two-part counterpoint.

Ex. 3.

i

6. The key-note and its fifth when preceded by the harmony of the subdominant, and also the dominant and its fifth when preceded by the harmony of the key-note, are among the some- what less objectionable hidden consecutives.

7. The following example from Fux contains progressions which may perhaps be explained as above. He gives it (and others have since adopted it) as a correct piece of four-part counterpoint.

5 Fux

8. The descent of a fourth by the bass, and the notes common to the two chords in each of the above cases, also probably account for the comparatively unobjectionable character of the hidden consecutives.

9. It is better, however, to adhere to the rule forbidding hidden consecutives as strictly as possible in two-part counterpoint.

Proceeding by skip to an octave or unison, even in contrary motion when :he lower part ascended one degree, was forbidden by the older contrapuntists, Fux, Albrechtsberger, etc. There seems, however, little to be said in support of such a rule, ana Cherubini does not mention it.

10. Except in the first and last measures the octave and unison should be sparingly used, and the imperfect concords (thirds and sixths) should be employed in preference to the perfect concords (fifths and eighths) .

1 1 . We must avoid the monotony of having more than three thirds or sixths in succession, and these should be, if possible, alternately major and minor. Two successive major thirds should be avoided, unless taken by the step of a minor second, as in

FIRST SPECIES IN TWO PARTS.

the minor key when the major third on the dominant is pre- ceded or followed by that on the sixth note (Ex. 5, tf, 6). Some writers allow these major thirds if taken by the step of a perfect fourth, but it gives rise to an objectionable point, viz. the lower part proceeding to a higher note in the second chord than the note belonging to the upper part in the first chord (Ex. 5, c).

Ex. 5.

12. The skip of an augmented fourth (tritone) is not only strictly forbidden, but the existence of this interval between the notes of different parts, in two successive chords, is also to be avoided. It occurs naturally, and in its most objectionable form when the major thirds of the dominant and subdominant succeed each other (Ex. 6, «, 6) . It is almost equally disagreeable to the ear when one of these notes bears a perfect fifth, instead of a third (Ex. 6,c,d).

Ex.6. -

Modern use has so accustomed the ear to the progression from subdominant to dominant harmony, particularly in approaching a cadence, that the pro- gression at Ex. 6, </, under corresponding circumstances, is much less objec- tionable than those at a, b, c.

13. If the major third on the subdominant be preceded or followed by the perfect fifth on the mediant, the effect of the tritone is not quite so apparent, although this is condemned by strict contrapuntists. Cherubini condemns the use of ALL suc- cessions of chords, one of which contains an F (i.e. the sub- dominant) and the other a B (i.e. the leading-note) , or vice versd, saying, "It indisputably brings about the false relation of the tritone." In an example, however, which he says is in conformity with the rules of strict counterpoint, and in which he expressly claims to have avoided the false relation of the tritone, he uses the following progressions (Ex. 7, 0, 6).

Ex.;.

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IO SIMPLE COUNTERPOINT.

Here we find F and B in successive chords, and yet with no dis- agreeable effect. This is probably owing to the skip which is made by one of the parts. If the student avoids the progressions given in Ex. 6, and, above all, if he makes one of the notes in the first chord proceed by skip, as in Ex. 7, he will have little trouble with that bete noire of young contrapuntists, the tritone.

14. Crossing the parts may be resorted to for the sake of a more melodious progression, but it is rare in this species of two- part counterpoint.

15. The most usual and satisfactory cadences are the follow- ing (Ex. 8, a,b) :—

C.F.

Ex.8.

C.F.

1 6. The canto fermo generally falls to the final note from the supertonic, the counterpoint at the close being in octave or unison.

Although the canti fermi used by Fux, Cherubini, and others invariably end by falling to the final note by the step of a second, as in Ex. 8, other cadences may of course be allowed, though they are not very usual. In Ex. 9, a, the canto fermo rises to the final from the leading-note, and at bt the canto fermo falls to the final from the dominant.

Ex. 9.

17. The use of these cadences earlier in the exercise should be carefully avoided.

18. False relations (Ex. 10, a) are forbidden ; and it must not be forgotten that, as all movement must be diatonic, the usual way of avoiding false relations, viz. by altering one of the notes chromatically, is not available (Ex. 10, b).

a b

K, I0.

19. Contrary and oblique motion should be employed as much as possible.

20. A succession of wide skips in the same direction should be avoided ; and a major seventh or other awkward interval is nearly as objectionable by two skips as by one.

21. It is best to let the leading-note ascend, though this may often be deferred with advantage.

FIRST SPECIES IN TWO PARTS.

II

22. Monotony, whether resulting from motionless parts or wearying repetitions, should be avoided. "Melodious flow" should be aimed at, and the working out of a sequence is often possible, and always effective.

23. Modulation into nearly related keys is advisable ; and the student should be careful, as far as possible, to avoid ambiguity of key.

24. Even if all the above rules be strictly observed, we some- times feel the succession of chords to be " stiff'" and awkward. The following suggestions will, it is hoped, help to prevent this : —

25. Consider the progression of the roots or ground-notes of the chords used, bearing in mind that even in two-part writing every combination must represent some definite chord. The progressions of roots producing the best effect are : —

(a) Roots rising or falling a fourth or fifth (Ex. n).

Ex. ii.

(6) Roots rising or falling one degree diatonically ; but unless one of the two is the dominant (and not even then if this is followed by the subdominant, because of the tritone) it is better for at least one to be an inversion (Ex. 12).

Ex. 12.

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(c) Roots falling by a series of diatonic thirds from tonic (Ex. 13) ,

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26. The following are examples of two-part counterpoint, first species : —

Ex. 14. ,

Counterpoint. a

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Canto Fermo.

12

SIMPLE COUNTERPOINT.

Ex. 15. C.F.

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Ex. 1 6.

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Ex. 17.

Ex. 18.

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FIRST SPECIES IN TWO PARTS.

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OBSERVATIONS ON Ex. 14 TO 20.

Ex. 14. The four measures at a answer the first four effectively ^ and the sequence at b is good. The sequential form of the counter- point justifies the somewhat too frequent octaves.

Ex. 15. The leading-note descends effectively at a.

Ex. 1 8. The modulation to the subdominant at a is good, be- sides helping us to avoid the tritone.

Ex. 19. The form of the canto fermo allows of some effective contrary motion in the counterpoint.

Ex. 20. This canto fermo begins on the dominant. If the counterpoint were placed above, it would begin on G or D. With the counterpoint below, it is possible in this case to com- mence with a fifth, notwithstanding par. 2, which refers to Canti Fermi beginning (as is usual) on the tonic.

The student should write similar examples in each species on some of the canti fermi given on page 86. In doing this he should use such clefs as will bring the parts tolerably near together. He is also earnestly advised to write his exercises in open score, i.e. giving a separate line to each part. The pro- gression of the individual parts — such an important consideration in counter- point— will thus be readily seen.

CHAPTER II.

SECOND SPECIES IN TWO PARTS : TWO NOTES TO ONE.

27. Two notes are here written in the counterpoint to ever} note of the canto fermo, with the exception of the first and last. The counterpoint usually begins on the second beat of the rirst measure, being preceded by a half-measure's rest. In the last measure the counterpoint has a note of equal value with the canto fermo.

28. The first note of the counterpoint must be a perfect con- cord, and the first note of every following measure either a per- fect or imperfect concord.

29. The second note in each measure may be a concord or a discord. If the latter (which is advisable) we must move to and from it by conjunct degrees, i.e. without skip, it being merely a passing note from concord to concord.

30. Occasionally in the carrying out of a sequence, or to secure a flowing counterpoint, a discord may appear at the first part of a measure. In such a case (which should be rare) the notes immediately preceding and following the said discord should be consonant.

31. The immediate repetition of a note is forbidden in this and all species except the first (note against note).

32. The unison is still to be avoided except at the first and last measures, though it may be used occasionally at the second part of the measure.

33. Similar perfect concords (i.e. two fifths or octaves) on the accented beats of successive measures should not be used, the effect of consecutives being too apparent. Even on suc- cessive unaccented beats the use of these combinations is not recommended. Some authors permit the former if the inter- mediate notes are taken bv a skio greater than a third, and the latter if the notes in question have the character of passing notes, but it is seldom possible to entirely obviate the bad effect of consecutives.

34. The parts may occasionally cross at the unaccented part oi the measure in this and the other species of counterpoint yet to be explained.

35. The following are the cadences when the canto fermo falls to the final by a whole tone : —

(M)

SECOND SPECIES IN TWO PARTS.

EX.31.

The cadence at Ex. 21, r, involves a skip of a diminished fifth, and is not so frequently used as those at a and b. If the canto fermo approaches the final from some other note than the supertonic (see Ex. 9) a suitable cadence will of course have to be made.

36. In this and the following species the student will do well to avoid three successive skips, even of a third, in the same direction ; and the frequent use of the three notes of a triad in succession, without change of harmony, is not recommended.

37. In triple time this species has three notes to one, the canto fermo being dotted. The second and third notes in each measure may be either consonant or dissonant.

EX. 22.

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Ex. 23.

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SIMPLE COUNTERPOINT.

Ex. 24.

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SECOND SPECIES IN TWO PARTS.

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Ex. 27.

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Ex. 28

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SIMPLE COUNTERPOINT.

Ex. 29.

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OBSERVATIONS ON Ex. 22 TO 29.

Wide skips are avoided, even the minor sixth being seldom used. At a in Ex. 22 it is rendered necessary by the leap of a fifth in the canto fermo. The skip of an octave (see Ex. 27 and 29) is not only unobjectionable but frequently gives great vigor to the counterpoint.

Ex. 28 and 29 are specimens of this species with three lotes to one.

CHAPTER III.

THIRD SPECIES IN TWO PARTS : FOUR NOTES TO ONE.

38. FOUR notes are here written in the counterpoint to every one of the canto fermo with the exception of the first and last. The first measure of the counterpoint usually commences with a quarter rest; the last measure must contain a note of equal value with the canto fermo.

39. As. in the second species, the first note of the counterpoint must be a perfect concord, and the first note of every following measure (with the license allowed in par. 30) either a perfect or imperfect concord, the latter being preferred. The remaining notes may be either consonant or dissonant, the latter being ap- proached and quitted by conjunct degrees. When consistent with good flowing counterpoint, the third note in each measure should be a concord. This rule may, however, be freely disre- garded for the sake of a melodious progression.

It is necessary to warn the student that a note may be consonant with the canto fermo, and yet, by reason of the implied harmony, must be treated as a discord, i.e, " approached and quitted by conjunct degrees." Thus in Ex. 30, first measure, the Implied harmony is a | on C. The last quarter-note, A, be- ing therefore dissonant, is wrongly quitted. Two different chords may of course be taken in every measure in this species ; but when this is the case the second chord must appear upon the second or third quarter-note, and not (as is the case in Ex. 30) upon the fourth.

Ex.30.

40. Skips should be avoided as much as possible, because of the small value of the notes of the counterpoint.

41. Particular care should be taken, after the use of three or four notes alphabetically, to avoid a skip, even of a third, in the same direction, more especially to an accented note. The melody will gain much by making the skip at the beginning of the passage.

42. The unison may be more freely used in this and the other species yet to be explained. Care should be taken to use it only at the weak part of the measure, and not at the accent.

43. Similar perfect concords should not appear upon the accented notes of successive measures, nor upon the third quarter- note of one measure and the first of the next. They are not so

(19)

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SIMPLE COUNTERPOINT.

objectionable upon unaccented notes, unless these are the highest (if the counterpoint be above) or the lowest (if the counterpoint be below) in two successive measures.

44. The skip of an augmented fourth, or tritone, is of course to be avoided, nor should the notes forming this interval appear as the first and third quarter-notes in a measure, or as the third in one measure and the first in the next, nor as the first and last notes of an ascending or descending passage (Ex. 31 , 0, £, c, d} . If the passages at c and d were parts of a longer series, so that the notes forming the tritone were not at the beginning and end (and therefore not so prominent) there would be no objection to them.

a b

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45. Many of the older contrapuntists allowed what are called u changing notes," i.e. a skip from a discord on the second, and sometimes the fourth, quarter-note of a measure, to a concord. Cherubini and others object to this " license," but the judicious use of certain changing notes often gives great spirit to this species. The following are the most effective forms — those at a and b being particularly valuable at the cadence.

46. It will be observed in the above examples that the skip is not always made to a concord (3, c, d} ; and, in fact, to speak correctly, the third note in every measure of Ex. 32 is dissonant, theimplied harmonyat a being a sixth on D. (See note to par.39.)

47. There are numerous cadences, depending of course upon the position and conclusion of the canto fermo. The following are some of the best : —

Ex. 33.

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The examples at a and b are of course somewhat rare, the former containing the skip of a diminished fifth, the latter (in which the canto fermo rises to the final) a changing note.

THIRD SPECIES IN TWO PARTS.

21

48. Six or eight notes are sometimes written against one. The rules given above should be observed in attempting this counterpoint, which is merely a development of the one we have just been considering.

34.

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SIMPLE COUNTERPOINT.

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Ex. 37.

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Ex. 38.

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Ex.39.

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H SIMPLE COUNTERPOINT.

OBSERVATIONS ON Ex. 34 TO 39.

Ex. 34. Imperfect concords are used at the beginning of every measure except the first and last.

Ex. 35. The implied harmony in the thirteenth measure being a i on D, the first note of the counterpoint in that measure is of course dissonant. Par. 30 will explain its appearance here.

Ex. 36. The first four measures are answered effectively by measures 5 to 8. The key is well marked at the earlier part of the example, and a modulation to the relative major is made at the fourth measure. The cadence is formed by the aid of the changing note.

Ex. 38 and 39 have six notes to one, the parts crossing at the seventh measure of the former.

CHAPTER IV.

FOURTH SPECIES IN TWO PARTS : SYNCOPATION.

49. Two notes are here written in the counterpoint to every one of the canto fermo with the exception of the first and last. The first measure of the counterpoint should commence with a half-measure's rest, the last measure should contain a note of equal value with the canto fermo.

50. As in the preceding species, the first note of the counter- point must be a perfect concord, and the second note of each following measure must be a concord either perfect or imperfect. These concords are syncopated or suspended into the following measure. The first note of each measure is thus generally tied to the second note of the preceding measure, and may be, and in fact as often as possible should be, a discord. This prepared discord must resolve by falling one degree, the note to which it falls being a concord. Should the syncopated note, however, be a concord, we may of course move from it by skip.

51. The dissonances of the fourth, seventh, and ninth (not the second) may be used above the canto fermo, the seventh being preferred in two-part counterpoint. The second and fourth may be used below the canto fermo, the second being preferred.

52. There are cases when a perfect fifth must be treated as a discord, viz. when it is clearly a " retardation " of a sixth. It will resolve by ascending one degree (Ex. 40, a).

In the retardation of a sixth in a minor key an augmented fifth is occasionally used, but this is rare (Ex. 40, b).

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53. The diminished fifth may be used as a suspension, the resolution being deferred for one note, and the syncopation interrupted, the counterpoint being then in the second species.

(25)

SIMPLE COUNTERPOINT.

Ex. 41.

etc.

54. The interpolation of the second species is often most useful in other places besides when following a diminished fifth as above, helping us to avoid tiresome repetitions. The inter- ruption of the syncopation should not exceed two half notes.

55. Passages which would be incorrect without suspensions are equally incorrect with them. The following progressions are bad, being only disguised consecutives ; that at a, without the syncopation, would be a " hidden " fifth, and must be avoided in two-part : —

Ex.43.

56. The best cadences are Ex. 43.

57. If three notes to one be written, the second note may be either a concord or passing discord. The ornamental resolution of suspensions (see par. 60), may also be employed, and will frequently be found useful at the cadence. (See Ex. 44.)

58. Some authors recommend the combination of the second and fourth species, instead of treating them separately. This is of course merely a development of par. 54. For a specimen, see Ex. 46.

FOURTH SPECIES IN TWO PARTS.

Ex.45-

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SIMPLE COUNTERPOINT.

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FOURTH SPECIES IN TWO PARTS.

Ex. 51.

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OBSERVATIONS ON Ex. 45 TO 52.

Ex. 45. The cadence is somewhat uncommon, the canto fermo rendering the usual 7 6 on the penultimate measure unadvisable.

Ex. 46. In this example the second species is used so often it may be considered a specimen of the combination of the second and fourth species alluded to in par. 58.

Ex. 47. The numerous fifths are not, strictly speaking, incor- rect, as may be seen by referring to Ex. 14, which is Ex. 47 without the syncopations. The student is advised to be sparing in his use of such fifths, at least in two-part counterpoint.

Ex. 51. A specimen in triple time, the cadence by the aid of an ornamental resolution. The canto fermo begins on the dominant.

Ex. 52. The E flat in measure 5 avoids the tritone which would have existed between E natural and the following B flat, and in- troduces a satisfactory modulation to the subdominant. In meas- ure 9 the diminished fifth is used, the resolution being deferred.

CHAPTER V.

FIFTH SPECIES IN TWO PARTS : FLORID COUNTERPOINT.

59. THIS is a mixture of the various kinds of counterpoint explained. In addition to the notes already employed, eighth- notes are admitted, which should succeed each other, and also be approached and quitted, diatonically, and by conjunct move- ment. More than two eighth-notes are rarely used in one meas- ure, though occasionally four may be met with. They should always occur at the second or fourth divisions of the measure (t. e. the unaccented portions), and four eighth-notes should never be taken in succession. As in the other species in two parts, the counterpoint commences after a quarter or half-rest. The first note of the counterpoint must be a perfect concord.

60. The counterpoint must be as vigorous and melodious as possible. To insure sufficient variety it will be well not to use one species for more than two successive measures ; and the first species should be used only at the last measure. The above rule does not apply to the fourth species, provided that we avail our- selves of the ornamental resolutions. Various examples of these are given below, and their judicious use will add greatly to the effect of florid counterpoint. Most of them may of course be inverted.

Ex. 53. a

-f~2 " -^- J-JLJ"~ J|

The resolutions at tf, b may be used in triple time, thus : —

etc.

FIFTH SPECIES IN TWO PARTS. JI

61. It will be seen that by the use of the ornamental resolutions a half-note is often tied to a quarter-note (Ex. 55, a) . Care must be taken that the first of the tied notes is not of less value than the second. For instance a quarter-note should not in this way pre- cede a half-note, c ; two quarter-notes should rarely be tied, b.

Ex. 55.

62. It will greatly conduce to the vigor and flow of the coun- terpoint if all half-notes at the second half of the measure be tied to the first note of the following measure. This should, in fact, always be the case if the half-note has been immediately preceded by quarter-notes or eighth-notes. This rule cannot of course be applied to the last measure but one, as the last note of the coun- terpoint must be of equal value with the last note of the canto fermo.

63. The best cadences are those used in the fourth species, with or without ornamental resolutions. Others, particularly those employed in the third species, are occasionally used.

Ex. 56. 2

5

SIMPLE COUNTERPOINT.

m

i

Eg

I

Ex. 58.

^^tr^Tr^

i

FIFTH SPECIES IN 1 WO PARTS.

33

Ex. 59.

C.F.

Ex. 60.

fc:

ESS

^

SIMPLE COUNTERPOINT.

Ex. 61.

'C.F.

O t^'	E 1 G*1 * 1 — 1 _ — —	1 -&-•
B¥t=fH!-F::—		I=J

OBSERVATIONS ON Ex. 56 TO 61.

Ex. ^6. In measure 2 the leading-note rises a fourth, effec- tively avoiding a cadence so early in the exercise. In meas- ures 5 and 12 ornamental resolutions are introduced.

Ex. 57. In measure 2 the leading-note does not rise, in order to avoid a unison on the accented beat of measure 3. The mod- ulation to C minor in measures 9, 10, n is perhaps somewhat late in the example.

Ex. 59. Four eighth-notes are introduced in measure 3, and the ornamental resolution at the cadence to carry out a sequence.

Ex. 60. A specimen in triple time. The parts cross in meas- ures 7 and 9.

Ex. 62*

C F.

*Ex. 62 to 65 are by Sir John Goss.

FIFTH SPECIES IN TWO PART'S.

35

(

Ex. 63.

— r~ — 1 — ~ r -i

)

36 SIMPLE COUNTERPOINT.

Ex. 64.

II 11

/

i

Ex. 65.

in

i

CHAPTER VI.

FIRST SPECIES IN THREE PARTS : NOTE AGAINST NOTE.

64. THREE-PART counterpoint includes the same species, and, generally speaking, is bound by the same rules, as two-part counterpoint.* The additional part in this and the other species is composed of notes of equal value with those of the canto fermo.

65. The chords used are the triad (major and minor, not diminished) and its first inversion, the chord of the sixth. It is not always easy to use a complete chord (though this should be done when possible), and then one or other of the intervals should be doubled, avoiding the doubled major third and doubled leading-note. It is also well to avoid having two sixths or even two minor thirds in the same chord, but this rule may be fre- quently disregarded for the sake of a flowing counterpoint. Al- though the diminished triad is not available, its first inversion, the chord of the sixth on the supertonic, may be used freely.

66. It should be observed that three different notes must be used in every chord except in the first and last measures, the only places where the unison may be used in this species.

67. The first measure should contain a triad, complete or in- complete, but if the third be wanting, it will be better to omit the fifth also, the counterpoint being then in unison or octave.

68. The presence of a third part causes the rules respecting hidden consecutives to be less stringent, particularly as regards the inner and one of the extreme parts, between which similar motion to the fifth or octave is frequently necessary to secure a smooth and, in other respects, correct progression. The upper part of the two in question should, if possible, move conjunctly, the third part being either stationary or moving by contrary

* Indeed it may be said that the rules of two-part remain in force in a great measure as regards the extreme (i.e. the outside) parts of all simple counter point : the student will do well to bear this in mind

(37)

SIMPLE COUNTERPOINT.

motion (Ex. 66, a) . All the parts should rarely move in the same direction (Ex. 66, 3) .

b

Ex. 66.

69. Although, as has been said on page 37, " the rules of two- oart remain in force in a great measure as regards the extreme parts of all simple counterpoint," the relaxation of the rule as to hidden octaves is most useful at the cadence when