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NOVELLO'S
MUSIC
PRIMERS
AND
EDUCATIONAL
SERIES.
A
DICTIONARY
OF
MUSICAL
TERMS
BY
J.
STAINER &
W.
A.
BARRETT.
(Compressed fromtheImperial8vo Edition by K.M. ROSS.) OneShilling; Paper Boards.1s. 6d.
OPINIONS
OF
THE
PRESS.
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carefulandjudiciousabridgmentof the largerwork,andwill be founduseful to thoseby
whom
the originalisinaccessible."—
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absentfromthislittlevolume,whichshouldbeineveryamateurslibrary."— Daily Telegraph.
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reference this little volume should be on the table or shelf of every musician."
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musical termsinour language."
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TheMusicalTime*
Limited-
0^2^-/^^^--NOVELLO'S
MUSIC
PRIMERS
AND
EDUCATIONAL
SERIES.
COMBINED
COUNTERPOINT
IN
THREE
PARTS
AND
FLORID
AND
IMITATIONAL
COUNTERPOINT
—
IN
THREE AND
FOUR
PARTS
WITH
EXAMPLES
BY
GEORGE
J.
BENNETT.
MUS. DOC, CANTAB.; F.R.A.M.;F.R.C.O.
ORGANISTANDCHOIRMASTER OF LINCOLNCATHEDRAL;
SOMETIME EXAMINER IN MUSIC AT THE UNIVERSITIES OF CAMBRIDGE. DURHAM, LONDON, ANDMANCHESTER:
EXAMINER ASSOCIATED BOARD, LONDON.
PRICE THREE, SHILLINGS
London:
NOVELL\)
XNJ^qMPANY,
Limited.New
York:THE
H. W.GRA^S&^Sole
Agents for the U.S.A.CONTENTS.
Preface ... ... ... ... ... .„ ... v
CHAPTER
I.Counterpoint from a melodic point of view ... ... ... 1
CHAPTER
II.Counterpoint from a harmonic point of view ... ... ... 4
CHAPTER
III.Passing-notes in the 2nd Species, in Combined Counterpoint ... 13
CHAPTER
IV.The 2nd and 3rd Species ... ... ... .. ... 23
CHAPTER
V.The 2nd and4th Species ... ... ... ... ... 37
CHAPTER
VI.The 3rd and 4th Species ... ... ... ... ,... 46
CHAPTER
VII.The 5th Species in Combined Counterpoint ... ... ... 54
CHAPTER
VIII.Florid and Imitational Counterpoint in three and fuur Pari ... 6S
PREFACE.
In thevarious existing treatises on Counterpoint the greater part of the
work
is necessarily givenup
to the exposition ofSimple Counterpoint.
As
Combined
and Florid Counterpointform
now
such an importantfeature of examination work, it is thought that theremay
beroom
for a book dealing only withthoseparticularbranchesof the subject,and which
might be usedas supplementary to otherworks.No
new
theory isadvanced
in these pages,which
follow mainlythesame
lines as themodern works
on Counterpointingeneraluse at the present time.
The
writer has, both in the textand
in the examples, endeavoured to follow the excellentrecommendations
issuedby
theCouncil oftheUnion
of Graduates; the only difficultybeingthat inthe case of
some
CantiFermi
inthe minorkey,it ispracticallyimpossible to observe strictlytherule thatno modulation shall be
made
before the primary key has beenestablished.
No
attempt ismade
to deal withModal
Counterpoint, as foundintheworks
ofthe composersofthe Polyphonic period,that subject being, in the writer's opinion, better deferred
until the student has completed a course of Counterpoint founded on ourpresenttonal system.
A
feature of thisbook
is the considerablenumber
ofworked
exercises, including every possible combinationand
arrangement of the parts inCommon
time, except that the 5thSpeciesistheonly species treatedincombination withitself.As
to its plan, the first three Chapters deal with preliminary matters,and
may
not be necessary, wholly or in part, for the studentwho
has a natural instinct for choosing the rightharmoniesand
passing-notes.With
reference to Chapter II., the writer is wellaware
thathelayshimselfopento thechargeofregarding the subject too
much
from
theharmonic pointofview, but hewas
inducedto include this Chapter by observing the feeble
harmony
so often displayedby
students in their contrapuntal work,especiallyin theirmisuseof the § chord.
In studying theeffect of the harmonic progressions it is
suggestedthat the pianoforte be freelyused.
As
passing-figures—
whether used asminims
in the 2nd Species, or as crotchets at the second half of the bar in the 3rdand
5th Species—
form such an important feature ofVI PREFACE.
on thissubject
may
not be considered superfluous. Itseems
convenient to divide passing-notes in the 2nd Species intotwo
classes:—
the workableand
the less workable ones, as,in choosing
them
indiscriminately, the student is liable tohamper
hiswork by
takingsuch passing-notes as theascending and descending Ninth,and
the descending Fourth,which
present greatdifficultyin the addition ofother
moving
parts.In the Chapter on Florid Counterpoint (Chapter VIII. Sections i and 8) attention is directed to the bad effect
often producedby employing
two
quavers immediately before or afteracrotchet that is dissonantwith theCanto
Fermo
atthemiddle of thebar.
The
danger of ill-considered dissonances at the last partof the bar, especially
when
theCanto
Fermo
moves
a3rdup
or down,isalso dealtwithinSections2and10ofthesame
Chapter.The
following are generalobservances inthisbook
:—
(i.)
No
restriction as to change ofharmony
within thebar, especiallywitha
moving
Bass,(ii.)
A
moderateamount
of modulation allowed aftertheprimary key has beenestablished,
(iii.)
Free
useofthepreparedj? and £ in any combinationwiththe 4th or 5th Species.
Cherubini mentions this only in combining the 2nd
and
4th Species. Othertheoristsgo
somewhat
further,and
a natural developmentof the ideaseems
tobe to allow the useof these discordswhenever
theycan beproperlypreparedand
resolved.Against a
Canto
Fermo
in semibreves there is not often occasion touse the uninvertedchord of thepreparedSeventh.(iv.) Occasional use of a syncopated
minim
in the 5thSpecies againstanother
moving
part.The
fact that the syncopatedminim
isto be found inthestrictest Counterpoint of Palestrina
seems
to justify its use.English composers of about the
same
period, notably Dering,also sometimes
made
useof it.Strict Counterpoint is indeed a thornysubject. Although
the
memorandum
issuedby
the Council of theUnion
of Graduates has donemuch
towards standardizingit, teachers stilldiffer considerably on mattersof detail astowhat
isand
is not permissible;and
it is hardly likely that theworked
exercises in this
book
will pass unscathed the ordeal of thecritic'seye.
Bearing in
mind
this divergence of views, a tentative linehas beenfollowed onsome
mattersin thetext.It is desirable that the student be stimulatedto
make
hisPREFACE. Vll
harshnesses arising
from
themoving
parts and crudities ofharmony
aswould
be considered bad in any Compositionofacontrapuntal nature.
With
regard to the proper attitude of thestudenttowards well-establishedrules,a wiseremark
bythelateSirJohn Goss
to his pupil Sir Frederick Bridge,
which
the writer ispermitted to quote,
seems
to be very apposite—
" Iam
infavour of your occasionally breaking arule,
when
youknow
how
to observe it."The
writer expresses his thanks to SirWalter
Parrattand
Professor
J. C. Bridge, Professorsof
Music
atthe Universitiesof Oxford*
and
Durham
respectively, andtothe Senateofthe University of London, for permission to print certain CantiFermi
from theMus.
B. examination papers at thoseUniversities.
The
ideaof thisbook
was
originallyprompted
bythedesire to providesome
help to students preparing for theexamina-tions of the Royal College of Organists, and the writer wishes especially to thank the Council of that institution
(Hon. Secretary, Dr.
H.
A. Harding) forpermittinghim
toprint a considerable
number
of CantiFermi
from theirexamination papers.
Two
of the exercises are included by the courtesy ofDr. C.
W.
Pearce, the writer observing, after this bookwas
finished, that a working ofthem
had alreadyappeared in his "Modern Academic
Counterpoint."The
CantiFermi
in exercises Nos. 24, 25, 31, 33, 43, and 49, byTheodore
Dubois, are from his "Traite deCounter-point et de Fugue,"
and
are printed by permission ofMessrs.
Heugel
&
Co.,Au
Menestrel, 2 bisRue
Vivienne,Paris,publishers
and
ownersofthe copyright forall countries.This work, with its erudite and comprehensive treatment of
Fugue, is without doubt the
most
important contribution to that subject that hasappeared formany
years,and
should beofgreat value to
advanced
students.The
writer'swarmest
thanks are due to Sir Frederick Bridge for advice freelygiven on various important matters,hisunique
knowledge
and experience inthis subject renderinghisopinion particularly authoritative.
The
writeralsoexpresseshisthanksto SirC.Hubert
Parry and Mr. CharlesMacpherson
for several suggestionswhich he hasacted upon.CHAPTER
I.COUNTERPOINT
FROM
A
MELODIC
POINT
OF
VIEW.
The
cardinal feature ofcontrapuntal writingisthateachvoice or instrument shall have a good melodic part. This is not always possible with parts proceeding in semibreves, but inCombined
Counterpoint in three or fourparts,where
allexcept theCanto
Fermo
consist ofmoving
parts, the melodic characterofeach ofthem
should be insisted upon.A
partmay
be unmelodic through there being a frequent harpingon thesame
notes within a too limitedcompass
; or,on the other hand, the
movement
may
be too strident ordisjointed,extendingtothe extreme limit ofanoctave or
more
in the course of every
few
bars. In either case the partfails
from
lackof definiteaim,and from
being voidof climax.The
3rd Species, with its continuous crotchetmovement,
isparticularly liable to fall short in eitheroneorotherofthese
respects,
and
is, perhaps, themost
difficult species to writereally well.
The
melodic form of bothCanto
Fermo
and
the accom-panyingcounterpoints can be ofvarious forms.There
is the CantoFermo
which
commences
on a rather high note,and
finishes an octave lower.The
highest pointwill then generally be felt tobe inthe first
two
or three bars,andthe remainder will take the formofa gradualdiminuendo.
But
the majorityof Canti Fermi,commencing
on a low ormedium
note, gradually ascend until they reachsome
culminating point; usually at the 6th or 8th above, and then recedeagaintowardsthenoteon
which
they started. This isthe typeofmelodicpartto
which
the following remarksmore
particularlyapply.The
form
ofa melodic partmay
be said tobe ofthe natureofaseries of curves.
The
curves ofawell-written part willvaryin shape,withouttoo
many
of small dimensions.As
themelody
proceeds the curvesmay
gradually increaseinheight,the higheronesalternatingwith lowerones,sothatthe climax
may
not bearrivedat too suddenly.But
whateverform
the melodic parttakes, notwo
curveswill be exactlyalike.2
COMBINED
COUNTERPOINT.For
instance, if a melodic partcommencing
on F, risesgradually to
D
and then falls, next time it rises the highest note—
especiallyifon thesame
partof thebar as before—
willprobably beeither higherorlower than
D.
Sequential
movement,
not necessarily exact, is useful inleading to a climax.
Observe
its use in both stanzasof our NationalAnthem,
and the culminating note in the lastbar but one, the effect of
which
is intensified by this note appearingonly once inthe course ofthemelody.A
repeated return to thesame
extreme high note should be avoided, particularly onthesame
partofthebar.Melodies of every description have been written on the
principle of the culminating high note, already referred to
inthe case of the National
Anthem.
For
instance: "On
thebanks of Allan Water," "
The
British Grenadiers," "The
Lincolnshire Poacher," Schubert's Serenade, the Toreador's
Song from
"Carmen"
(both parts),Clay's" I'llsingthee songsof Araby," Elgar's "
Land
of hope and glory," the Austrian NationalAnthem,
andthehymn-tunes
—
the"Old
Hundredth,""
Dundee,"
"Melcombe,"
"WinchesterOld," &c.This is also the case in connection with larger works,
to mention only such well-known
examples
as the openingtheme
from the slowmovement
of Beethoven'sD
major,C
minor,and
Choral Symphonies,and
thethemes
generallyinTschaikowsky'sPathetic
Symphony.
In the
works
of the early EnglishChurch
composersthere are occasionallystriking effectsobtainedby
reservingan upper note intheTreble for a particular passage towards the end ofthe
movement.
Several such instances are to be found inByrd'sServicein
D
minor. See,forexample, intheTe Deum,
the fine effect ofthe Treble part at thewords
"Govern them
and
liftthem up
for ever.Day
by
daywe
magnify Thee,"and
a similar passage near the end of the Gloria in theNunc
Dimittis.Our
public singersknow
too well the value of the culminatinghigh note.In theabove cases the climaxis generallytowardsthe end
of the melody; this particular position is, however, not
essential inacontrapuntalpart.
It is not suggested that this is the only possible type of
melody,butit isprobablythe
most
usefuloneforthe studentto follow, andthe exercises in thisbook are writtenon that plan.When,
asisdesirable, each part inacounterpoint exercise has its climax, these climaxes will, on account of theinde-pendent
movement
of the parts, occur at different points,COUNTERPOINT
FROM
AMELODIC
POINT OF VIEW. 3It is important that each vocal part should, as far
as the exigencies of the particular species permit, be
really singable. Whilst imagining the effect of the parts sounding together as he writes the exercise bar by bar, the student
must
acquire the habit of constantly testing the melodic effect of each separate part, viewed as a whole, afterany
additiontoithasbeenmade.Without
particularattentionto this onthe part ofthe student,his Counterpoint will never be ofa high order.
If, as is unfortunately sometimes thecase, he has onlyan
indistinct idea of the sounds that he writes, it is advisable
to take
some
specialmeans
to improve this, such as a coursein ear-training. In the meantime, frequent use of the pianoforteduringthewriting ofthe exercisesis
recommended,
inorderto testtheeffectof
what
has beenwritten, and to see whether itsounds asw
ras expected. Thisshould,ofcourse, beregardedas a temporary measure, to be gradually and at last
entirely dispensed
w
rith,as in the case of theuse of artificial
CHAPTER
II.COUNTERPOINT
FROM
A
HARMONIC
POINT
OF
VIEW.
In Counterpoint, although the
most
important consideration should be the melodicflowof the individual parts, it is alsodesirable that it be constructed on a satisfactory harmonic
basis. Melodious flowing parts will
make
some
harmonic progressions tolerablewhich would
sound bad if the partsmoved
note against note, but will not justify a succession of ill-chosenand
crude progressions ofharmony.The
firmness of the § chord permits of almost absolutefreedom of
movement
in the Bass. This is not always the casewith thefj,
and
injudicious use of this chord is often thecause of
weak
harmony.
A
^ willnever sound amiss with theBass
nextmoving by
2nd, but on certaindegrees ofthe scale
—
notably on the Tonic or Dominant,and
to a less extent on the Supevtonic—
it cansound very unsatisfactory if followed by certain leaps in
the Bass.
The
followingremarks have reference to the use of the §.The
examples inthisand
inthefollowing Chapter are writtenin fourparts,asbeing the clearest
means
of representing the harmonic basis onwhich
themoving
Counterpointsmay
be constructed, whether inthree or in anynumber
of parts.1.
—
A
| on the Tonic or Dominant soundsweak when
theBass
nextrises a4th orfallsa5th:—
%
* Weak. Weak.
:q:
&
COUNTERPOINT FROM
AHARMONIC
POINT OF VIEW. 52.
—
A
§ on the Tonic orDominantalso soundsweak
when
the
Bass
nextrisesa3rd to a % chord:—
i
Weak. Weak. :o:§=£
:S:^
'-ELWith
either of the abovemovements
in theBass
it isrecommended
that a § be taken on theTonic
orDominant.
But
withany
othermovement
of theBass
a ^ should beoccasionallyused asa
means
of varying theharmony,
and ofavoiding excessive useof theTonic and
Dominant
harmonies.It isparticularly effective
when
theBass
nextrisesor fallsa 2nd, as inthe following examples:
—
I
Allgood.-o
—
ur—
&
K—T^
3.
—
On
the TonicorDominant,when
theBass
next risesa5th,orfallsa4th,a § should be nearly alwaystaken.
For
occasional use, however, a § will not sound amiss ifthe 6th is approached and quitted by
2nd
upwards, as in the following examples:—
W^-COMBINED
COUNTERPOINT.4.
—
A
§ on theSupertonic soundsweak when
theBass
next rises a 4th orfalls a 5th.With
thismovement
of theBass
a% should be taken onthe Supertonic:—
i
Weak. <9-Strong.W^-
&z
-Q-St
5.
—
On
the Submediantsome
studentsseem
tomake
apracticeof always employing a §.
Such
excessive use of this chordisunwise, as astrongereffect is
more
often thannot produced by employing a § on the Submediant, especiallywith aleapingBass.
The
§ on theotherdegreesof themajor scale presents noparticulardifficulty as regards the
movement
of the Bass, or as regards harmonic progression.The
foregoingremarks on chord-progressionmay
be takento apply generally, whether the
Canto
Fermo
is in theBass
or in an upper part.
At
thesame
time itmust
be borne inmind
that with amoving
Counterpoint in the Bass, the placing together of the opening chords oftwo
successive bars does not necessarilyshow
the harmonic progression between the bars.The
progression
may
bestrengthened, oreven entirely changed,by
the
moving
Bass.For
instance,the followingexample
at (a) consists of the § on the Tonic, with theBass
rising a 4th,which
is described on page 4 as weak.With
the addition of amoving Bass
at(b)
and
(c) itbecomes
quite strong, the harmonicprogression between the barsbeingas at (d):—
P
(a)Weak. zz: {b)Good&
(c)Good. (d)IS
£
W
—
" =£21 -"g:DZQI
6COUNTERPOINT
FROM
AHARMONIC
POINT OF VIEW. JSimilarly,the
weak
progression of a § on the Tonic with theBass
rising a 3rd at [e) is strengthened at (/)by
theaddition of the root in the
Bass
at the middle of the bar,and by
the tied note in the inner part; whilst at (g) willbe recognized a familiar
and
effective dissonance, properlyresolved.
Both
oftheseexamples are perfectlysatisfactory.{e)Weak. (/)Good. {g)Good.
r
i-»
m-
2±z:5)
A
weak
harmonic progression also sometimes sounds lessobjectionable, orevenwell,
when
oneofthe partsissyncopated.With
the 4th Species in the Bass, both of the examples on page 4 admitofpossible use.The
above examples(a)to (g) all havereferenceto thej|ontheTonic.
The
progressionsfrom
the % on the Dominantand
Supertonic, described as
weak
on pages 4-6, are not likely tosound welleven with amoving Bass
inshorternotes.A
progressionwhich
should be particularlyavoided is thejj on the
Dominant
followedby
the ^ on the Subdominant,introducing the Falserelationof the Tritone:
—
I
Mi
—
8-Composersof the Polyphonic period certainly made free use of this
progression. So characteristic is it of earlyChurch music that modern
composersemployitasameans ofimpartingecclesiasticalatmosphereto
their vocal writing.
But in such examplesof itsuse, ancient ormodern, it will be found
that the parts move entirely, or almost entirely, note-against-note. Its
use is inexpedient in contrapuntal writing against a Canto Fermo of semibreves.
8
COMBINED
COUNTERPOINT.It is therefore necessary
when
theCanto
Fermo
in theBass
descendsfrom
theDominant
to theSubdominant
totake a § on eitherone, oron bothof these notes:
—
:g: 122:s
—T3 -jQ. -Sr -&L :g= C.F.Care
should also be taken to avoid the above progressionwhen
theCanto
Fermo
is in an upper part, and especiallywhen
it risesfromtheDominant
to theSubmediant
:—
As
thismovement
of theCanto
Fermo
in an upper part often leadsto clumsyharmonization, itmay
bewell to give itsome
consideration.The
principal matterto decide is whetheror notto use theDominant harmony
forthe first note. IftheDominant
| isused, the next chord progression is limited to one of the following:
—
C.F.
w^
jGl.u=£-tt—
Or, if the first inversion of the
Dominant
harmony
isemployed
:—
C.F.m
Rare.-©
—
23
^B^fl
6COUNTERPOINT FROM
AHARMONIC
POINT OF VIEW. 9With
theCanto
Fermo
in an inner part, in addition to the above, the following chord progression is alsoavailable:—
C.F.
W
C.F.
But
(with the CantoFermo
in an inner part) there is anincreaseddanger of consecutive 5ths:
—
C.F.
m
From
the foregoing remarksit will be seen thattheuse ofthe
Dominant
harmony
withthismovement
of theCanto
Fermo
may
present difficulty, on account of the limited choice ofchord-progressions.
The
easiercourse is to take theTonicharmony
instead,butit
would
be idle to imagine that the difficultycan be always avoided in that way, as theremay
be as likely as notsome
good reason for employing theDominant
harmony, such as:(i.)
To
help establish thekey; (ii.)To
avoida preponderanceof Tonic
harmony
; or (iii.)On
account ofwhat
immediately precedesor followsit.In such case, the harmonic limitations already referred to
should be borne in mind,
and
particularcare taken with themovement
of theBass
inthe next bar or two.10
COMBINED
COUNTERPOINT.Whilst a Counterpoint exercise should be constructed
largely on the stronger harmonies of the key, a certain
infusion of secondary chords is desirable, if only to avoid monotony.
It is, for instance, decidedly
weak
always to use theSubdominant
and Tonic harmonies,when
theCanto
Fermo
in an upper part proceeds in either of the following ways,in the key of
C
:—
This is a case
where
with either one or both notes a secondaryharmony
might wellbe employed.The
following areways
inwhich
the first of the above progressions of the CantoFermo
can be harmonized :—
-Q-_o__
3E
It may, however, be well to draw attention to the danger of con-secutive 5ths between the Submediant and Dominant chords, if either of theaboveprogressionsbe used immediatelybeforethecadence.
WithamovingBasstheseconsecutive5thscancertainlybe avoided by employingtwochordsinabar, asinthe followingexamples. Otherwise, with this movementof theCanto Fermo, itis impossible(apart from a conceivable instance with a syncopated Bass) to take the Submediant
chord immediatelybefore thecadence.
COUNTERPOINT FROM
AHARMONIC
POINT OF VIEW. I ITHE
MINOR
KEY.
The
remarks on the use of the $ (pages 4—
7)may
bealso applied to a certainextentto theminorkey, basedon the harmonicscale.
The
complete § on the Dominant, being dissonant, isunavailable, but in three-part writing an incomplete § is
possible.
With
theCanto
Fermo
in theBass
its use ispractically limited to
when
theBass
nextmoves by
2ndup
or down. It is
somewhat
less restricted with amoving
Bass.
1
When
the Supertonic is followedby
the Dominant in the Bass, a § on the Supertonic sounds weak, as in the majorkey.
The
dissonant i] on the Supertonic being unavailable,it is generallybest,with this
movement
in the Bass, to take an incomplete §:—
W^:
fr° I ttg
--O-^
-te
tt«The
minor 7thof the keymay
be used as theBass
of a6 chord, provided that it be approached and quitted by
2nd
downwards
:COMBINED
COUNTERPOINT.Ifintroduced asan essential noteofthe chord in an uppei
part, the minor 7th of the key induces a certain vagueness
of tonality,
and
may
even soundlike an unsuccessful attemptat a modulation tothekey ofthe relativemajor.
For
this reason it should not be often used as anessential noteinan upper part,
and
when
used it is advisableto introduce the
Dominant
harmony, with the proper leadingnote, in the course of the next
two
or three bars, as in the following examples.By
thismeans any
vaguenessoftonalityisarrested.
The
minor7th should, as in the Bass, be approached and quittedby 2nddownwards
:—
It isalso possible touse theascendingmajor 6th of the minor key as
anessentialnote of thechord,providedthatit beapproachedand quitted
by 2nd, generally upwards. It, however, presents great difficulty with
moving parts, and can seldom be profitably used. The student is
recommendednottouseitinCombinedCounterpoint,withthe exception ofthe 5-6ontheSupertonicinthe2ndSpecies,whichisparticularly useful
ata cadence.
The
selection ofchordsintheminor keybeing ratherlimited,when
theCantoFermo
admitsofit, a transition tothe key ofthe relative major is generally effective
and
to be recom-mended, but the primary key should be first established.CHAPTER
III.PASSING-NOTES
INTHE
2nd SPECIES, INCOMBINED
COUNTERPOINT.
In
Combined
Counterpoint the 2nd Species requires care as to the passing-notes employed. If that part has anill-chosen passing-note it
may
clash against the other parts and produce a dissonance at the last part of the barwhich
doesnot admitof satisfactory resolution.The
following examples are faulty in that respect, the cause being the use of unworkable passing-notes in the 2nd Species part:—
4
9
zz
m-TT
Note
the ugly progression between the bars in each example:—
m=m
Albrechtsberger and Cherubini avoided this difficulty by
practicallydiscarding the useofpassing-notesinthe2ndSpecies part in the
few
examples ofCombined
Counterpoint to be found in their treatises.By
so doing oneofthe most salientfeaturesofthe 2nd Species islost, andthe part is reduced toa
more
or less inelegant seriesof leaps in every bar.The
better planseems
to be tomake
a selection of those passing-noteswhich
aremost
adaptable to the addition of othermoving
parts, excluding thelessworkableones.M
COMBINED
COUNTERPOINT.In an upper part the workable passing-figures are at the following intervalsabovethe
Bass
:—
8-7, 6-5, 5-6,
and
3-4.In the
Bass
the following can be taken in their invertedform
:—
8-7, 3-4.
THE
PASSING
8-7.The
Bass Rising
a 4/th,or Falling
a 5TH.The
followingexamples
show
the various degreesof thescales of
C
majorand
C
minor onwhich
the 8-7can be taken.The
most
effectiveuseofthe 8-7 is with thismovement
ofthe Bass.
The
progressionmarked
(a) can only be taken if the 5th,being dissonant, is omitted:
—
TP O
-**-r>_
/ rjn
n
1 ' 1^
1 1a
1 | l 1 iffl f°" "<T3 ' 1 \Sy 1 ' ' 1 J *y ' 1 -e- -Q_Mf
<Z> f-j l("J. rj ""w^O
—Q. ^—
, (*) T-P-0-,Jf L'u f?
n
"P
r3-te~
T~ri
Im'F p 1 r^ r> H 1 1 Vf ' ! 1 1 • eWt* bi Q. . ra (gja.fr ,.
-©
—
^y
fr"
* ttThe
Bass Rising
a 2nd.This progression is not of great use except with the
Dominant
in theBass
:—
$
m
m
^~
o
iijgTHE
PASSING 6-5. 15THE
PASSING
6-5.The
Bass Rising
a 2nd.The
6-5 is a very useful passing-figure. Resolved on theinterval of the3rd, that interval can form partof either a §
or
I chord, but a % is
recommended
as generally best. Itis figured 6 in the following examples
where
the £, beingdissonant,cannot be taken.
The
following remarksrefer to examples in theminor keyat the topofthenext page :
—
(i.)
The
6-5 on the Supertonic with the upper notesof theascending melodicscale
moving
downwards(seea) soundscrude.It is generally better to take the descending
form
of the melodic scale, even if itmakes
a transition tothe keyof therelative major, as inthe following
example
:—
£
Ss
BE
(ii.)
On
theDominant
(see b), the complete § being dissonant, the 3rdfrom
theBass must
be omitted.:o_ -g>
—
trt- f^Q
t=t
=P==^=
w
(6)rP—^-En
i 1-p-
*3 1——
—
-jT-&-&-
_q_:
/L 1 1n
lm t 1 1 ! VU ' F •7«
-&-/~y <*3 (w.|pS
>~^l
Si
B=
&616 («)
COMBINED
COUNTERPOINT.\£^^Z
f* rr>p
<>-^ Q
"1—
1—
ja._i] •oi)\ * -<s>-Ll_|J
-H--^
—
O
' -—
H
1O
| 1 1 1 C»5The
Bass Falling
a 3RD.This treatment of the 6-5 can be taken on
any
degreeof the major or minor scale, but it is hardly a strong progression on account of the similarmotion in 6ths:
—
m=^
THE
PASSING
5-6-The
Bass
Falling
a 2nd.The
5-6,which
might almost be termed the Palestrinapassing-figure,
by
the very important part it plays in thatcomposer's Counterpoint, is perhaps the most useful and
effective of all passing-figures.
At (a)the raised6th of the minor key
must
be approachedby
2nd, generally from below. This progression is usefulat a cadence:—
(«)Pllll
T2\ii
fctMf
oq
is
THE
PASSING 5-6. 17The
Bass Risixg
a 5TH,or Falling
a 4.TH.^^
-I—
i-g
H-g
22=:::pil=ei
22: 30r6fat;
J=tte£5lE
.<=: zpz:g»
~^:
The
Bass Rising
a 2\d.This treatment of the 5-6 can be taken on nearly every degree of the major scale, and on
some
degrees of the minorscale, but it is hardly a strong progression, on account of the
similar motion in 6ths:
—
j3i
i8
COMBINED
COUNTERPOINT.THE
PASSING
3-4.The
Bass Falling
a 2nd.The
3-4 sounds wellwhetherthe3rdform
part of a § orofa § chord. It is only figured 6 in the following examples
where
the 5th, beingdissonant, cannot be taken.The
example
at (a) has the minor 7th of theminor
keyin the Bass. This
must
be approacheddownwards from
the TonicBass
:—
Sat
zx
(6)^ggj^
Wp.
^£$E=L
6 6 6 t}6 6 6 t|6 -&-\>—
Hi
_o—
T rj"^
T{jp'WJ^
"1—
'—
q=t-
—
u
(?):. \>Q
—
—
t '—
' ~-&—
1-0 Q~-r*9
—
n^4
—
6 A 6 6 8 6 6 6A
passing 3-4 is notrecommended
withany
otherPASSING-NOTES IN
THE
BASS. 19PASSING-NOTES
IN
THE
BASS.
The
Inverted
8-7.A
passing 8-7 in theBass
can be taken on any degreeof the
major
or minor scale, exceptwhere
there is adissonanttriad.
The
followingexamples
are intended toshow
thevariousmovements
of theCanto
Fermo
in an upper partwhich
admit of a passing 7thfrom
the Dominant being taken inthe Bass.
These
examples might betransferred to the other available degrees of the scale.Here
and
there a progressionwould
prove impossibleon accountofthemovement
of anaugmented
interval, ora doubling of the leading-note :—
Possible.
TZT-
JCL-E
ft1-w
T^=^
-Q-s]
^-
4l P* cjrz
^^&
"E^
.or::-£2_ ,
O
m
^
p
1 :a:P o
I
7?~5
~It isalso possible oncertaindegreesof the scale toresolve a passing 8-7in the
Bass
on a § chord. This progression isof far lessimportance thanthe resolutionon a \ :
—
#
a
1 1—
®
n$—
a—
—
e
1l&
1 u—
&
—
rs-<-@J_J
1 -A 1£L_.
20
combined
counterpoint.The
Inverted
3-4.When
theCanto
Fermo
in an upper part falls a 2nd, a passing 3-4 can be introduced in the Bass,by
taking theinterval of the 6thbelow thefirstnote of the Canto
Fermo.
It should nearly always resolve on a § chord.
Only
the
most
likelyBass
notes are included in the following examples:—
-m
W:
rZ2T.3BEE
tfcr: ^9-TTO^
T
—Q—
f t-O ^j-£*-7^
O n
-O-Q
(W
• p rz>^
I >-T» h I _. ?.fej—
L 6—
6—
6-
tOccasionally the passing 3-4 istaken at the interval of an 8ve below the
Canto
Fermo,
as in the following examples.The
6th from theBass
will then be represented in the other upper part.Attention is
drawn
to the 7th on theDominant
at the second partof thebar:—
\J VL> <-JJ
* 'TaV 1-2 tJ [W« C> ! \J> 1 -&—**--fr-jvF 6—
The
studentisrecommended
not to take a passing 3-4 inthe
Bass
when
the CantoFermo
proceedsby
leap, as in the followingexample.The
effect iscertain to be bad withothermoving
parts added :—
I
m
XX.THE
AUXILIARY NOTE. 21Theobservantstudentwillhavenoticedinthe course of this Chapter
thatthemosteffectivepassing-notes aretakenagainstthe movement of a 2nd, 4th, or 5th in the Canto Pernio. In Combined Counterpoint it is
not often that a workable minim passing-note can be taken when the
Canto Fermo moves a 3rd, up ordown, whether in the Bass or in an upperpart.
Itremains to be said that theonly other possible passing-notes (i.e., real Passing-notes as distinguished
from
Auxiliarynotes) not dealtwith inthis Chapter are:
—
(i.)
The
Ascending andDescending
gth in an upperpart, and inthe
Bass
;(ii.)
The
Descending4th inan upper part.These
are the less workable passing-notes referred to on page 13, and their indiscriminate use in a 2nd Species partin
Combined
Counterpoint is the cause ofmuch
ill-soundingCounterpoint.
So
seldom can they be used withgood
effect, that the student is advised to shun them,and
confine hisminim
passing-notes to those
more
workable onesrecommended
on page 14.THE
AUXILIARY
NOTE.
The
Auxiliary noteis of less musicalvaluein a 2nd Species part than the true Passing-note. It is occasionally useful inthecombination ofthe 2nd and3rd Species.
In the progressions 5-6
and
6-5 the secondminim
issometimes treated after the
manner
of an Auxiliary note.If this produces the effect of a change of harmony, it is,
of course, not really an Auxiliarynote.
-9
^r
^, 1—&—
rj-&
rT-o-
<T2 ~~e
—
n
A-
-^
-in
r>r
r^t—
1 1 -1—
1—
*B
I i—
' 1 iJ (W\«—
(w« CJ vi^ 5 6COMBINED COUNTERPOINT.
When
the 6-5 isemployed
in thisway
on the Tonic or Dominant, with theBass
next rising a 4th or falling a 5th,the second
minim
has undoubtedly theeffectof establishing a3 chord. Thisis auseful progression,ifapproached smoothly
inthe
minim
part:—
-7
—
1—
n
<"->«
/.w—
^—
&- _o
1 !2F
—
] -&-M\m rj (<*j. NJ>O
O
A
minim
that is dissonant with the CantoFermo
should, generally speaking, notbetreatedas an Auxiliarynote, as theeffect is likely to be harsh with another
moving
part added.The
following, however, admitsof possible use.A
7th on theDominant,
or a Diminished 7th on the Leading-note of the minor key, can beintroducedby means
of an Auxiliary note in the Bass. It is essential that the CantoFermo
intheTreble or inner partfall a2nd, inorder toresolve the dissonance :
—
\Jyu~
,^O
—
-U <raVP
fj (W• \^s 1 |_ 'm
-3
CHAPTER
IV.THE
2ndAND
3rd SPECIES.[This Chapter and the following Chapters are divided into
numbered sections.]
i.
—
InCombined
Counterpoint a 2nd Species part should not be overloaded with passing-notes. Generally speaking,it is advisable to have a fewer
number
than in Simple Counterpoint.When
combining the 2nd and 3rd Species it is possibleto plan out first the 2nd Species part, or
some
portion of it,and then addtheotherpart.
This
method
may
generallywork
verywell, except that ifthe 3rd Species part is in the Bass, that part cannot be left
entirely until last.
A
preliminary plan might bemade
asin the following example, the bass part being completed afterwards.
Such
planmust
be considered of a tentativenature:
—
ziz
C.F.
S^i
2.
—
InCombined
Counterpoint of whatever kind, it isadvisable to give particular consideration to the middle of
the bar. Incombining
minims and
crotchetsthesetwo
parts should there be generally consonant with one another; anoccasional dissonance is then
welcome and
effective.When
these parts togetherform
a dissonance at the middle of the bar, the part in crotchets should approach itby 2nd.
Such
dissonance shouldgenerally be approached in=4
COMBINED
COUNTERPOINT.however, sometimes be taken without ill-effect, if one of the
moving
parts is inthe Bass, asat (c) and (d):—
(a) (&) ( (c) (d)-O
J
n i 1 .n
|An
exceptionalcaseiswhen
thecrotchet part has changingnotes.
The
two moving
partsmay
thenapproachadissonanceat themiddle of the bar by skip in both parts,
and
in similarmotion:
—
tH
-1-47
^
h-
—
¥-*—-
'-3
°^-»
-1-
•: /„\. fj.^_ ((*;. P***——
| * '***» # # v>—
' 1—&
14_J
—
|—
|_JJ[In the examples the Canto
Fermo
is ahvays represented bythe pavt that has a semibreve or semibreves. It is not considered necessarytoindicateit.)
3.
—
Although the stronger effect is generally obtained by retaining thesame
harmony
throughout the bar, it ispermissible occasionally to change it.
When,
as is usually the case, thischange ofharmony
occurs at the third crotchetof the bar, an accented passing-note can sometimes be
effectively introducedatthatpoint in the crotchet part, as in
the following examples:
-+
+j—
r--t—
:o:T~
:^
' 5 ' 5 5 3 3 2There isnoeffectof consecutive 8vesand 5thsbetweentheTenor and
Bassinthefirstof theaboveexamples,as these intervalsdo not occur in successive chords. This applies to all similar cases where there is a
change of harmony withinthe bar. (See, forinstance,ExercisesNo. 7,*
bars 6
—
7; No. 11, bars8—
9; and No. 12, bars4—
5.)*ThenumberedExercises referredtohereandelsewherewillbefound
THE 2ND AND 3RD
SPECIES. 254.
—
The
bare 4th between the upper parts of a § chordat the middle of the bar sounds thin. It is particularly
objectionable
when
approached by similar motion, as in the followingexample
at (a). If approached in contrary motion, and with the crotchet partmoving
by
2nd as at (b), the progression is quitetolerable.The
bareness of the 4th is not feltwhen
the 3rd of the chord is in the Bass, particularly if approached in contrary motion, as at (c) :—
(a> Bad.I
(b) Better. (c) Good.¥
T-d-
Jl • 4.^z=*
m
5.
—
The
conventionalChanging
note figure,consistingofa
turn round a central note, should be sparingly used. It is
sometimes useful at a cadence, or to fall back on in case of
difficulty:
—
-
m
Wa
»g
^^
=F
*r=
?***H^
=f
It is
recommended
that the last note of aChanging
notefigure be quittedby 2nd, as indicated in the above examples.
Such
skips as the following are ugly:—
fS^
-*^
"*<5>O
<S> 1 \—
q
U tfaY pf
p^
v£l-1 1^
:6.
—
There
is another andmore
ancient typeofChanging
note
—
theNota Cambiata—
as adopted byFux
fromtheworks
of the early composers ;employed
also by Albrechtsbergerbut rejectedby Cherubini.
G. J. Bennett
—
Combined Counterpoint—
Novello—
C26
COMBINED
COUNTERPOINT.The
Nota Cambiata has undoubtedlymore
melodic interestthan the conventionalturn,
and
although the aforesaidtheoristsmade
use of it ina
way
which would
be hardly accepted inthese days, it
seems
possible occasionally to introduce it overa
§ chord withoutoffence.The
following are suggestedways
for its treatment (see alsoExercise5,bar 8; and, with the 4th Species, Exercises29,bar 5;
and
31, bar4):—
i
ro:
J--4: -QT ZZZ1-?-+
Z±
m
1f-r
:cz:H
} 1 ~t>—
1 T~~ , ' (i^—
ra^Q^S^Z?
—
\i o> j'iff
^
—
i 1—
-g—
*—
*
—
1 Tt>—
rl rjX
£5&
r-JVf»-^
—
—
—
+—
::ThisChangingnote figure differs from the conventional turn in that thefirstthree notes areallconsonant withtheCanto Fermo. Againstan
y
objectiontoitsuseonaccountofacertainambiguityof harmony, it may
beurgedthatthisseemstobe acase where the harmonic point of view shouldgiveway,onaccountof the excellentmelodiceffect.
7.
—
The
following examplesshow some ways
inwhich
the 2nd
and
3rd Species can be combined, the passing-notesin the2ndSpecies part being limited to those workable ones
recommended
in Chapter III.Many
of theseand
of the subsequent examples are alsoavailable intheminor key:
—
i
rTf
—
&-.£3
:ii£2i:ri:
-«LJ_J_-THE 2ND
AND
3RD
SPECIES. 27 n l | 1 i 1fk
—
<^» id—
'"J #—
<S>-J-J-
t^H-•> I W -+--m
- -o- 1 I i r -&- I I -8-<kV <r> (Wj ,-2 rj rj 6 5 r> 1 6 6 I 5 1 6 57T
J
J
(O—
o
?-3 1 1&-*-'
m*
«f
m
r-j—
-i—
A
—
—
«> *yP
e> -Q- i 1 i 1r~
ir
r
-fr£\'^
r> [(•/• No
6 5 6 5 6 5 | 6 !y
#-r
J 1 ' 1 T rjo
rj r) J * m t i | \J S m m 4 «-J
A
-G>- I lP
1 ir
r
°^
(<-£•• rj (W
• --, TJ> 5 6 (8-" inBass.) j? ;> -<> 5 1 "# " | 6 r-S 3 (3-4 in 4 Bass.)^
r -f-r
1 ri> -0-r> -Gh- *-1 1 1O
iWi•°
*"-> r-> 13 ((*;. i i ;^
^
—
g - ' ' - IIn thelasttwoexamplesit maybe observed that the partshappen to
formapassing chord at the second half of the bar. This isfrequently thecasewithamovingBass.
8.
—
When
the CantoFermo
in an upper part descends a 2ndbetween
certain degrees of the scale, a fundamental discord can be effectively introduced at the last part of28
COMBINED
COUNTERPOINT.Observe
how
the dissonanceis both prepared andresolvedin the
Canto
Fermo
:—
Dom. 7th. Dom. 7th.
Dom.
gth.J
J
J-jn
H
•U
-Hn
14rr>
~
:o #•
<~j £>-s»—
|tr
—
"
m-r
—
r
1 L-G> 1p©
~j° r>~&
—
1 r—<S> -?j—
r-^—
Added6th.—a
—
k—
|—
m
-Dim. 7th. 1 Dim,7th.X
w\
—
\m f
r
-0
—
~~|—
'—
1—
\~ rm"P J 1 rj IsU•
1 J m *S
rv -O-Ar-j-&
Q
1 1 T-1L-L-i-
r n Wj>-1 iM—
H \ ...O-*
'
*V~
_
£-»g.
—
Effective usecan bemade
of scale-passagesmoving
inopposite directions.
In the
two
firstexamples the partsmeet
in the middle ofthe barat theinterval of an 8ve.
In thelast
example
theymeet
at the interval ofagth, the contrarymotion toandfrom
the dissonancemaking
the effect satisfactory.The
harmony
may
be regardedaschangingatthe middleofthebar, withan accentedpassing-noteintheBass:—
-J
J
J
, r>6—5
10.
—
Sequentialmovement
isof valuein this combination.It can oftenbe introducedwithgood effect
when
a progressionof
two
notes in theCanto
Fermo
is repeated a 2nd or 3rd higheror lower.Repetition at the interval of a 3rd is perhaps the
most
useful, and examplesmay
be found in Exercises2, bars5—
g;3,bars 4
—
7; 4, bars2—
5; 5, bars 3—
7; 8, bars4—
8;and
12,bars 1
—
4.It will be observed that the two-bar pattern is not necessarilyrepeatedentire.
THE 2ND AND 3RD
SPECIES. 29Sometimes
it is convenient tomake
the crotchets follow an independent line (see Exercise i, bars 4—
8),which
may
indeedproduce the better effect, provided that the sequential character
of thepassage be sufficientlyrecognizable.
Occasionally, asinExercise10,bars 4
—
8,sequentialmovement
which is not suggested by the
movement
of the CantoFermo
can be
employed
intheminim
part.11.
—
The
following aresome
of themany
possible forms of cadence,and
are nearly all available in the minor key.The
student is, as in subsequent chapters, also referred to the cadences at the end of the
worked
exercises.£=
1—
r
~~o: -w ^-i^l
zozzz:H
)—
J—\
1 I/
1m
m
J
fi—
—
e
=°^
g>n
—
m—m—m-
—
75P
|P
I—
e»—
-l3-r
»-i f-i-0-p-
J L_&
11^
r-i—
: t=-r
d—
<TJ*
^2:IS
30
COMBINED
COUNTERPOINT.In
most
ofthe followingand subsequent exercises theBass
isunfigured. except foran occasional figure
where
there might beany
question astothe impliedharmony.A
comma
is sometimes used—
in preference to an extendedslur
—
togivesome
indication of the phrasingof a part.CANTO FERMO
IN BASS.Ex. I
gEr^=g=f:
-~-, F.R.C.O.,July, 1914.^^^=f=^gi^^=FH^^
S
^B=m
1—
r C.F.I
I
S^H=J=«Hee
:g=*z =ff=P=T*—
prJ=t
^==t
*=
^
1^
Note, (i.) Bars 1-2.
—
The8vesbetweenTreble and Bassare fromTonictoDominant, incontrary motion,andboth unaccented.
(ii.) Bar 3.
—
The doubled leading-note is approached and quitted byconjunct movementinbothparts.
The above exercise might also commence in the following way. The
alternativesmallnotesintroduce 5thsbetweenTreble and Alto. Theyseem
to be permissible, notbeing direct, and the second 5th consisting of notes unessentialtothe prevailingharmony, but theyarehardlyrecommended:
THE 2ND
AND
3RD
SPECIES. 31
FromanExaminationPaper.
mm
st^^m
m
*=*=*
3g=^gJfEgJfz^zg:
EE±EE-J~E
etBMi3=t±
C.F.$
1"
I1~
»^MB
S===*^
—
--&==&
=
:— : f» • 3E=S=I*
*c
i*-, *?. :.l I ; ±: *-P
I *~1^
Note.
—
The Canto Fermo does not admit of the key ofD
minorbeing properlyestablisheduntil neartheend.Ex. 3. F.R.C.O., January,1897.
«
-rq
==ez
f-m
C.F.
3
"2^-T=^
Note, (i.) Bars 3-4.
—
The skip in the Treble, from a crotchet that isdissonant with the minim, is less objectionablethan if it had been to any
othernote thanthe 8ve.
(ii.) Bar6.
—
Thedoubledleading-note has evenmore tojustify it than isthe caseinExercise1; as, in addition to theconjunctmovementinbothparts,
32
COMBINED
COUNTERPOINT.Ex. 4.
CANTO
FERMO
IN TREBLE.Oxford,1stMus.Bac,1915.
E=T
T-y-nrr-P
p=F=P=t^^P
m
4==^
T-g—
r
1 *_s»Tfr—
E
£23
--=3;
g
=F=p
E
-»-*-fc£>=*=n 5»=P: * rm
»
r
rJ-3$r^&
mm
m
Ex. 5. A.R.C.O., January,1895.
C.F.
£
^=c
:H=g *C-^=Eg
3r=i=i
^Wrffe
^
fr
^rf
wlr-
1r
^
^
p^
HI
*2d!3^
Note, (i.) Bars1-2.
—
The8vesbetweenTrebleand Bassareby contrary motion and unaccented. Moreover, the second 8ve is covered by thecontinued contrary motiontothe following bar.
(ii.) Bar8.
—
Nota CambiatainAlto(seepage25).(hi.) At bar 9 is the "conceivable instance with a syncopated Bass"
Ex.6. b
THE 2ND AND 3RD
SPECIES. 33Oxford,1stMus.Bac,1915.
C.F.
&
b$^=^z
i- I I LPlI? <=T5
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—
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—
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F-1 -i—
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4=^=
——
1—
1—
1——
»Ex. 7. F.R.C.O., July,1912.
5
—
H6Ex. 8.
,4
fJfc
CANTO
FERMO
ININNER
PART.Durham,1stMus.Bac,1913.
g=j^=fe
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r34
COMBINED
COUNTERPOINT.:{Sr==:
HE
ii
iSS
-M=?=*lHZZMZmt^^M
Ex.g. Oxford,istMus.Bac,1914.
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i— 1 5—
2
—
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—<s>—
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1—
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bJlI -H--fc-*4—
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J-*&^=T
L_J
Note.—
The 3rd Species in the Bass sometimes assumes a moreinstrumentalcharacter,with amoreextendedcompassthaninan upperpart.
Ex. 10. F.R.C.O.,July,is :^- .a. --t-
m
-<=-C.F.i^=
S
:i»
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^
S^^
THE 2ND
AND
3RD
SPECIES. 35fccttz
3=
j=£=5=
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Note. Bars5-6.
—
The skip from a crotchet that is dissonant with theminim mustbe considered alicence.
Ex. 11.
I—
-r
« »~ F.R.C.O., January,1907. 3=r£^
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—
—
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Note. Bar 7.
—
Doubling of the Leading-note with conjunct movementin both parts.
Ex. 12. A.R.C.O., January,1909.
p
^ffr-rr
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^
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C.F..m^:
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5 6 3f
\["f—^
=£=
a... -*£Note.
—
(i.)A
working of the above exercise is difficult except byemployingtwochordsinnearlyeverybar.
(ii.) Bychangingtheharmonyin Bar 1, sequentialmovementisobtained
36
COMBINED
COUNTERPOINT. IN TRIPLE TIME. Ex. 13.a
•"-:«- tj* |flj* =1 1 L--£=?-Durham,1stMus. Bac,1911.
-i ! I
—
J -F z^--Mz C.F.tm
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|S^=^
^w=^
-*-t-?--»—»--WdH
9
- IZZl*m
:~?zz^=>-^=P=F
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g
m^^
B=*==
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fe
ggjS
^
=*=g=
=fifcn
n-Note. Bar 2.
—
The skip from the fourth crotchet which is dissonantwith the Bass is perhaps justified by the particular pattern of theTreble
37
CHAPTER
V.THE
2ndAND
4th SPECIES.i.
—
In any combination with the 4th Species, it isconvenientto consider that part first, subject to the condition that the
Bass
part can never be leftentirely until last.
In planning out a 4th Species part the student is sometimes
led on
by
themovement
of theCanto
Fermo
to write such a Counterpoint as the following,which
he imagines will sufficebecause the syncopationis unbroken:
—
The
monotony
of such a Counterpoint, with its limited compass, its repeated leaptothesame
upper note—
never risingas a climax to a higher note
—
is evident,and
if no betterunbroken solution could be found, the syncopation should
somewhere
be interrupted.It
may
be mentionedasa matter of practical experience, thatin cases
where
an unbroken syncopated part is impossible, thebetter result will often be obtained by interrupting the synco-pationabar or
two
earlierthan isabsolutelynecessary.2.
—
With
regard to the 2nd Speciespart, caremust
be takento avoid it being a disjointed part, consisting of a series of
awkward
skips.The
means
to this endare:—
(i.)
The
use of Passing-noteswhere
possible;(ii.) Judicious changes of
harmony
at the second half ofthe bar
;
(iii.) Occasionaluseoftheprepared j?
when
the2ndSpeciesis in the Bass,
and
ofthe \when
the 4th Speciesisinthe Bass.
3.
—
The
following remarksand
examples willmake
clearto
what
extent the Suspensions 9-8, 7-6, 4-3,and
6-5 can beaccompanied
by the passingfiguresrecommended
in Chapter III.33
COMBINED
COUNTERPOINT.THE
SUSPENDED
9-8.Accompanied
bythe
5-6.This is not of
much
use in three parts, the absence of the 3rdof thechordmaking
theprogression sound thin.Note
the skipfrom
the 6th at theend
of the second bar.The movement
of this interval is free (except that on thisparticular
Bass
it happens to be theLeading
note), it beingconsonant with the
Bass
:—
--TZL3
-£ :g£^
Accompanied
bythe
3-4.The
firstexample
has the 3-4 in theBass
at bars 2 and 4,and
thesecondexample
the 9-8 in the Bass, with the 3-4 in the innerpart. (For further examples, see Exercises 19and
20.)^=
122:^
£
7J37 7 4 3
THE
SUSPENDED
7-6.Accompanied
bythe
5-6.Itis essential that the 5th be perfect,
and
approached from the2nd below
:-ms
-_-J-j