MUSIC
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LIBRARY
VERITAS
SCIENTIA
OF THE
UNIVERSITY OF MICHIGAN
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1884
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​
THEORETICAL SERIES.-No. 1.
NOVELLO'S LIBRARY FOR THE DIFFUSION OF MUSICAL KNOWLEDGE.
"Studies serve for delight, for ornament, and ability. *
There is no stond or impediment in the wit,
but may be wrought out by fit studies."-Lord Bacon.
A TREATISE
ON

COUNTERPOINT & FUGUE
BY
L CHERUBINI,
ли
MEMBER OF THE FRENCH INSTITUTE; DIRECTOR OF THE CONSERVATOIRE OF MUSIC;
OFFICER OF THE LEGION OF HONOUR, ETC.
TRANSLATED BY
MARY COWDEN CLARKE.
NEW EDITION, REVISED BY
JOSEPH BENNETT.
LONDON & NEW YORK
NOVELLO, EWER AND CO.
1884.

Music
MT
55
C523
1884
THIS WORK IS ADOPTED FOR THE INSTRUCTION OF THE CLASSES AT THE CONSERVATOIRe, paris; and
OF THOSE AT THE ROYAL ACADEMY OF MUSIC, LONDON.
General & hare
Schart Horence
Selia
4.21
MEMOIR OF CHERUBINI
CHIEFLY COMPILED FROM THE FRENCII OF MONS. FÉTIS.
This admirable composer was born at Florence on the
8th Sept., 1760, and he received the baptismal name of
Maria Luigi Carlo Zenobio Salvador Cherubini. He
mastered the first elements of music before he was six
years old. At the age of nine he had lessons in harmony
and accompaniment from Bartolomeo Felici and his son
Alessandro. On the death of these two masters he ob-
tained instruction from Pietro Bizzari and Guiseppe
Castrucci, who promoted his studies in composition and
gave him some idea of vocal art. The progress he made
was so rapid that as early as 1773, before he had com-
pleted his thirteenth year, there was a solemn mass of
his performed at Florence. This work was followed by
several others, both sacred and secular, and the public
greeted with warm applause those early productions
of a genius already remarkable. The grand duke of
Tuscany, Leopold II., a prince distinguished no less by
his enlightened taste for the fine arts than by his mild
and benevolent rule, showed his estimate of young
Cherubini's talent by granting him, in 1778, a pension
which should enable him to repair to Bologna and study
under Sarti. Four years were spent by the young artist.
in this school, acquiring by assiduous labour a profound
knowledge of counterpoint and of ancient fugal style.
To Sarti's excellent precepts Cherubini's extensive ac-
quaintance with the classical Italian composers is mainly
owing, while to this master's judicious system—not only
imparting to his pupils solid scientific instruction, but
exercising their fertility of invention by entrusting them
with the composition of subordinate portions of his own
operas―may be traced Cherubini's ready skill in writing
down his thoughts. Sarti's scores contain many pieces
composed by Cherubini.
Before permanently quitting the tutelage of his master
Cherubini wrote the opera of Quintus Fabius, which was
first performed in 1782, and was followed by seven
other works, that made their appearance at Florence,
Leghorn, Rome, and Mantua. In 1784, Cherubini left
Italy for London. He here wrote La Finta Principessa,
an opera buffa; and brought out his Giulio Salino, of
which he had re-written several pieces. He also con-
tributed several new pieces to the score of Paisiello's
Marchese di Tulipano; after which he repaired to Paris
with the intention of settling there. But he was im-
mediately summoned to Turin that he might write his
opera of Iphigenia in Aulide, which obtained such
marked success that Marchesi made choice of this work
for the autumn of 1788, at the theatre of La Scala
Milan. On his return to London in 1787, Cherubini
filled the post, (and with the title) of composer to His
Majesty's Theatre. Here he brought out Cimarosa's
Giannina e Bernadone, and Paisiello's Gli Schiavi per
amore, with other works, to which he contributed several
charming pieces. Burney alludes with eulogy to these
productions of Cherubini's genius in his History of
Music. At Paris, in 1788, Cherubini. wrote his first
French opera, entitled Démophon; it appeared on the
opera stage the 2nd of December of that year, but met
with slight success.. Many causes operated to occasion
this cold reception of a work which was an experiment
in a style of composition wherein Cherubini seemed to
have relinquished those peculiarities of Italian music
he had till then cultivated. The chief of these causes
was the interest taken by the public in Vogel, the author
of another Démophon, the overture to which had at-
tained considerable favor and celebrity.
This young
musician had expired the same year, leaving his opera
completed. It was performed during the summer, and
although the remainder of the work did not keep pace
with the merit of its overture, yet the public regarded it
with a partiality which prevented due interest in Cheru-
bini's production. In this latter there was a creative
power superior to anything yet achieved in France
which power being beyond the comprehension of the
opera-pit critics of the time, did not compensate, in their
eyes, for the want of spirit and dramatic interest that may
be alleged against the score as a whole. Of all its
composer's works, Démophon is now the least known,
even to his admirers; nevertheless there are pieces in it,
(particularly a chorus, "Ah! vous rendez la vie") which,

4
MEMOIR OF CHERUBINI.
for skill of instrumentation, for disposal of the voices, and
for purity of style, were, at the period when the opera
written, truly original creations and the heralds
of a new school.
was
In 1789, an Italian opera was regularly organized in
Paris, and Cherubini was installed as its musical director.
The company's first performances took place in a paltry
kind of building called 'Le Théâtre de la foire Saint
Germain ;' and here were executed-with a perfection
till then unknown-the first works of Anfossi, Paisiello,
and Cimarosa, in which Cherubini introduced some ex-
cellent pieces of his own composition. All these pieces.
bear the stamp of superior talent, and they excited.
general admiration. Among them is the delicious quar-
tett, "Cara, da voi dipende" (introduced into the
Viaggiatori felici), and also the trio given in the Italiana
in Londra. Both these productions present a study full
of interest if compared with Démophon, or, still more,
with Lodoiska-a French opera written by Cherubini at
that period. They prove that their author then possessed
wo distinct styles; the one, simple as that of Cimarosa,
or Paisiello, but distinguished by a purity of character
superior to all that had preceded it; the other, severe,-
rather instinct with harmony than with melody,-rich
in details of instrumentation, and constituting a type, as
yet unappreciated, of a new school destined to remodel
existing forms in musical art.
Lodoiska first appeared in 1791. This fine composition,
where the magnitude of plan in the concerted pieces, the
novelty of combination, and the richness of instrumental
beauty are so remarkable, caused a revolution in
French music, and was the origin of that music of effect
which composers of modern time have imitated through
so many varied modifications. Among those of the
French school may be cited Méhul, Steibelt, Berton,
Lesueur, and even Grétry, as throwing themselves into
this new path with an implicitness only differing in the
several peculiarities that mark the style of each. It is
true that Mozart had already revealed, in his immortal
compositions of Figaro and Don Giovanni, all the effect
to be produced by grand combinations in harmony, and
by fine instrumental accompaniment in conjunction with
the most exquisite melodies; but these works, produced
before even Mozart's own countrymen were capable of
fully comprehending them, were at that time entirely
unknown to foreigners. There can be no doubt there-
fore that Cherubini was indebted to his own inspiration
alone for the new style which he introduced into France;
while a careful comparison between his manner and that
of his illustrious predecessor attests the fact beyond
dispute.
The revolution commenced by Lodoiska, was completed
by Elisa, or Mount St. Bernard, and by Medea. Unfor-
tunately, these operas, the music of which, after a lapse
of many years, excites the admiration of musicians, were
composed on libretti either devoid of interest or written
in a style of absurdity that prevents their keeping pos-
session of the stage. As a proof that Cherubini needed
nothing else for the attainment of popular success than
more interesting or more rational groundworks for his
music the opera of Les deux Journées was received with
enthusiasm; its music is written on the same model as
Cherubini's other French compositions, but its story pos-
sesses interest and is well suited to the lovely character
of the music. More than two hundred representations of
this beautiful work did not exhaust the delight of true
judges, yet, notwithstanding the high reputation enjoyed
by Cherubini throughout Europe, his position in France
was not worthy of his great talent. The emoluments of
office as Inspector of the Conservatoire formed all his
income and hardly sufficed for the maintenance of a nu-
merous family. The head of that Government which
succeeded the Directory showed little favor to the man
whose name was revered throughout France, England,
Italy, and, above all, Germany. Compelled at last to
provide for the means of existence, it was towards this
land of harmony that Cherubini cast his eyes as a re-
source. An engagement was offered him to write some
operas for Vienna, which he accepted and repaired
thither, with his family, in the spring of 1805. Arrived
in the imperial city, he wrote the score of Faniska, the
beauties of which excited the admiration of all the
Viennese artists. Haydn and Beethoven pronounced the
author of this work the first dramatic composer of his
time. The French musicians, and Méhul himself, sub-
scribed to this verdict. But scarcely had Cherubini begun
to reap the fruits of his success and to plan new produc-
tions when the war broke out between France and
Austria. The results of this war are well known; Vienna
was surrounded by French troops, the court of Francis II.
was compelled to leave, and the author of Faniska
found himself obliged to return to Paris, where he ex-
piated, in forced leisure, the glory of a success which
had seemed to defy Napoleon's disdain.
Meanwhile, some friends essayed to remove the preju-
dices and dislike conceived by this latter; they induced
Cherubini to write an Italian opera for the theatre at the
Tuileries, and Crescentini promised to sing the principal
part. The composer yielded to their persuasions, and,
some months afterwards, the score of Pimmaglione was
completed. This charming work, written in a totally
different style from the other productions of Cherubini,
contains scenes of a most felicitous conception. Napoleon
seemed surprised when he was told the name of its author;
he evinced at first some satisfaction, but no amelioration
in the position of the composer was the result. So flagrant

MEMOIR OF CHERUBINI.
5
He
It so
an injustice could not but carry discouragement to the
artist's soul; but suddenly, in the midst of the neglect into
which he had fallen, unforeseen circumstances directed
Cherubini to a new course, which may be considered
as one of the most solid foundations of his renown.
had just left Paris, to enjoy, at the residence of M. le
Prince de Chimay, a repose of spirit, a calm, that he felt
imperatively necessary for him. He was in one of those
crises of disgust at Art, which are not of unfrequent
occurrence in the lives of great artists; but in order that
his spirit might not lack aliment he had taken up the
pursuit of botany and seemed to have no other thought
than the diligent prosecution of this science.
happened that a project was formed for getting up a
mass with music in the church of Chimay; but, for the
realization of this project one thing was wanting,-namely,
the music of the mass. They had recourse to Cherubini;
who at first refused, but afterwards, consented. It was
on this occasion that he wrote his admirable mass in
F for three voices. The prevailing idea in this effort has
nothing in common with that which pervades all the music
of the ancient Roman school. That was conceived as an
emanation of pure sentiment apart from all human pas-
sion; while Cherubini, on the contrary, chose that his
music should express the dramatic sense of the words, and,
in the fulfilment of this idea, he gave proof of a talent
so exalted as to leave him without rival in this particular.
A union of the severe beauties of fugue and counterpoint,
with those belonging to dramatic expression and rich in-
strumental effects, is an achievement peculiar to the genius
of Cherubini. The European success obtained by this
fine work determined its author to produce many others
similar in style. The restoration of the old French mo-
narchy, by removing the kind of proscription under which
Cherubini dwelt, gave him frequent occasion to exercise
his talent in this way. In 1816, he succeeded Martini in
his office of superintendent of the king's music, and from
that time forth he continued to write numerous masses
and motets for the service at the royal chapel. A portion
of them only have been published; but the majority of
these works are considered by judges to be compositions
of a very high order.
Among the principal works of Cherubini may be num-
bered no fewer than 32 operas, 29 church compositions,
four cantatas, and several instrumental pieces; besides
the admirable Treatise on Counterpoint and Fugue, first
published in Paris, in 1833. This latter work is, in fact,
the result of Cherubini's experience as to what was
necessary in teaching counterpoint to the pupils of the
Conservatoire for nearly a quarter of a century, and the
examples are models of that perfection of style which
distinguishes the productions of the ancient Italian
After filling the post of Inspector of the Con-
servatoire of Music in Paris during a period of twenty
years, Cherubini was nominated Professor of Composition
there in 1816; and subsequently Director in 1822. He
was created Chevalier of the Legion of Honor in 1814,
became an officer of the order, and chevalier of that of
Saint Michael. The Institute of Holland, the Academy
of Music at Stockholm, and the Academy of Fine Arts
in France, elected him among their members.
masters.
He resided in Paris until the period of his death, which
took place in 1842, at the age of eighty-two.
The obsequies of the great composer were celebrated
with much pomp. More than three thousand persons
repaired to the Conservatoire, and attended the funeral
train to its destination at St. Roch. The whole school,—
professors and students,-accompanied the procession.
Mournful music, consisting, among other productions of
the illustrious deceased, of the piece formerly composed
for the obsequies of General Hoche, was played during
its progress to the church, where his solemn Requiem
for male voices, recently written, was performed. No-
thing, in short, was omitted to render this closing homage
complete. Subsequently, a subscription was voluntarily
entered into among the artists with the view of erecting
a monument to his memory, and a proposal was made
to give the name of Cherubini to one of the streets in
Paris adjoining the principal lyric theatres.
He enjoyed the respect and attachment of his pupils,
the esteem of his intimates, and the highest admiration
from those best capable of appreciating his genius-the
first-rate musicians of his own time.

MEMOIR OF THE AUTHOR
CONTENTS.
PAGE
PAGE
3
ON DOUBLE COUNTERPOINT:--
6
First section.-Inversion in the octave
51
Inversion in the ninth
52
7
Inversion in the tenth
53
Inversion in the eleventh
54
Inversion in the twelfth
55
Inversion in the thirteenth
55
Inversion in the fourteenth
56
Second section.-Triple and quadruple counterpoint 56
In the octave
CONTENTS OF TREATISE
INTRODUCTION ON COUNTERPOINT
PRELIMINARY PROPOSITIONS :-
Upon concords in strict counterpoint
7
Upon discords in ditto
Upon various kinds of movement
7
7
TWO-PART COUNTERPOINT :-
56
First order. Note against note
8
Second order.-Two notes against one
12
Third order.-Four crotchets against one semibreve 15
ON FUGUE:-
Fourth order.-On Syncopation
In the tenth
Conclusion
Definition of the term Fugue
59
60
- 62
17
On Subject
63
Fifth order. Florid counter point
19
On Response
THREE-PART COUNTERPOINT :-
On Counter-subject
-
On Strette
First order. Note against note
*
Second order.-Two minims against a semibreve
223
20
On Pedal
66
21
On Tonal Fugue
66
Third order.-Four crotchets against one semibreve 23
On Real Fugue
Fourth order.-On syncopation
25
On Fugue of Imitation
Fifth order. Florid counterpoint
28
On the Coda
****AR 2238
63
64
65
67
68
69
On Digression
70
FOUR-PART COUNTERPOINT :—
On Modulation
70
First order. Note against note
28
On the entire composition of a Fugue
71
First, second, and third order.-Examples of
30
General remarks
72
Fourth order.-On syncopation
32
EXTENDED EXAMPLES, ANALYSED THROUGHOUT :—
Fifth order.-Florid counterpoint
35
Real fugue in 2 parts
73
COUNTERPOINT IN FIVE, SIX, SEVEN, AND EIGHT REAL
PARTS
Tonal fugue in 2 parts
74
36
ON IMITATION :-
Antecedent and consequent
First section. By similar movement
Second section.-By contrary movement
On free or irregular imitation
On regular or restricted imitation
·
40
41
·
43
43
-
43
Authentic and plagal cadence
On several other sorts of imitation
41
Real fugue in 3 parts (Instrumental character)
Tonal fugue in 3 parts, with one counter-subject,
(In gloria Dei Patris, from Grand Mass in F)
Tonal fugue in 4 parts, with one counter-subject
Tonal fugue in 4 parts, with two counter-subjects
Chromatic fugue in 4 parts, with three counter-
subjects, with preliminary remarks thereon
Concluding observations thereon
Tonal fugue of considerable development, in 8 parts
76
80
82
86
90
95
95
Augmentation; diminution
44
and for two choirs (from Credo)
-
96
M. Fetis's remarks thereon
. 115
Reversed accents; Interrupted; Convertible;
Periodic; Canonic
Real fugue in 8 parts, for two choirs, by J. Sarti
- 116
45
APPENDIX:—
Finite and infinite canonic
- 46
Third section.-Imitations in 3 and in 4 voices
46
Given subjects or basses to serve for lessons in strict
counterpoint
124
Antecedent or Theme; consequent
47
Basses for counterpoint in 8 parts and two choirs
- 127
Inverse contrary imitation
-
· 48
A TREATISE
ON
COUNTERPOINT AND FUGUE.
INTRODUCTION.
In commencing this treatise, I suppose the pupil
to be already acquainted with the theory of chords,
and consequently, of harmony. I cause him, there-
fore, at once to enter upon the study of strict
counterpoint; not that which accorded with the
system of tones and modes observed by ancient com-
posers, but modern strict counterpoint, that is to
say, according to the present tonal system, which
will imperceptibly lead the pupil to familiarize him-
self with the art of writing fugue-the true founda-
tion of composing. It is needful that the pupil
should be taught to observe strict rules, in order
that when eventually composing in a free style, he
should know how and why his genius-provided he
have any-has caused him frequently to liberate
himself from the rigour of first rules. By sub-
jecting himself, at the outset, to the severity of these
rules, he will subsequently know how to avoid with
prudence the abuse of license; and by this means
also, he will be able to form himself in the style
which befits the fugal art, a style the most difficult
to acquire. I would induce the pupil who aims at
becoming a composer, to read, and even to copy out,
with attention, and with reflection, as much as he
can of the works of the classical composers particu-
larly, and occasionally those of inferior composers,
with the view of learning from the former what
mode he is to pursue for composing well, and from
the latter, in what way he may avoid the contrary.
By such a proceeding, frequently repeated, the pupil,
in learning to exercise his ear through his sight,
will gradually form his style, his feeling, and his
taste.
The young composer, who shall carefully follow
the instructions contained in this treatise, once having
mastered those upon fugue, will have no more need
of lessons, but will be able to write with purity in
all styles, and will with ease, while studying the
form of different kinds of composition, acquire the
power of expressing clearly his own ideas, so as to
produce the effect he desires.
PRELIMINARY PROPOSITIONS.
Upon concords which should be employed in strict
counterpoint.
The ancient composers, since Guido Aretino's
time, have admitted only two perfect concords-the
octave and the perfect fifth; and two imperfect
concords-the third, and the sixth.
The first are called perfect because they are
immutable.
The second are called imperfect, because they
admit of being altered, and may be either major or
minor.
Upon discords to be employed in strict counterpoint.
The discords are, the second, the fourth, the
seventh, and the ninth. These discords can only be
employed when prepared by a concord and resolved
by another, unless they are used 'passingly,' of
which we shall hereafter speak.
The imperfect fifth, and the augmented fourth, or
tritone, were rejected by the ancients; they should,
therefore, only be employed in strict counterpoint, as
passing discords.
Observation.—I here state, once for all, that in speaking
of modern strict counterpoint, I merely use the word
'modern' in reference to the tonal system; but, as re-
gards the chords themselves, I have invariably used those
met with in the ancient authors,-viz: the chord of the
third and fifth, the chord of the third and sixth, and the
discords above mentioned. It is only in treating fugue,
that the pupil can allow himself more latitude.
Upon various kinds of movement.
By the word 'movement,' the progression of one
sound to another, is understood; either melodially,
in a single part, or harmonially, where there are
several parts at once. Melodially, 'conjunct move-
ment' is the name given to a succession of sounds
proceeding gradually, thus :-
Example 1.
'Disjunct movement' is the name given to
sounds succeeding each other by intervals:-
Ex. 2.
Harmonially, 'direct,' 'right,' or 'sirailar move-
ment,' is the name given to the progression of two
or more parts ascending or descending in the same
direction:
Ex. 3.
Direct movement in two parts.

匯
​co
A TREATISE ON
Direct movement in three parts.
Ex. 4.
Contrary movement' takes place when one part
ascends, while the other descends:-
Ex. 5.
First order—note against note.
RULE I.
The commencement must be a perfect concord,
and the termination also; so that the first bar may
contain either a fifth or an octave (or unison), but
the last bar must have simply an octave, or unison.
Let it be borne in mind, once for all, that by the
wordfifth' is also understood the twelfth; and by
the word 'octave,' the fifteenth, according to the
relative distances of the voices employed; and the
same will apply to all intervals which may be
doubled or tripled.


Ex. 9.
First bar.
Last bar.

When one or more parts ascend or descend, while
one or more other parts remain stationary,the move-
ment is called ‘oblique' :—
Ex. 6.
In three parts.
Ex. 7.
In two parts.
In four parts.
Ex. 8.
The most elegant of these three movements is
contrary movement;' 'oblique movement' holds
the second rank; of direct movement' sparing use
should be made, because it gives rise to defects
which will hereafter be pointed out.
It may be added that in all species of counterpoint
here treated of, as well as in fugue, the pupil should
write for voices and not for instruments. It will
therefore be necessary that he should conform to the
natural compass of the different kinds of voices.
He
will find therein the advantage of learning to pro-
duce effects with voices alone, a study not only
difficult, but too much neglected; and he will
afterwards find himself much more at ease in writing
for instruments, when no longer obliged to restrain
himself within the limits of the voice.
TWO-PART COUNTERPOINT.
Two-part counterpoint is the most strict, both in
the ancient and the modern system. The reason of
this is plain the fewer the difficulties to be van-
quished, the more severe must be the rules. Two-
part writing does not involve so many trammels as
A larger number of parts progressing together;
so that the strictness of this kind of composition
diminishes in proportion as the number of parts
increase.
5 or 8 or 8
or unison 8 or 8 or unison

RULE II.

The parts should progress always by concords,
endeavouring to avoid the unison, save in the first
and last bar.
Observation. The principal aim in counterpoint being
to produce harmony, unison is forbidden, because it pro-
duces none. This does not hold good with regard to the
octave; for, although the octave is almost in the same
condition with the unison, yet the difference of effect which
exists between the grave and acute sounds renders it less.
devoid of harmony than the uni on.


RULE III.
It is sometimes admissible to let the higher part
pass beneath the lower, always, however, taking
care that they shall be in concord, and not allowing
this method to continue too long, as it is only admis-
sible in case of embarrassment, or in order-since
the pupil should, as we have just said, write for
voices-to make the parts flow well :-

Ex. 10.
X X
X
These marks X indicate the places where the
higher part passes beneath the lower. It cannot,
however, be too strongly recommended never to
employ this method without great reserve.
RULE IV.
Several perfect concords of the same denomina-
tion should never be permitted to succeed each
other, at whatever pitch they may occur; conse-
quently, two fifths and two octaves in succession
are prohibited.
This prohibition is applicable to every kind of
strict composition, in two parts, as well as in more.
Observation.-A succession of octaves renders harmony
well nigh void; a succession of fifths forms a discordance,
because the upper part progresses in one key, while the
lower moves in another. For example, if to the scale of C
an upper part be added which gives a perfect fifth at each
bar, thus-
COUNTERPOINT AND FUGUE.
り
​Ex. 11.
Scale of C.
it follows that one part will be in C, the other in G.
It is from this concurrence of two keys that the discordance
arises, and, consequently, the prohibition to introduce several
fifths in succession; as, even when the movement of the
parts, instead of being conjunct, is disjunct, the discordance
none the less exists,
Ex. 12.
because, supposing the distances formed by the
intervals to be filled by notes of inferior value ascend-
ing or descending, the result would be either two
fifths or two octaves-called concealed fifths or
octaves:-
Example 14 with the intervals filled by crotchets.

5
8
W


100
8
8
&c.
This is one of the defects arising from 'direct movement,'
which we promised should be pointed out.
Consecutive fifths have been, and still are tolerated
in 'contrary movement,' because if they be of the
same kind, the movement makes them change their
species.
Ex. 13.
12th
5th
or
5th
12th
In this example it will be seen that one is a twelfth,
and the other a fifth, which alters the matter. Never-
theless, it is forbidden to use this liberty in two-
part counterpoint, particularly that of note against
note. The method is tolerated in middle parts
when, writing for four voices, there is difficulty in
making the parts flow well.
The pupil may meet with consecutive fifths in
works of free composition-as operas, symphonies,
&c.-but such licenses are only tolerated in that
kind of composition.
RULE V.
Passing to a perfect concord by direct movement
is prohibited, except when one of the two moves a
semitone. This exception is tolerated.
Ex. 14.
Prohibited movements:
O
8 5 5 8 3 5 3 8 3 5 6 8
38 6 5
a
Tolerated move-
ment, because one
of the two parts
moves a semitone:-
Ex. 15.
6 3 5
$晅
​The movements in Example 14 are prohibited,
Observation —This rule, at first sight, seems ill-founded;
because, the intervening crotchets not being written down
by the composer, the two fifths or two octaves do not
perceptibly exist. But the singer may add these crotchets;
and in that case, the two fifths or two octaves are clearly
heard. The ancient composers, in order to guard against
the objectionable feature which would arise from the singer's
inconsiderate license, forbade going to a perfect concord by
direct movement. The use of contrary movement in prefer-
ence is exe llent, because it avoids the defect hidden
though it be-of which direct movement is the cause. This
rule, also, indicates yet another objectionable result of direct

movement.
The case of the tolerated movement shown in
Example 15 is different; inasmuch as, on filling up
with crotchets the spaces marked by the intervals,
there result, it is true, two fifths, but one is imper-
fect, the other perfect.
Example 15 with crotchets.

Imp. 5th. Perf. 5th.
7
Imp. 5th. Perf. 5th.
I
These two fifths are tolerated because they are
not of the same nature, and because the discordancy
of which we have spoken as arising from perfect
fifths in succession is not present. The old composers,
however, avoided this progression in two- part
counterpoint. It was only when writing for several
voices that they availed themselves of it in one of
the middle parts, to escape from some embarrassing
position.

RULE VI.

All movement should be diatonic or natural in
regard to melody; and conjunct movement better
suits strict counterpoint than disjunct movement..
Accordingly the major and minor second, major
and minor third, perfect fourth, perfect fifth, minor
sixth, and octave, are permitted, either in ascending
or descending. The augmented fourth, or tritone,
10
A TREATISE ON
imperfect fifth, and major and minor seventh, are
expressly prohibited either in ascending or des-
cending.
Observation. This rule is a very wise one; and the ancient
masters had the more reason to observe it, because they
wrote for voices alone, without accompaniment They thus
obtained an easy and correct melody where the prohibited
movements would have been difficult of intonation. Never-
theless, the rule is much disregarded in modern composi-
tions.
With regard to the movement which should be
employed in one part with respect to another, con-
trary movement, as already said, should be preferred
to oblique, and oblique movement to direct. The
last should be very seldom employed; for even
when all the rules laid down to guard against the
objectionable features resulting from its frequent
use are observed, there is no evading another fault—
one not positively contrary to rule, but contrary to
good taste, good style, and variety of concords;
since, by this movement, there would be a long
succession of either thirds or sixths-producing an
effect both trivial and monotonous.
Ex. 18.
Nevertheless, some modern composers have thought fit to
employ it thus:-

Ex. 21.
€
a
but as
In this case they consider the Cb and the C
passing alterations, and as notes of little value struck in
the unaccented part of the bar.
It is a very great license, barely tolerated in composition
of the freest kind, and to be altogether rejected in strict
counterpoint. There exists another case in which the false
relation of the octave in harmony may be hazarded, between
two different chords, as thus:-


Ex. 22.
False relation of the
superfluous Sve.
Ex. 23.
False relation of the
diminished 8ve.
L

3rds
•
6ths
The C natural in Example 22, introduced with the first
chord in the upper part, forms a discord with the C# in-
troduced into the second chord in the lower part. If the
sense of hearing be consulted on the subject, it will be
edpofagreed that nothing can destroy, in this case, the impression
This example offers the same concords throughout
the same movement, and consequently the same
effect.
Observation.-Not more than three thirds, or three sixths
may be used i succession; to go beyond that number would
be to fall into the errors above stated.
1
RULE VII.
The false relation of the octave, and of the
tritone between the parts, should be avoided; these
two relations are harsh to the ear-especially that of
the octave.
Observation. Relation signifies the immediate affinity
which exists between two sounds, successive or simultaneous.
This affinity is considered according to the nature of the
interval formed by the two sounds, so that the relation shall
be true when the interval is true; it is false when there is
alteration by excess or diminution. Among false relations in
harmony those only are accounted as such in which the two
sounds do not equally belong to the key in which they occur.
The diminished octave, or the superfluous octave, is a false
relation in melody as in harmony, however it may be used.
The disagreeable effect it produces may be mitigated, but
not entirely destroyed. The employment of this interval is,
therefore, prohibited in melody:-
False relations of the diminished octave and the superfluous octave.
Ex. 19.
which the ear has received from the sound of the C natural,
because it still lasts while the sound of the C is being
struck; the effect being nearly the same as if these two
sounds were simultaneous. If reason be consulted in its
turn, it will be decided that the discord formed by these two
sounds originates in their irrelevance, and from the false
affinity that exists between them, since C natural and C#
each belong to two different keys, and the chords which
severally contain them cannot follow one another in the
succession in which they are here placed, unless other in-
termediate and relative chords, by linking them together,
be made to obviate the false relation. What has just been
said respecting Example 22 is equally applicable to Ex-
ample 23.
In order to render the effect less harsh in the succession of
these two chords- as it is impossible to destroy it entirely-
a means of softening it must be found without employing
other chords. The means
It must be so
are simple.
managed that the part which has struck the C natural has
also the altered C.
Ex. 24.
a
a
#口
​Ба
or
better
2.

ha
cd tɑ:
or
better
In harmony, the use of these octaves struck simulta-
neously, and prolonged for some time, is inadmissible.
Ex. 20.
#
to
By these simple means, and other expedients somewhat
similar, the unpleasant impression may be in a measure
mitigated or rendered less perceptible, because the ear
not being hurt so immediately in this case as in the
COUNTERPOINT AND FUGUE.
11
other, lends itself by degrees to endure the effect of the
false relation. Nevertheless, in a study of modern strict
counterpoint, this chromatic movement should be as much
as possible avoided.
The Tritone is always, in melody, a false relation, besides
being a prohibited movement (see Rule 6).
This interval produces also a false relation in harmony,
especially in two-part counterpoint of the first species, when
these parts are disposed in such a way that this interval is
visibly present.
This interval is visibly present when the two sounds of
which it is composed are heard one after the other in the
two parts, and when the chords which contain them cannot
belong to the same key, either through their nature or in con-
sequence of the manner in which they succeed each other:-
Ex. 25.
alien to it, since it is requisite that the F be in order that
the analogy between these two chords should exist; more.
over, the Fought to carry the chord of the sixth. Thirdly,
by the same process of reasoning, if the second chord be con-
sidered as belonging to the key of C, or to the key of F, it
would require, in the former hypothesis, to be followed and
not preceded by the chord of G, and, in the latter case, the
B natural of the chord of G becomes necessarily and evidently
alien to it, since by analogy this B should be flat. Thus,
then, the F and the B being in open contradiction, the one by
the other, and the one with the other, the consequent relation
is false.
It follows that all successions of chords of which one
contains an F and the other a B, and vice versa, indisputably
bring about the false relation of the Tritone. Heie is a
succession of chords which always present this relation, and
accordingly produce a very harsh effect :-


Ex. 28.
Relation of the
Tritone.
Idem.
Idem.
Idem.
e
眼
​Care should be taken to avoid entirely this kind of rela-
tion, in two-part counterpoint more especially; and if it is
not to be avoided, endeavour should at least be made so to
dispose the part which forms the counterpoint that one of
the two sounds which constitute the Tritone may be sup-
pressed, whether a change be made or the same chords be
preserved :-
Ex. 26.
7
988
a-
az ga
L

ROLE VIII.
Except in the first bar and the last, imperfect
concords should be employed in preference to perfect
ones. The object of this rule is to produce harmony
by means of imperfect concords, which are more
acceptable than the others. Nevertheless, the em-
ployment of many imperfect concords of the same
denomination would lead to the abuse pointed out
in Rule VI., which should be carefully avoided. The
composer should know how to intermingle perfect.
and imperfect concords with taste and discernme- t,
in order to give harmony to the counterpoint-

Ex. 29.
By the aid of these corrections, the relation is partly, or
entirely, veiled. In the other species of counterpoint it is
easier, as will be seen, to avoid the false relation of the
Tritone.
It now remains to be demonstrated how and why the
Tritone is a false relation in harmony. What I am about
to state applies equally to two-part counterpoint as to that in
several parts; and I here subjoin this demonstration in order
not to have occasion hereafter for mentioning it with so much
detail.
In order to explain the cause of this false relation, I take
the major common chord of G, and immediately follow it
with that of F:-
Ex. 27.
Ω
Tritone.
Subject.
5 3 6 3 6 3 3 6

3 5 6 3
3 5 3 6
31
6
co
8

Subject.
[

8 6 3
3 6 8 3
3
The succession of these two chords instantly generates
the false relation of the Tritone. Firstly, because the
first chord, supposing it to be considered as belonging
to the key of C, naturally tends to proceed to the tonic
or to the relative minor, A, and not to the sub-dominant.
Secondly, supposing that this same chord belongs to the
key of G, the chord of F natural which follows becomes
66 #3
5 3 6 3 6 3
3 8
These examples are in conformity with the rules
of strict counterpoint of the first order. Imperfect
12
A TREATISE ON
concords are employed with variety, and more
frequently than perfect concords. Direct, contrary,
and oblique movement are judiciously treated; the
false relation of the Tritone is avoided, and the
inelody progresses throughout diatonically, with
case and elegance.
Observations-In order to put in practice all the rules
above cited, the pupil will receive from his instructor
a subject, which he should first place in the bass, and upon
which he should compose as many different melodies as
he can invent-employing alternately Soprano, Contralto,
and Tenor voices. Then he must place this subject in the
upper part and compose to it several Basses.
This subject, which the pupil receives from his instructor,
is called the plain song; the part composed by the pupil is
termed Counterpoint.
There will be found at the end of this treatise several
different subjects for each of the orders of counterpoint.
They will give the pupil an opportunity of employing all
the resources of counterpoint.
When placing the subject in the upper part, the pupil
should employ the voice best adapted to the plain-song.
Sometimes he will find himself compelled to transpose the
key in order that he may use the different voices without
exceeding the limits of their compass.
As the last two notes of the subject should always
progress from the second of the key to the tonic-for
example, for the key of C,
the last note
but one of the part which forms the counterpoint must
always be a major sixth, and the last note an octave, provided
the subject be in the Bass. If it be in the upper part, the
last note but one of the counterpoint will be a minor third,
and the last note an octave. As thus:-
Counterpoint.
Subject.
Ex. 30.
a.
6 8
Subject car-
ried into the
upper part.
Counterpoint.
Co
3
Before concluding the first order of counterpoint
a word must be said respecting modulations, and the
observations upon this head will be applicable to
all kinds of strict counterpoint.
Modulation should never be made, in any piece
whatever, excepting into keys of which the notes.
determining the mode form part of the original
scale.
sustained. The key of B is proscribed in this mode
for the same reason as in that of C.
All these modulations are natural and have affinity
with the principal or original key. Experience and
study will enable the pupil to introduce these several
keys in a judicious and agreeable manner.
TWO-PART COUNTERPOINT.
Second order-two notes against one.
RULE IX.
In this order of counterpoint two minims should
be placed over every semibreve of the subject,
except in the last bar, where a semibreve should
always be put against a semibreve.
minim is called the accented part of the bar; and
The first part of the bar which is occupied by a
the second part occupied by another minim, is called
the unaccented part of the bar.

Ex. 31.
Accented.
a
RULE X.
Unaccented.

In the accented part of the bar should be a con-
cord; although there are cases where this may allow
of variation, that is to say, the employing a discord
in the accented part of the bar; but this can only be
in cases where it is needful to guard against too
disjunct melody, or to avoid other objectionable
points.
The unaccented part of the bar may consist of a
concord, or, better, of a discord, provided this latter
be introduced between two concords, and that the
movement of the melody be conjunct. In such
a case, the discord is called a passing one.

Note against note.
Ex. 32.
LO
(I)
5
(II)
Supposing C is the original key, we can only
modulate into G major, into A, the relative minor,
iuto F major, and into D minor; and moreover, we
must only touch, in passing, the key of F, because
it weakens the principal key on account of the B
flat which destroys the leading note. The same
treatment must be pursued with the key of D minor
for a like reason, more particularly as it destroys the
tonic by the C#, which is the leading note of this (III)
kev We may also modulate into E minor, but not
remain in that key even so long as in the two keys
above-mentioned, on account of the F and the D-
it introduces. The key of B is proscribed, because
it has no perfect fifth. Supposing, now, the scale to
be A minor, the relative of C. We may first modu-
late into C major, and touch, in passing, the keys of
F major, and of D minor; that of E minor may be
(IV)
Two notes against one.
Conc. Disc.
Conc.
3
5 4
3
Co

3
3
3
4
3
со
a
Conc. Disc.
Conc.
a
Conc. Disc.
2
Conc.
8
5
8
7
5
O
3
6
3
4
6
Conc. Disc.
Conc.
COUNTERPOINT AND FUGUE.
13

(V)
5
3
5
4
3
(VI)
3
Conc. Disc.
Conc.
Co
3
6
Conc. Disc. Conc. Disc. Conc.
3 4 3 4 6
But this method is harsh and dangerous, inasmuch as
between the first unaccented part and the second accented
part, there occu:s a melodic progression prohibited by
Rule VI. This expedient, therefore, is available to save two
consecutive fifths only, and not more; and even then it
must be in cases where the melody and the harmony violate
no rule.
Let us now see whether, given the prescribed conditions,
several consecutive octaves can be saved.
Fault according to Rule IV :-

Ex. 37.
a
RULE XI.
In this species the accented part of the bar is not
subject to Rule IV.; provided the infraction of that
rule be corrected in the unaccented part,—by which
is meant: Firstly, that the unaccented part shall
strike another concord; Secondly, that from the
accented part of the bar to the unaccented the pro-
cedure shall be by an interval of more than a third;
Thirdly, that the movement from the accented to
the unaccented part shall be contrary.
Demonstrations. It is now to be seen, whether, in ful-
filling the prescribed conditions, several consecutive fifths
may be saved.
Fault according to Rule IV :-
Ex. 33.
8
8
8
匪
​According to Rule XI., these means may not be
employed:-

Ex. 38.
2
a
8 6
8 6
8
a
All the conditions are fulfilled by the method following,
and the octaves are saved, at least according to the rule:-
Ex. 39.
10
5
5
Σ
сл
5
8
LO
5
8 5
8
By observing the conditions of Rule XI., the melody
can only be arranged thus :-
Ex. 34.
5 1
Unison.
5 1
Unison.
5
But even this method is not exempt from reproach,
since, in order to save several octaves, two fifths are in-
troduced in the two unaccented parts which succeed each
other; and although whatever occurs in the unaccented
part of a bar is not regarded with extreme rigour, yet the
two fifths are not the less perceptible to the ear.
The following examples are better, because they offer
no such objectionable point, and because they do not
redeem one fault by another:
For it is prohibited to write thus:-
Ex. 35.
5 3 5 3
5
吃
​Ex. 40.
8 6
8
8 6
8
8 5
8 5
S
8 3
8 5
8
It follows, from these two methods, that the fi'ths are not
saved; firstly, because, in Example 34, the unison which
occurs in the unaccented part of the bar, on account of its
nullity, can neither mitigate nor destroy the effect of the
fifth which precedes it, nor of that which follows it; secondly,
because, in Examp'e 35, the interval of a third is too insig-
nificant to work the desired effect.
There is a method by which several consecutive fifths
may be saved; thus:
Ex. 36.
a
5 3 5
3
LO
5
Nevertheless, it is to be observed that this method of
saving either two fifths or two octaves was regarded by the
ancient precisians as reprchensible in two-part counterpoint.
I am of the same opinion; and I think that when two
accented parts succeed each other in fifth or in octave the
impression is not destroyed, whatever may be the inter-
vening note placed on the unaccented part produced by the
two fifths or two octaves,unless indeed the movement be very
slow, in which case, each portion being taken for an entire
bar, the unaccented parts may be accepted as 80 many
accented ones. This reasoning, however, is specious, and
should not establish a law.
1




14
A TREATISE ON
It follows that the present rule must be applied only to
composition in more than two parts; or at any rate employed
in this order very rarely, and as a means of eluding some
perplexing point.
These remarks and examples upon the subject of consecu-
tive fifths and octaves have been set down, not so much for
the sake of proving by example that they may be saved in a
stated manner, as to show the little force of this rule, which
I look upon as having been added to the severe rules of the
ancient classical authors. Notwithstanding its want of force,
however, it may occasionally be of some use.

RULE XII.
In counterpoint of the present species, it is per-
mitted to have a single chord in each bar, or to
introduce two. When a single chord is intro-
duced, each minim must mark a different concord,
but both must belong to the same chord.
Ex. 41.
5
6
3
6
When two chords are used, the accented part of
the bar will be occupied by a concord belonging
to one chord, and the unaccented part will, in its
turn, consist of another concord belonging to a
different chord
Ex. 42.
5 6
6 6 5
5 6
5 6
RULE XIII.
This
With two notes against one, it is easy to avoid
entirely the false relation of the tritone.
facility arises from the power of dividing the bar
into two different chords.
Ex. 43.
False relation.
Method
of
avoiding
it :-
5 6 5
6
3
The chord of the placed between the common
chords of E and F suffices to destroy the effect of
the false relation. The following example offers
a similar method for its avoidance :-
Ex. 42.
Method
3
False 5
relation.
of
avoiding
it:-
3 6 6 5
RULE XIV.
In this species of counterpoint, whether the sub-
ject occur in the upper part or the lower, a minim
rest instead of a note may be placed in the accented
part of the first bar, provided the unaccented part
consist of a perfect concord :—
Subject.
Ex. 45.
8 3 4 6 3
Subject,
8 36 36
This is more elegant than when the two parts
begin at the same time.
RULE XV.
In the first species the disjunct movement of a
minor sixth is permitted; in the second species it
should be employed only when the parts, by the
nature and pitch of the theme, approach each other
so nearly that there would be a difficulty in pre-
serving their mutual distance otherwise than by
this movement. It is likewise permitted in similar
cases, as in the first order, to cross the parts-that is
to say, to let one part pass above or below the other.
All the other movements permitted in the first
species are retained in the second.
Observation. The leap of a minor sixth is here in a
measure prohibited, because this interval being more difficult
of intonation than all the other permitted intervals, par-
where notes of the smallest value occur, as these leave less
ticularly in ascending, it becomes still more so in species
time for preparing the intonation than notes of greater value.

RULE XVI.
When the subject lies in the lower part, and termi-
nates by descending from the second of the key to the
tonic (D C in the key of C), the counterpoint at the
last bar but one should be (if possible) a fifth in
the accented part, and a major sixth in the unac-
cented part of the bar :—
Ex. 46.

匪
​5 6
8
Subject,


When the subject lies in the upper part, the
counterpoint should be (if possible) a fifth in the
accented, and a third in the unaccented part of the
bar :-
Subject.
Ex. 47.
10
5
3
L

This rule forms a sequel to what was said
respecting the two last bars of a subject in the
observations which conclude the portion that treats
of counterpoint of the first species (Vide p. 12.)
Observations. All the other rules of the first species which
may be necessary to the present, are retained here in all their
rigour. It is, therefore, useless to recite them, as the pupil
can refer to and consult them, or see by the experience he
has already gained, the cases in which these rules serve to
guide him.
Here follows the example of a lesson in the second order,
that the pupil may perceive, at one view, how he is to
proceed:
COUNTERPOINT AND FUGUE.
16


Subject.
Ex. 48.
E
Subject.
E
3 9 8 7 5 6 7 8 9 5
E
When the counterpoint is made to proceed by
disjunct movement, the sounds which progress by
this movement must be all consonant:
Ex. 50.

3 6 3 4 6
6 6 7 8 6 3 3 5 6 3 6

5+34
6 865
8 6 5 8 5 8 7 6 8
3
6 3 4 5 3
3
5 3 + 3
5 3 + 3 3
It will be noticed in the above example, at the passage
where there is a *, that, instead of placing the discord in
the unaccented part of the bar, according to Rule X., it
is placed in the accented portion. As I have asserted that
this method may be employed, I have expressly introduced
it here for the sake of giving an example. I might have
contrived differently; but, by putting the discord in the
accented part of the bar, I obtain a more free and elegant
melody; and this is one of the objects which may justify an
infringement of the rule. In the course of studying, the
pupil will meet with other cases in which this method may
be employed. Upon going through these examples, it will
be seen how the counterpoint should proceed to be in con-
formity with all the rules, and to have the melody easy
as well as in the style which suits with this kind of com-
position.
TWO-PART COUNTERPOINT.
Third species-Four crotchets against one
semibreve.
RULE XVII.
In this species of counterpoint, each of the two
parts of the bar,-the accented as well as the un-
accented, is divided by two crotchets.
To be in conformity with the style of the ancient
composers, it is necessary, as regards these crotchets,
as much as possible to employ conjunct movement
in preference to disjunct movement.
RULE XVIII.
The first crotchet in the accented part of the bar
should always be a concord; the second, the third,
and the fourth may be alternately consonant and
dissonant, provided each discord come between two
concords, and that the melody progress by con-
junct movement, as well ascending as descending.
Ex. 49.
1
5 4 3 9
6
8 9 3 4 3
6 7 8 6 3

Upon examining this example, it will be found
to contain the unison twice. This seems at first
sight a fault, but, in the present order, the unison
is tolerated on account of the slight value of the
notes, except, however, at the commencement of
the bar.
Supplementary digression.-When the second crotchet of
the first part of the bar, and even of either part, was dis-
sonant, the ancient contrapuntists occasionally passed to the
concord by a movement of a third, ascending or descending.

Ex. 51.
8 7 5 6 6 3 4 6 5
O
3 4 6 5 3 3 4 3 4 3

3 2 3 2 3 3 4 3 4
3 4 3 4 6 3 4 3 4
3
8 7 3 9 5 873 4
6 67 39
6 7 3 9 5
The multiplied examples of this exception to the rule
met with in classical authors, and the reiterated use made
of it by them, give warrant for thinking that this license
may be converted into a precept. But what end would
the present rule serve were a method admitted that de-
stroys its effect? Better far that such a license should
neither be admitted nor tolerated in strict counterpoint.
These different passages from the old composers are sub-

16
A TREATISE ON
mitted for the inspection of pupils in order that they
may kuow what to understand when, in examining the
works of the Classics, they come to passages where this
license has been practised. No tradition gives us the reason
why the Classics thus faultily deviated from the rule. I
cannot understand why, instead of doing thus :—
Ex. 52.
Ex. 53.
87 5 6 6
they did not
prefer follow-
ing the rule
thus:
8656 6
of the notes, and the short time which the voice
has to prepare for assuring the intonation of harsh
intervals.
The interval of the tritone must also be avoided
as hard of intonation, and as disagreeable to the
ear; even when reached by filling in with conjunct
sounds, ascending or descending.

Ex. 57.

Tritone. Tritone.
harsh. harsh.
Tritone.
#
harsh.
or why they wrote as follows:—

Ex. 54.
Ex. 55.
3 4 3 4 3
when they
might have
done thus:
Tritone. Tritone.
Tritone. Tritone.
3 4 4 3 3
harsh.
harsh.
harsh. harsh.
a

In the latter example are two discords which succeed each.
other and violate the rule; but it is permitted in certain
cases to use them thus, provided the discords succeed each
other by conjunct movement: occasionally, passages will be
met with where it is necessary to introduce two discords in
succession. To return to what has been said above, I see no
reason which excuses the classics for having employed dis-
cords by disjunct movement, if it be not that, for the sake of
greater variety, and in consideration of the small value of
crotchets, they caused the discord to leap by the interval of
a third, which is the smallest next to a second, and conse-
quently very easy of intonation.
RULE XIX.
Neither a single crotchet, nor two, nor some-
times even three, in two-part counterpoint avail to
save two consecutive fifths or octaves, although in
certain cases, contrary movement is employed, or
a leap greater than a third.
Ex. 56.
Example of a crotchet.
The harshness of these passages arises from the
circumstance that the B and the F always occur at
the extremes of pitch in the melody; and, as the
extreme sounds make a more immediate appeal to
the ear than the intervening sounds, it follows
that the ear, in the cases above shown, is sensible
of the harshness of the tritone, which effect the
other sounds can neither totally efface nor even
effectually dissipate.
There are cases where the tritone, ascending or
descending by gradual notes, may be introduced,
without the objection shown in the above example.
It is when the two sounds which form the interval
of the tritone do not occur at the extremities of
the melody, and are contained in a series of con-
junct sounds.
Ex. 58.
Tritune.


8
11.00
8
5
LO
5
Fault.
Fault.
Example of two crotchets.
8
5
5
Fault.
Example of three crotchets.
Fault.
not harsh.
Tritone.
not harsh.

Fault.
8
5
5
RULE XX.
Fault.
If, in the preceding kinds of two-part counter-
point, leaps of a major sixth, or minor sixth, and
those of a tritone and of a false fifth have been
prohibited, they are still more strictly forbidden in
the present order, on account of the slight value
It will be seen by these two examples that the
tritone is hidden between the extreme sounds with
very softened effect; and that by this means the
disagreeable impression it produces is far less per-
ceptible if not altogether destroyed.
RULE XXI.
In this order of counterpoint, just as in the pre-
ceding order, a rest at the first bar of the part
which forms the counterpoint may be used. The
rest will be of no longer duration than a crotch
and the note which follows it must be a concord.

COUNTERPOINT AND FUGUE.
17

Ex. 59.
RULE XXII.
In the bar before the last the first crotchet of the
counterpoint should be a third, if possible. If the
counterpoint lie in the upper part it will ascend by
degrees to the octave or unison of the last bar, and if
the counterpoint lie in the lower part it will descend
by an interval of a third, again to ascend by degrees
to the octave or unison of the last bar.
RULE XXIV.
Syncopation should always have a concord at the
unaccented part of the bar, but the accented may be
either a concord or a discord at pleasure. If the
accented portion be a concord the composer is at
liberty to make the melody progress by degree or by
interval.
Ex. 63.
6
3 8 3 6 3 8 3 6
Ex. 60.
3
8
3
8
3
Unison
6
D
LO
5
6
5 6
6 5
6
This rule is not stringent, and another method
may be pursued when the subject is so constructed
as not of necessity to demand this procedure.
In concluding this present species I give a model
of four crotchets against a semibreve.
Ex. 61.
a
If the accented portion be a discord the melody
must descend by degree upon a concord and not
otherwise. This is called resolving a discord,-as
the pupil must be aware, if he have studied harmony.
Ex. 64.


a
e
Subject.
Subject.
拜
​со
a
7 6 7 6
7 6
8
RULE XXV.
Discords on the accented part must be prepared
by a concord and resolved by another concord.
Ex. 65.
Concord of
preparation.
Discord. Concord of
resolution.
2
In a succession of syncopations dissonant on the
accented part of the bar the concord of resolution
naturally becomes the concord of preparation to the
discord that follows it.

Ex. 66.
D
TWO-PART COUNTERPOINT.
Fourth species-On syncopation.
RULE XXIII.
This species of counterpoint allows of two minims
only against a semibreve. By syncopation is meant
a semibreve of which the first half occurs in the
unaccented part of a bar and the other half in the
accented part of the following bar.
Preparation Disc. Resolution Disc. Resolution. Disc. Resolution.
Preparation.
Preparation.
O.
These discords are only suspensions of the con-
cords, since, by leaving out the discord in each bar
of the preceding example, the progression becomes
no other than a succession of concords.
Ex. 67.

Ex. 62.
or
Syncop.
Ibid. Ibid.
3

8
6
6
8
E
From this it will at once be perceived upon what
concord a discord should be resolved; consequently
B
18
A TREATISE ON
it is prohibited to make a succession of seconds
resolved upon the unison, or a succession of ninths
resolved upon the octave.
Ex. 68.
3 2 Unison 2 Unison
3 9 8 9 8
By leaving out the discord in each bar of this
example there will be a succession of unisons, as
regards the seconds, and a succession of octaves, as
regards the ninths.
Ex. 69.
3 Unison Unison
3
8
со
The same prohibition exists if the counterpoint
lies in the lower part, when it might be believed
that such successions could be employed. As a
consequence of this precept successions of discords
such as occur in the following example, must not be
introduced:
Ex. 70.
3 4 5 4 5 3 5 5 5 4 5
By leaving out the syncopation a prohibited suc-
cession of concords appears:
Ex. 71.
It will be seen that to ascertain whether all the
prescribed laws of this species are fulfilled without
committing a single fault there is nothing needful
but to leave out the syncopation in each bar, which
affords complete proof.
RULE XXVI.
In two-part counterpoint of the present species
it is necessary as much as possible to abstain from
employing the discords of the fourth and the ninth.
That of the seventh is preferable to these, when the
counterpoint lies in the upper part; and that of the
second, when the counterpoint lies in the lower part.

RULE XXVII.
The law of syncopation should be observed in
each bar. If, however, this constraint render the
melody difficult to sustain at a medium pitch, the
syncopation carrying it too much above, or too
much below; or if it lead to phrases too nearly
allied, or involve the introduction of passages too
perplexing, then syncopation must be deferred for
one bar, or two at most. This expedient should
be employed only after all possible methods of
syncopation have been tried in vain.

RULE XXVIII.
In this species, at the last bar but one, the
syncopation of the seventh should invariably be
introduced when the counterpoint lies in the upper
part, and the syncopation of the second when the
counterpoint lies in the lower part.
Ex. 74.


Subject
3
5
5
сл
5
5
5
Without using discords the danger of making suc-
cessive octaves, as well as fifths, may be incurred:
Ex. 72.
со
5 8 3 8
5
8
LO
5
6 5
LO
Subject.
RULE XXIX.
의
​As in counterpoint of two minims against a
semibreve, so in the species now under discussion,
a half rest at the first bar may be employed before
commencing the counterpoint.
Example of a lesson in the present species.
Ex. 75.



6 5 3 5 6 5 3 5 6 5 3 5
Subject.

By leaving out the syncopations the false progres-
sion of the preceding example is made apparent :
Ex. 73

8
00
8 8 8 5 5 5 5 5 5 5 5
COUNTERPOINT AND FUGUE.
19
Subject.
a
admitted characters of notation, they should be
introduced with tact, in order to avoid a too frequent
recurrence of the same forms.

RULE XXXII.
The dot serves as a diminution to the semibreve,
inasmuch as it converts it first into a dotted minim
and then into a crotchet or two quavers.

Ex. 78.
Simple form.
e
First diminution
or variation.
Second diminution
or variation.

Diminutions or variations of this kind may also
occur in syncopations and, by their means, the dura-
tion of the discords is lessened. These diminutions
give much grace to the melody.
Ex. 79.
Simple form.
1st Variation. 2nd Var.
3rd Var.
7 6
76
76
7 6
O
E
Simple form.
1st Var.
2nd Var.
a
7
6
7 6
7 6
76
d d d d d d d pp p
TWO-PART COUNTERPOINT.
Fifth species-florid counterpoint.
眼
​
This species is composed of the four preceding
orders employed alternately in the part which forms.
the counterpoint, and in addition to the characters
of notation already recognised, quavers and dotted
minims are included.
RULE XXX.
Quavers should succeed each other by conjunct
movement, rarely by disjunct movement. In order
to follow the style of the ancient composers no more
than two quavers should be placed in each bar.
These quavers must never occur in the first half of
a sub-division, but in the second.
Ex. 76.
4th Var.
3rd Var.
4th Var.
5th Var.
6th Var.
7 6
7 6
7
6
7
6
If four quavers be employed in a bar they should
occur in the two latter halves of each sub-division,
and not follow each other consecutively.
Ex. 77.
혜 ​and not
In general it is well to use this character sparing-
ly, not to multiply quavers too much; else, the
counterpoint becomes too jumping and uncongenial
with the style appropriate to this kind of composition.
Otherwise, quavers are subject to the same laws that
govern crotchets as regard passing discords. It will
be seen hereafter how they are to be employed with
respect to prepared discords.
RULE XXXI.
Care should be taken to give as much elegance as
possible to the melody without, however, perverting,
as has been already said, the severe character of the
style which distinguishes strict counterpoint. It
will not be out of place to repeat here that contrary
and oblique movement-and consequently synco-
pation—are the best means to 'employ for ensuring
elegance in florid counterpoint. It is likewise essen-
tial to bear in mind that, when employing all the
RULE XXXIII.
The counterpoint in this species is subject,-with
respect to the last bar but one,-to the same rule as
that of the species preceding. Rule XXVIII should
therefore be consulted, where mention is also made
of the first bar, which should be similarly treated
in florid counterpoint.
Subject.
Example of a lesson in the present species.
Ex. 80.



D
劃
​བྷཱ 1
20
A TREATISE ON

Bubject.
THREE-PART COUNTERPOINT.
First species-note against note.
Three-part counterpoint is not so strict as two-
part counterpoint. It may even be said that rigorous
strictness belongs, in fact, only to the latter. The
severity of the rules relaxes in proportion as the
difficulties multiply, and these difficulties increase
in exact ratio with the number of parts that are
made to progress together. Nevertheless, this is no
reason for entire emancipation from the severity
which marks the kind of composition in question;
for there is a wide difference between the facilities
granted to this kind of composition and those which
have been assumed in modern music.
RULE XXXIV.
In this species of counterpoint the harmony
should be complete in each bar as often as may be
without rendering the melody too disjointed and
consequently too difficult. It will therefore some-
times be necessary, instead of always employing
complete chords, to suppress a note of a chord and
double one of those that remain, in order to obtain
a more flowing melody in the parts and, at the
same time, more variety of effect, a variety which
is produced by the mixture of complete and incom-
plete chords.
Ex. 81.
5
3
6
6 5
8
3
5
3
3
3
8
Each chord in this example is complete, but,
although the parts sing tolerably well, they sing still
better in the following example, where the chords.
are not complete throughout:-
Ex. 82.
5
3
8
6
5
8
3
8
6
3
3
8
Example 82, less complete thau Example 81 is
for that very reason, more easy as well as more
elegant.
RULE XXXV.
581
The first bar should, generally speaking, consist
of the common chord; it may, however, happen,-
on account of the diapason or compass of the voices,
or else on account of the bar which follows,-that,
instead of employing the common chord thus,
it becomes necessary to use it thus, &, and even to
curtail it of some one of its members. In such
a case the following forms of usage may be adopted:
oror or or ; this last, by offering
throughout the same sound, produces the same
effect as the unison. It is permitted to commence
in this manner.
5
5
8
8
; i
As to employing the common chord in the last
bar, these are the forms to be adopted: 1 or or
or or, as much as may be possible; but it is
frequently difficult, and sometimes even impossible,
to employ either of these forms when the subject
lies in the lower part. In such a case the third and
the octave must be used to conclude with. The
ancient composers usually finished with the major
third, whatever might be the nature of the principal
key, and gave as a reason that, the minor third
being more imperfect than the major third the latter
was preferable in conclusion.
RULE XXXVI.
The parts should be kept at a suitable distance
from one another, but the nearer they approach the
better will be the effect they produce. There are
cases where this rule admits of exceptions, but the
endeavour should be to use them rarely, and so to
manage as, where possible, to avoid their necessity.
In order to facilitate the means of observing this
rule it is permitted, in a difficult position, to make
one of the upper parts pass below an under part.

RULE XXXVII.
It is prohibited in three-part counterpoint, as in
two-part counterpoint, to make hidden fifths or
octaves either between the two extreme parts, or
between the intermediate part and one of the two
other parts.
It is allowable, but very rarely, to deviate from
this rule (as regards the intermediate part alone)
in a case where its strict observance would impede
the progress of the two other parts, or give rise to
some still greater objection in the following bar.
There is no exception as regards the extreme
parts with each other.
Observation.-It is useless to mention here the rule which
prohibits two fifths and two octaves in succession, since this
rule applies to all kinds of composition.
In like manner the prohibition against the introduction of
two hidden fifths or octaves between the extreme parts holds
good in all kinds of strict composition.
COUNTERPOINT AND FUGUE.
21

RULE XXXVIII.
In incomplete chords, the third or the sixth must
not be heard in two parts at a time. It is prohibited
to double the one or the other, on account of its im-
perfection and because it impoverishes the harmony.
The doubled fifth or doubled octave is tolerated in
incomplete chords, on account of its perfection.
This rule, however, is subject to many exceptions,
and there are several cases in which, for the sake of
good harmony and in order to effect a judicious pro-
cedure of the parts, in short, to avoid important
faults, the doubling of imperfect concords is allowed
when all means of managing otherwise have been
tried in vain.
Example of this rule strictly followed.
車
​Subject. 0
抗​車
​83.
a
6 3
5
6
3
prohibited.
prohibited.
8
8 5
CO tolerated.
tolerated.
3 3 3 6
5 3 3 5
Subject.
匪
​



----
RULE XXXIX.
The
upper parts should never form fourths with
the lower part; consequently, the chord of the
fourth and sixth must never be employed. A fourth
between the intermediate part and the upper part is
tolerated, as, for example, in the chord 3, or in the
incomplete common chord, according to the formula,
allowed in the first bar and last bars.
RULE XL.
6
The chord should always be complete in the last
bar but one.
In conclusion, an example of a lesson in three
parts, of this species, is presented to the view of the
student:-
Ex. 84.
THREE-PART COUNTERPOINT.
Second species-two minims against a semibreve.
RULE XLI.
This species of counterpoint is subject to the same
laws as the second order of two-part counterpoint ;
with the difference that, under favour of the two
minims sustained by the complete common chord,
two fifths placed each in the accented part of the
bar may be saved, as shown by the following
example:—

Ex. $5.

Subject.
a
5
3
5
The melody of the middle part, which would be
prohibited in two parts, is here tolerated on account
of the higher part, the harmony of which conceals.
the defect of that in the middle part. This license.
is not admitted in the extreme parts, and, although
tolerated in the middle part, it should not be abused,
but be taken advantage of in the most difficult situa-
tions alone.

22
A TREATISE ON
RULE XLII.
The two minims against one semibreve should be
placed in each bar in a single part only at a time;
the two other parts should contain only semibreves.
Ex. 86.
Subject.
a
RULE XLV.
The part which introduces the two minims should
commence on the unaccented part of the bar; the
accented portion being occupied by a half-rest. It
is more elegant to open thus:


Ex. 89,

Subject.
a
or

Subject.
or
RULE XLIII.
Doubling the third at the accented part of the bar
should be avoided. This prohibition does not hold
good in the unaccented part, where the third may
be doubled.
Ex. 87.
8 3
5
3
3
10
α
8 3 6
3 3
5 3 5
3
3
| |
There are cases in which the doubling of the third
upon the accented part of the bar is unavoidable ;
but they are or should be—extremely rare.
RULE XLIV.
A unison upon the accented part of the bar is
only permitted when it is actually impossible to
contrive otherwise. It is allowed at the first and
the last bar. It is tolerated upon the unaccented
portion.
Ex. 88.
Unison.
Unison.
ATH
RULE XLVI.
Both in the present species and in those which
follow it is allowed—as was remarked with regard
to the preceding kind-to cross the parts on occa-
sions of emergency; that is, to cause the upper part
to pass below the lower. At the same time, the
power to do this is only granted for the space of one
or two bars at the utmost.
RULE XLVII.
It has been prohibited, in the second order of
two-part counterpoint, to strike the same sound
twice in the part introducing the two minims. This
prohibition holds good in the present species;
although this rule is subject to exception, and the
exception is even authorised by the example of classi-
cal authors. The exception affects the last bar but one
and no other; it is intended to obviate the objection-
able points which might arise out of the nature of the
given subject—as in the following example :-




Subject.
Ex. 90.
**
Counterpoint constructed in the manner shown in
these two examples offers on the one hand, * the
unison upon the accented part of the bar with the
upper part, and on the other, ** the unison with the
lower part. Here are two other examples which get
rid of these objectionable points, at the same time
fulfilling all the prescribed rules:-


Subject.
Ex. 91.
O
Unison.
Unison.
Unison.
In this way, by taking advantage of the exception
just cited, the objectionable points which occur in
Example 90 are avoided, and, since there exists
no express law to prohibit syncopation in this
species, it may be introduced without reprehension,
provided it be employed nowhere else than in the
COUNTERPOINT AND FUGUE.
23

last bar but one. At the same time, if this discord
can be avoided, it should not be used. The follow-
ing examples serve to show that there are many
positions in which it is very easy to avoid syncopa-
tion in the last bar but one.
Ex. 92.
Subject. 車
​Subject.
TTO
ta
m


Subject.
Τ
30
Subject.
Other methods, not indicated here, are left to the
pupil's own discovery.
Model of a lesson in the present species.
Ex. 93.
으로
​
THREE-PART COUNTERPOINT.
Third species-four crotchets against a semibreve.
All that has been enjoined in the third species of
two-part counterpoint with respect to four crotchets
should here be recalled. In the present species
they are affected by the same precepts.
RULE XLVIII.
It should be endeavoured, as much as possible, to
cause the complete common chord to be heard at the
beginning of the accented part of the bar. If no
means can be found for this, it is indispensable to
let it be heard at the commencement of the unac-
cented portion.


Ex. 94.
a
Subject.
Subject.
V V

車
​車
​Although this rule is, in some sort, of absolute
necessity, yet there are cases where it may admit of
exceptions; since it occasionally happens that the
complete chord can neither be introduced at the
commencement of the accented nor the unaccented
part of the bar-when, moreover, the unaccented
portion may begin with a passing discord. How-
ever this may be, pains must be taken to observe
the rule, if possible, in all its rigour.


Ex. 95.
ΤΣ
Incomplete.
Passing disc.
Incomplete.
Passing disc.

24
A TREATISE ON
RULE XLIX.

In the preceding species one single part intro-
duced the two minims, while the two other parts
had only semibreves. In the present species the
same rule must be observed with regard to the
four crotchets.
RULE L.
Syncopation, which was allowed at the last bar
but one in the preceding species, is inadmissible
in the present, because it cannot take place, on
account of the four crotchets. Here are several
examples of divers ways of concluding:-
串
​a
Subject.
a

Ex. 96.
Subject.
Τ
Subject.
a
AA
ORAB
Subject.
Subject.
Subject.
----
Subject.
When the pupil has gone through these exercises,
placing the crotchets in each part in turn, he may
intermix the preceding species-viz., the two
minims, with the present, after the manner indi-
cated in the following examples. In this case,
the part occupied by the minims commences after
that taken up by the crotchets. (See the subjoined
examples) :-


Ex. 97.
Examples of a lesson in the present species.

口味
​Subject.
Subject.
be
#口
​or
or
ΟΙ
E



E&o
Q
be
ba
COUNTERPOINT AND FUGUE.
25
In this mixture of the two species, it is well-
nigh impossible but that one of the two parts be
almost continually disjunct. Dispense, therefore,
with the rigour of the rule, which enjoins the em-
ployment of conjunct movement in preference to
disjunct.
THREE-PART COUNTERPOInt.
Fourth species-on syncopation.
In the species about to be discussed, what has
been said with reference to the analogous one in
two-part counterpoint must be borne in mind,
since the same laws serve here as a guide. It re-
mains but to indicate the manner in which a third
part should be introduced during syncopation.
RULE LI.
It has been already said,—and it is necessary to
repeat here that in the system of strict counter-
point among the ancients the syncopation, or discord,
is but a suspension of the concord. On this prin-
ciple, it follows, that the syncopation does not
affect the nature of the chord in which it is placed,
but that it merely suspends a consonant member of
that chord. Consequently, the discord must descend
gradually on the concord it has suspended, after
having been prepared by another concord, forming
part of the preceding chord. The other parts,
therefore, should be, at the moment of the syncopa-
tion, in concord with the resolution of the discord.
Example without syncopation.
Ex. 98.
First form.
Ex. 99.

Leaving out the syncopations, this second form is the result.

According to the theory that discords are but suspensions
of concords, the result offered by the second form is faulty
in consequence of its presenting a succession of fifths, which
is forbidden. Although this result is defective, the first form
is not so according to the authority of the Classics, who did
not scruple to employ syncopations in this manner, affirming
that the discord in this case saves the fifths which result.
It is true that they never employed so prolonged a succession
of discords of the kind; but in any case their opinion appears
to me erroneous, notwithstanding that custom has sanctioned
it; for, on the principle that the discord is a mere suspension
of the concord, it should not affect the nature of a chord, it
can only suspend the effect: but since the Classics have pro-
nounced judgment, we must of course submit. Not being
able, therefore, to denounce a sanctioned error, the least that
can be done is to endeavour to use it rarely, in difficult
dilemmas, and only to take advantage of this disposal of a
syncopation during two bars at most. The following example
is in the same class with the preceding one; subject to the
same objections, and to the same needful precautions.
Ex. 100.
Example with syncopation.
8
8

The same classical authorities who have given their
approval to the forms of syncopation above cited, condemn
a succession of discords in the progression stated below.
Ex. 101.
8-
8
8
It is seen, by this latter example, that the two
other parts are the same whether the syncopation
be employed or not, and that while being struck
with the discord they naturally form a concord with
its resolution.
Observation.—What has been said in the preceding rule
with reference to the syncopation placed in one of the two
upper parts equally affects the syncopation placed in the
lower part. Nevertheless, if certain precautions be not taken,
such faults may arise as are about to be placed before the
pupil, from the commission of which he must escape with
skill and discernment.
Suppose, for instance, a succession of syncopations such
as this:-
The more perfect concords are (say the Classics) the
less harmonious are they, and discords prepared by con-
cords, such as the octave or the unison, cannot save the
objectionable point which is the result. This objectionable
point is striking; since, by leaving out the syncopations of
example 101, there will be a succession of octaves between
the extreme parts.
Ex. 102.
୫
8
The effect of all this is that discords, according to
the Classics, and notwithstanding the severity of this kind
of composition, may save consecutive fifths, but they
never can save consecutive octaves.
26
A TREATISE ON
RULE LII.
In this species all the discords may be employed-
viz., the discord of the second; of the fourth; of
the seventh; and of the ninth.
The discord of the second should be accompanied
by the perfect fourth, and can occur only in the
lowest part.
Ex. 103.
3
8
42
RULE LIII.
When by the nature of the given subject, by the
progression of the harmony, or by the disposal and
manner of singing the parts, it is impossible to
syncopate, either with the discord, or without the
discord, without reprehensible consequences, syn-
copation may be dispensed with altogether, or a
half-rest in the middle of the piece, and even an
entire rest at the commencement, may be adopted.

Ex. 108.
Subject.
There are cases where the discord of the second
may be accompanied by the fifth, and this is more
in conformity with the true principles of strict
counterpoint, which prohibit, in some measure, the
employment of the imperfect fifth-an interval
not avoided in Example 103.
Example of the 2nd accompanied
by the 4th.
Ex. 104.
Example of the 2nd accompanied
by the 5th.
Subject.
ba

4
5th diminished. ~
a
5 6
The discord of the fourth should be accompanied
by the fifth. This discord may occur in the
middle part, or in the highest part.
RULE LIV.
It is recognised that discords must be prepared
and resolved by concords. There are circum-
stances, however, where a discord can be prepared
and resolved by another discord.
Ex. 109.

a.
a
Ex. 105.
5
4
3
Co
4 3
5
Ca
The discord of the seventh should be accompanied
by the third, and resolved upon the sixth. It can
only occur in one of the two upper parts.
Ex. 106.
6
3
8
3
7
6
CO
These combinations can only take place when
the lower part sustains the same sound during
several bars in succession. Provided the first dis-
cord be prepared by a concord, and the last dis-
cord ** be resolved by another concord, all that
occurs between those extremes may be either con-
cord or discord alternately, without following the
prescribed rules, upon condition, however, that the
unsyncopated part determines the harmony. This
sustained sound in the lower part is called a pedal.

Ex. 110.
Subject.
Another example.

The discord of the ninth should be accompanied
by the third, and resolved upon the octave. It may
be placed in the middle part, or in the higher part.
Ex. 107.
9
3
8
8
00
3
9
8
E

By this method, were it impossible to syncopate
otherwise, the pedal might be employed during two
or three bars, even in the middle of the given sub-
ject, if the theme admit of it.
COUNTERPOINT AND FUGUE.
27


Ex. 111.
Subject.
Ex. 112.
Subject.
7
6
a
Subject. 7
6
a
a.
Subject. 4
3
Subject.
RULE LV.
The last bar but one should have, if the subject
admit of it, the discord of the seventh when the
subject lies in the lower part; the discord of the
fourth when the subject lies in the middle part, or
in the higher part, and the discord of the second
when the syncopations are placed in the lower part.
4
3
Subject.
a
2
α
L
Here is a lesson which may serve as a model to the pupil when he essays the present species :—
Ex. 113.
距
​
Subject..
唓
​Subject..

Subject
a
After the pupil has gone through this exercise he may combine the second and third species with the present
by placing the subject in each part in turn, and adopting either of the other two orders for the two other
parts.
4th order.
Ex. 114.

Subject.
2nd order.
車
​
4th order.
&
Subject.

3rd order.
匪
​
ま
​.3
A TREATISE ON
THREE-PART COUNTERPOINT.
Fifth species-florid counterpoint.
It is superfluous to add fresh rules to the present
species, since it is composed of all the others; there-
fore, what has been hitherto said must serve as the
basis for treating florid counterpoint. I will merely
give a model of this species, with the remark that
after having gone through the exercise according to
the manner shown in the following example, the
pupil may combine the second species with the fifth
and then introduce florid counterpoint into the parts
which do not form the given subject.
Ex. 115.
車
​Subject.
[D]
U
a
Florid counterpoint in one part.
Example of the 2nd species of combined florid counterpoint.
2nd order.
車
​Subject.
2
Florid counterpoint.
Subject.
車
​Example of florid counterpoint in two parts.
Florid counterpoint.
Florid counterpoint.
050
FOUR-PART COUNTERPOINT.
First species-note against note.
While the rules of three-part counterpoint are not
so severe as those of two-part counterpoint, there is
ample reason why those of the counterpoint now in
question should be still less rigid. Relative to this
there will be found, even among the most classical
composers (particularly in PALESTRINA), instances
such as might seem, at first sight, actual faults, or, at
least, too great licenses; but the various difficult posi-
tions in which these passages occur, and the frequent
use the masters have made of them, prove that they
are adopted only under favour of an abatement of
severity in the rules; which abatement, as has been
observed, accrues in proportion to the increased
number of parts. Thus examples which at first sight
appear faulty, eventually become authoritative.
RULE LVI.
6
1
The chords of and of being composed of three
members only, it is necessary to double one of these
members in four-part counterpoint; thus in the chord
all its members may be doubled in turn, accord-
ing to the position of the parts, but the octave and
the third should be doubled more frequently than
the unison or the fifth. If one or other of these
chords be employed when incomplete which is
permitted and often necessary-it is then requisite
to double two of them, or triple one of them, an
expedient to which recourse should be had only in
perplexing situations.
Observation-The employment of the unison in the present
species should be avoided as much as possible, especially in
the upper parts, where, however, it is sometimes tolerated.
It is permitted in the two under parts, provided this per-
mission be not abused, and that it be employed only after
having exhausted every means of avoiding it. It is open to
no reproach, with regard to all the parts, in the first or last
bar.

Ex-
In the same way, all the members of the chord
may be doubled, but preference should be given to
doubling the third rather than the others.
perience, and the application of this rule, will instruct
the pupil how to select with taste the member of
each chord which it will be most advisable to double.


Observation-It would be difficult to assign a positive
reason for the preference to be given to one member of a
chord rather than to another, in doubling it. It seems,
however, that by doubling the third more frequently than
the other concords a more harmonious combination is
attained, and that a considerate choice in these doublings
imparts more or less elegance and natural grace to the
melody of each part, besides leading to the avoidance of
defective procedure between one part and another.

COUNTERPOINT AND FUGUE.
29
Examples of different aspects of the common chord, and of the chord of the sixth complete; or incomplete by doubling one of their members.

8
3
5
8
3
5
3
3
5
5
3


Complete common chord, with the first
doubled by the octave.
5
со
00
5
8
3
3
5
Octave
and unison.
the unison
is permitted
1
1
in this case.
3
10
5
With the third doubled.
5
3
3
3
3
5
3
1
1
1
1-
I
8
8
8
3
8 8
8
tolerated
unison.
8
8
3
3
8
3
3
8
8
1
1
5
cr
tolerated
unison.
5
or
8
5
8
permitted
unison.
Idem. Idein.
permitted
unison.
1
1
1
1
1
1
With the fifth and the first doubled by the
octave.
Complete common chord, with the first
doubled by the octave.
With the sixth doubled.
து
tolerated
unison.
5
5
со
LO
5
8
1
1
1
гл
ང
LO
5
6
6
3
6
3
6
3
6
9
a
1
1
1
2
Imperfect chord, complete with the first
doubled by the octave.
Imperfect chord, incomplete with the
third and the octave doubled.
1
6
8
3
6
४
со
3
3
3
6
8
6
1
1
1
8
Co
3
8
a
8
3
3
3
3
Τ
1
1
1
:
or
5
With the third and the first doubled by the
octave.
With the third doubled.
With the sixth and octave doubled.
With the fifth doubled.
3
LO
5
3
5
LO
5
5.
1
1
1
O

Co
3
8
3

8
3
3
3
3
8
a.
1
1
permitted
unison.



Co
3
3
6
tolerated
unison.
6
3
3
3
6
3
1
1
1



6
1
O..
со
6
These two chords will have more or fewer different
aspects according to the pitch of the note in the un-
dermost part. It is for this reason, and because of the
particular movement in each part, that there is a dif-
ficulty in employing the complete chord in each bar.
RULE LVII.
It should be so contrived that the parts are
neither too distant from one another nor too near
-especially as regards the under part; above all,
the employment of several successive thirds between
30
A TREATISE ON
the tenor and the bass should be avoided as much
as possible. Endeavour must be made to keep the
parts at a medium and appropriate distance from
each other.
Observation. When the parts are brought too nearly
together towards the under part they produce a dull and
heavy effect; when they are too much dispersed the effect
is indefinite.
RULE LVIII.
With regard to allowing an upper part to pass
below an under part, for the space of two or three
bars at the utmost, what was done in two-part and
three-part counterpoint may be done here. This
method may effect the avoidance of many faults
and induce an easy melody in the parts.
RULE LIX.
Two octaves and two fifths, in succession, by
direct movement, are invariably prohibited in all
the parts. But two fifths are tolerated by contrary
movement in the three upper parts between each
other, and in the two middle parts with the bass.
They are sometimes tolerated between the two ex-
treme parts, but the permission must not be abused;
it is when other means have been in vain attempted
that they may be employed.
RULE LX.
It is permitted to pass to a perfect concord by
direct movement in the two middle parts between
each other, and in these same parts relatively to
the soprano and to the bass. This permission does
not extend to the two extreme parts unless it be
absolutely needful thus to avoid the commission of
a greater fault.
RULE LXI.
The complete common chord should be employed
at the first bar, but if this obligation prevent an
easy flow of melody in all the parts when passing
to the second bar, and even to the third, it would
not be wrong to commence with the incomplete
chord. This permission may even be extended to
the employment of the same sound in all the parts,
it being understood, however, that the movement
of the parts, with respect to what follows, is thus
better suited.
Ex. 117.
Examples of this latter disposal.



ΟΙ
ΟΙ
also the relation of the last bar with the one that
All that has just been said may serve to establish
precedes it, and with the one which comes before
that; and the examples above-cited may be so applied.
Observation. By the aid of the rules in this species, and
with the assistance of the precepts set forth in two part
and three-part counterpoint, the pupil may, after having
gone through the exercises in the first species, proceed
to the second, and then to the third, without need of
additional rules. By examining the following examples
it will readily be perceived that all which has been hitherto
said respecting the three first species is quite sufficient.
Example in four parts.-Note against note.

@
Ex. 118.
E
Subject..
a


Subject
Subject.
a
a

COUNTERPOINT AND FUGUE.
31

Subject transposed.
Subject.
a.
E
Subject.
E
Subject.
:2
Ꮎ
D
a
Subject transposed.
E
Subject.
ΩΣ
Example in four parts-two against one.
a
Example in four parts-four crotchets against a semibreve.
ས་
d
o
a
a

睡
​眼
​

匪
​
a
即
​無
​32
E
Subject.
Subject.
Subject transposed.
트
​A TREATISE ON



a


眼
​After having studied these three species, by placing the given subject in each of the parts in turn,
the pupil may set himself the task of combining these three orders, after the method indicated in the
following example :-

Subject.
a
FOUR-PART COUNTERPOINT.
Fourth species-on syncopation.
Besides the established rules for syncopation in
two-part and three-part counterpoint which should
serve as a guide in the present order, there are
other precepts and injunctions to be added to those
which have been heretofore laid down with regard
to syncopation.
RULE LXII.
In the first place, the chord should always be
complete in a bar, either when the syncopation
forms a discord or a concord; in the latter case, if
the chord be not complete on the accented part of
the bar it must necessarily be so on the unaccented
portion.
RULE LXIII.
All the discords may be employed; in what
manner is here seen:
Ex. 119.
Employment of the discord of the fourth.

L
Inversion of the part.
COUNTERPOINT AND FUGUE.
83

Employment of the discord of the seventh.

Inversion of the part.
D
Employment of the discord of the ninth.
Inversion of the part.
Employment of the discord of the second.
----
B
Inversion of the parts.

J

Inversion of the parts.
Employment of the ninth.

ele el

Inversion of the parts.
D

Observation.-It was said in rule LXII that the chord
should be complete when the syncopation forms a discord;
and upon examining the preceding examples it will
appear, at first, that the chords are not complete at the
moment of the occurrence of the discord; nevertheless,
they are so, if it be remembered that discords are merely
suspensions of concords. According to that, the discord
need only be left out, and the resolution substituted, in
order to make it clear that the chord is complete upon
the accented part of each bar.
Extension of the rule.-It has just been seen in what manner
discords should be introduced into four parts with but one
chord in a bar; we will now show another manner of
employing them, which necessarily produces two chords in
a bar, and sometimes alters the resolution of the discord by
causing it to descend upon another interval than that upon
which it is usually resolved.
Employment of the fourth.
2.
1. Ex. 120.
Inversion of the parts.
Inversion of the parts.

Employment of the second.
Inversion.
Employment of
A.
the seventh.

C

C
34
A TREATISE ON
These Examples include two kinds of discords; one being
always suspensions, but the concord upon which the suspen-
sion is resolved belongs to a chord which is not that upon
which the suspension occurs, as in the examples marked 1
and 2. The others are not suspensions, they are discords
introduced into the chord, and forming part of it, as in
examples A B C. Thus are obtained the composite chords
called chord of the dominant seventh, of the seventh, of the
second, &c. By these different examples it is seen that the
discord of the fourth may be resolved upon the fifth, or upon
the sixth; that the seventh may be resolved upon the sixth,
or upon the third and the fifth conjointly; that the discord
of the ninth is resolved upon the octave or upon the third,
or upon the sixth; and that, lastly, the discord of the
second may be accompanied by the fourth alone, either
perfect or augmented, or by the fourth and sixth at the
same time.
It should be remembered what has been said in Rule LIV.
respecting the manner of introducing discords upon a sus-
tained sound in the under part, called a Pedal. We revert
to it here as a reminder that they may be introduced
nearly in the same way in four parts; the fourth part
making no difference in what has been said.

4 4
5 4
4
6
a
The use of the imperfect fifth is also permitted, in
the following manner :-

Ex. 123.
Inversion of the parts.
Inversion of the parts.
Ex. 121.

..
By leaving out the pedal in these two examples it will be
seen that what takes place upon the pedal in the first
example is, in fact, no other than a succession of discords of
the seventh resolved upon the sixth; and that what takes
place in the other is a succession of seconds.
Other examples are given below of different ways of in-
troducing discords upon a pedal. These examples are
quoted from the works of Palestrina, and show that this
classic has used the discord of the fourth without prepara-
tion, in order that it may become its own preparation.
It might be thought, at first sight, that all these combina.
tions are inadmissible in the present species, since, in imita-
tion of the same species in two-part and three-part counter-
point, miniaus should not be employed here except in the
part where the syncopations occur, while the other three
parts should have but one semibreve in each bar; but in
this order of four-part counterpoint it is allowed, when the
case requires it, to substitute occasionally two minins for
the semibreve in the parts which do not form the given
subject. This method may be employed for dissonant
syncopations, as well as for consonant syncopations; wherefore,
by the help of this permission, it is possible to introduce dis-
cords whenever they may occur, in the manner pointed out
in the preceding examples, and so easily escape from some
embarrassing passagės. These means should however
be employed with reserve, and without abuse of the permis-
sion. The example of a given subject, accompanied by three
other parts, will show the proper mode of operation as
regards the present species.

Ex. 124.
Subject.
車
​Quoted from Fuchs.

D
Ex. 122.


4
4
a
4 4

COUNTERPOINT AND FUGUE.
35
In the foregoing example the two minims substituted for a semibreve are not prodigally used; and this plan must be
observed in order to become practised in overcoming the difficulties of having only semibreves in all the parts save that which
contains the syncopations. See the following example:-
Subject transposed.
a
Subject.
be
Subject transposed.
E
e
Da
Ex. 125.



These examples present some unisons between the two
middle parts upon the unaccented parts of the bar, but such
unisons are, in some sort, tolerated in this species, on account
of the restraint which arises from the obligation to have all
the syncopations in the same part. At the same time, I
would recommend much discretion in the use of these
unisons, which should only be introduced after all means of
avoiding them have been fruitlessly tried.
After having gone through all the exercises sufficiently,
in the way denoted in this species, the species of two minims
and of two crotchets may be combined with syncopation:
giving one of these species to each part in turn.
Ex. 126.
Subject.
Example from Fuchs.

The crotchet part may
begin with a rest, thus-
Ex. 127.
and the minim part with a bar-and-a-half rest, in order
to give more elegance to the introduction of each:-
Ex. 128.
FOUR-PART COUNTERPOINT.
Fifth species-florid counterpoint.
The rules established by the five orders of two-
part, three-part, and four-part counterpoint
suffice for the practice of florid counterpoint, with-
out need of adding new ones. Here is an example
of the present species:-
36
A TREATISE ON
Example quoted from Fuchs.

Ex. 120.
Subject.
la
歷
​When the pupil is sufficiently practised in these exercises, florid counterpoint should be introduced into
two parts at a time, and, finally, into all the parts, with the exception, of course, of the one containing the
given subject.

Ex. 130.
Subject.
Ex. 131.
車
​Subject.
Example with florid counterpoint in all the parts.
to

E
COUNTERPOINT IN FIVE, SIX, SEVEN, AND EIGHT REAL
PARTS.
By the term real parts is understood parts pro-
ceeding together, each with a melody of its own.
It is well to mention here that, in florid counter-
point in from five parts to eight, when two, three,
or four parts only are made to proceed at once, the
same strict precepts hold good which were laid
down in two-part, three-part, and four-part counter-
point; it is only when five, six, seven, or eight
parts actually proceed together that any abatement
of severity in the rules comes into operation.
There are two methods of composing in eight
parts, the first is by placing the two trebles im-
It has already been observed that in proportion
as the number of parts increases the rigidity of the
rules lessens. It is therefore necessary to say here
that in the species about to be treated of unisons
are tolerated, as well as two fifths, by contrary
movement, even between the extreme parts. Much
reserve should however be shown in the employ-mediately after one another, and the contraltos,
ment of these licenses. Two-fifths, by direct
movement, are likewise tolerated, when the one is
perfect and the other imperfect, as in the leaps of
a major sixth.
In counterpoint of seven or eight parts, the two
lower parts may proceed from the unison to the
octave, and from the octave to the unison.
In seven parts.
Ex. 132.
In eight parts.
the tenors, and the basses in the same order. The
second is by dividing the eight parts into two
choirs, each composed of four parts-viz., a treble,
a contralto, a tenor, and a bass. These two sepa-
rate choirs should be used in such a way as that
one of the two may proceed alone, and as that the
two may alternately interrogate and respond. The
choir which is silent while the other proceeds
should resume before the other comes to a close, and
both should conclude together. The two basses
may enjoy the privilege indicated in the above
example, and proceed from the unison to the octave.
The ancient authors, when they composed for two

*
COUNTERPOINT AND FUGUE.
37
choirs, took care to make the harmony complete in
each choir; as much, at least, as the nature of the
subjects they treated and the disposal of the parts
would allow. They imposed this obligation upon
themselves on account of the distance which fre-
quently separated the choirs, and in order that the
auditors who chanced to be situated nearer to
one choir than the other might receive a more
agreeable impression from hearing the harmony
complete. At the same time, this condition is not
strictly indispensable.
*
The old masters have written compositions for
as many as six choirs at once. Much skill and
attention are requisite in overcoming all the diffi-
culties resulting from so great a combination; but
everything may be accomplished by diligent labour
joined to a flexible organisation.
When four-part counterpoint has been suffi-
ciently studied, the pupil should advance steadily
through counterpoint in five, six, seven, and eight
parts, commencing by note against note, on a
given subject, and then by writing, on this same
Ex. 133.
subject, florid counterpoint in all the parts, without
going through all the detail of minims, crotchets,
and syncopations. The habit should be acquired,
in writing for five voices, of using now two trebles,
now two contraltos: then two tenors, or two basses :
for six voices, now two trebles, or two contraltos,
then two trebles, two tenors, or two basses, &c., &c. ;
for seven voices, the same alternation, until com-
position in eight parts is attained, where each voice
is alternately doubled.
Here follow examples of given subjects for com-
position in five, six, seven, and eight parts; first in
note against note, and then in florid counterpoint.
The subject may be placed in whichever part is pre-
ferred; nevertheless, in the assemblage of so many
parts, the subject might become indistinct were it
placed in one of the middle parts: the effect will
therefore be better if the subject be placed in one
of the extreme parts. But the pupil will do well,
for the sake of practice, to place it also in one of
the middle parts, in order that he may acquire the
power of vanquishing all sorts of difficulties.
Example for five voices-note against note.

Subject.
Subject.
Example in five parts-florid counterpoint.

[In placing this same subject in the uppermost part, I have transposed it, that it may not be too high.]
I
Example in six parts-note against note.

Ex. 134.
E
Subject.
bo.
• They have often exceeded this number; an example is to be met with in Marpurg, of a canon for 24 choirs-that is to say, for 96 voices.
38
A TREATISE ON
Example in six parts-florid counterpoint

Subject transposed.
Subject.
Example in seven parts-note against note.
Subject.
Example in seven parts.-Florid counterpoint.
2
匪
​

IE
COUNTERPOINT AND FUGUE.
89
Subject.
Example in eight parts.-Note against note.

ha
Subject.
Example in eight parts.-Florid counterpoint.
Q
a

匪
​+
+
Observation.—The last bar but one of this example pre-
sents a method of employing the suspension to which the
particular attention of the pup 1 should be drawn. The two
parts marked with a cross + form at once the suspen-
sion and the suspended concord. The second soprano
sounds the fourth to the bass, which fourth is prepared
and resolved according to rule; while the second tenor
sounds the third. The only method of judiciously em-
ploying these two intervals, one of which seems to ex-
clude the other, is shown in the example-viz., the part
which forms the discord must pursue its regular course,
Of the 6th struck with the 7th.
while the other should contain the concord in a series of
ascending notes by conjunct movement, without stopping
on the concord. This rule equally applies to the sixth
struck with the seventh, the octave with the ninth, &c.
It should be observed that these two parts ought always
to be placed in two different octaves; that is to say, the
concord should never have the suspension in the second,
but in the ninth, or in the seventh. It is needless to add,
that the employment of this method is only tolerated in
composition for a large number of voices-as many as seven
or eight parts.
Example 137.
Of the 8ve with the 9th.
Of the second.

7 6
O
8
9 8
8
8
2
10
`A TREATISE ON
Second choir.
First choir.
E
Ex. 138.
Example for two enoirs, in florid counterpoint, without a given subject.

E
ta
to
Q
All the examples here given show the manner in
which counterpoint should be treated according to
the number of parts employed. It will be seen, in
the examples of note against note, that unisons
are not to be avoided in certain cases, any more
than direct movement between the extreme parts,
when passing to a perfect concord. This likewise
holds good in the examples of florid counterpoint;
but, as in this order there are more means at com-
mand for the proper disposal of the parts than in the
other, it should be so contrived that, when the
unisons are unavoidable, they appear only in the
unaccented part of the bar. The classical ancient
masters always paid attention to this, especially when
composing for more than four parts.
ON IMITATION.
Imitation is a musical device: it takes place when
one part, called antecedent, proposes a subject, or
melody (or theme); and when another part, called
consequent, repeats the same melody, after some rests,
and in any interval, continuing thus to the end.
Imitation
in the
unison.
Antecedent.
Ex. 139.

Consequent.
&c.
&c.
In an imitation, the consequent is not always
obliged to respond to the antecedent through the
whole extent of the subject it proposes; it may imitate
only a portion, and the consequent, proposing thus a
new melody, becomes, in its turn, the antecedent.

Ex. 140.
Antecedent.
Consequent.
Antecedent.
Consequent.
COUNTERPOINT AND FUGUE.
41
Antecedent.
Consequent.
Imitation may be effected in various ways. It is
called regular or restricted when it responds exactly
to the nature of the intervals proposed by the ante-
cedent; that is to say, when there is exact corre-
spondence maintained between the tones and the
semitones. In this kind of imitation, response is
made to a minor second by a minor second, and to
a major third by a major thir, and so on.
This imitation is naturally obtained when the
consequent imitates the antecedent in the unison, or
in the octave. The fourth and the fifth somewhat
approach to an exact correspondence of the intervals,
but occasional accidentals are requisite to render it
perfect, and it is almost impossible to effect this
identity upon the other degrees of the scale.
Imitation is called free or irregular when this
correspondence is not maintained, and leave is taken
to respond arbitrarily to the intervals of the antece-
dent, according to the key in which the consequent
happens to be. In this kind of imitation response
may be made to a major second by a minor second,
and to a minor third by a major third, &c. Imitation
by similar movement- as the name indicates--is that
which follows the ascending or descending motion of
the antecedent. The examples above cited are by
similar movement.
Imitation is by contrary movement when the con-
Ex. 141. Imitation in the second above.
sequent responds by ascending motion to the descend-
ing motion of the antecedent, and vice versa. This
imitation, as well as the preceding, may be regular
or irregular.
Imitation by retrograde movement is that which
imitates a period or a member of a period by taking
it backwards; that is to say, the consequent begins.
with the last note of the period of the antecedent to
be imitated, and returns to the first note.
Retrograde imitation may likewise be regular or
irregular, and may equally be treated by similar
movement or by contrary movement.
There are several other sorts of imitation, of which
we shall have occasion to speak hereafter.
Each of the above-mentioned kinds shall be dis-
cussed now, beginning with imitation in two parts.

IMITATION IN TWO PARTS.
First section-imitation by similar movement.
Imitation, of whatever nature, can only be effected
in as many ways as there are intervals in the scale,
viz. on the unison, second, third, fourth, fifth, sixth,
seventh, and octave, above or below the tonic.
Example 139 shows the manner of treating imi-
tation in the unison, and now will be given, con-
secutively, examples of imitations in all the other
degrees of the scale.
degrees of the scale. At the end of each example
will be seen the word Coda (the Italian term for
'tail "), which signifies conclusion. The coda com-
mences only when the imitation is quitted previous
to finishing-without which it might go on for ever.

Imitation in the second below.
Imitation in the third above.
Imitation in the third below.
Imitation in the fourth above.
Coda, or conclusion.
Coda.
Coda.
d

Q


Coda.
匪
​
Coda.
42
A TREATISE ON
Imitation in the fourth below.

Imitation in the fifth above.
Imitation in the fifth below.
α
Imitation in the sixth above.
a
Imitation in the sixth below.
Imitation in the seventh above.
a
..
σ
Imitation in the seventh below.
Imitation in the octave.
Coda.
Coda.
Coda.

Coda.


Coda.
Coda.
Coda.



匪
​

The student should work some time at all these
different imitation, but it may be stated that
he is not rigorously compelled to treat the intonations
always at the precise distance of a second, a third, &c.
He may, without fear of altering the nature of the
intervals, transpose to a higher or a lower pitch :
that is to say,-treat the imitation of the second as
a ninth; that of the third, as a tenth; that of the
fourth, as an eleventh; that of the fifth, as a twelfth ;
that of the sixth, as a thirteenth; that of the seventh,
as a fourteenth; and lastly, that of the octave, aɛ
a fifteenth, or double octave. The unison, alone,
cannot be displaced.
COUNTERPOINT AND FUGUE.
43
IMITATION IN TWO PARTS.

Second section-imitation by contrary movement.
On free or irregular imitation by contrary movement.
In order to have a fixed starting point in this
kind of imitation, composers in the classical style
of writing availed themselves of the following
method: they placed opposite to a scale composed
of an octave (for instance, the scale of C), com-
mencing with the tonic, the same series of sounds
in a contrary direction; thus :—
Ex. 142.
E
Semitone.
C
B
Semitone.
a
F
G
A
B
C
D
E
A
G
F
E
D
By this method free imitation by contrary move-
ment is obtained, as shown in the following ex-
ample:-
Major mode.
Ex. 143.
涯
​These examples show that, in the system of the
first scale, when the antecedent commences with a
C, the consequent must respond to the C by one in
the octave; if the antecedent commences with a B,
a G, or an A, the consequent must respond by a
D, an E, or an F, &c. In the system of the second
scale, when the antecedent commences with a C, a
G, or an E, the consequent must respond by a G,
a C, or an E, &c. Once let the first note of the
response be found and all the other notes naturally
follow.
ON REGULAR OR RESTRICTED IMITATION BY
CONTRARY MOVEMENT.
For this kind of imitation it is necessary to adopt
a method like the one employed with respect to
irregular imitation, but the scales which must here
be placed opposite to each other are different.
They must be two scales in which the semitones
occur upon the same degrees; so that, in the imita-
tion of the tones and the semitones, they shall cor-
respond exactly.


Ex. 144.

a
Coda.
E
D
E F
G
A
B
C
D
C
B
A
G
F
This method may serve for the major mode, and
also for the relative minor mode.
Relative minor mode.
In order to find the same correspondence of
tones and semitones in the minor mode, the scale
must be disposed in this way:-


Coda.
$0
For irregular imitation by contrary movement
the following scale opposed to itself may be used.
This method can be applied to the major inode, and
to the minor mode:—
Example of this scale.
2:
2.
This scale gives the imitation denoted in the
following example:-
α
a
&
D
E F
G
A
B
G
F
E
D &
B
Bo
Example of Regular Imitation by Contrary Movement.
Major Mode.
Minor Mode.
G



&
a
E

E
4.1
A TREATISE ON
It is needless to observe that each time a change
of key takes place these given scales must always be
referred to the key in which the imitation is made,
both for major modes and minor modes.
All that has just been said applies equally to re-
trograde imitation by contrary movement, which
also may be either regular or irregular.
Retrograde contrary imitation, which consists, as
has been said, in commencing with the last note and
retrograding towards the first, pursuing a contrary
movement, may be effected in two ways, viz.: bar
by bar, or period by period. Here are examples of
these two kinds of imitation, which will explain their
mechanism better than words:
Ex. 145.
Regular.
+
Irregular.
Examples of the first manner, bar by bar.
+
Imitation of
the first bar of
Ibid of the
second bar.
by
the consequent
retrograde
contrary move-
ment.
a
Coda.
Example of the second manner, period by period.
Regular.+
Imitation
ment. As to that by similar movements, the mero
remark will suffice that it can take place upon all
the intervals, as is the case with the imitations of
which the first section consists. Examples in this
branch of the study may be dispensed with; as
pupils will take the pains to practise themselves in
it by searching for methods of accomplishing their
object without the aid of models. Besides, these
retrograde imitations by similar movement are not
so difficult of treatment as those which have been
shown in the above examples.
Such are the rules of the four principal ways of
treating imitation, viz.: 1stly, by similar movement;
2ndly, by contrary movement; 3rdly, by retrograde
similar movement; and 4thly, by retrograde contrary
movement.

ON SEVERAL OTHER SORTS OF IMITATION.
The other sorts of imitation which remain to be
mentioned are imitation by augmentation, and by
diminution; with reversed accents; interrupted;
convertible; periodic; canonic, &c.
All these imitations may be effected in turn with
the four movements indicated, and may be treated
regularly, or irregularly; provided this can be done
without falling into errors that would fetter the
melody or the harmony.
Observation. The imitations heretofore cited, as well as
their denominations, are taken from the Treatise on Fugue
and Counterpoint by MARPURG, which can be consulted for
instruction and knowledge of such imitations as are omitted
here. MARPURG's work, I with regard to Imitations, Fugues,
&c., &c., as well as all devices of composition, is one of
the most complete of the kind known. Hence the frequent
reference to it.
Imitation by augmentation takes place when the
antecedent proposes a theme, and the consequent
responds note for note, augmenting the value of
each note.



Ex. 146.
of the whole period.
Irregular.
+
a
+
Coda.
+
*
----
Coda.

Imitation by diminution takes place when the
consequent diminishes the value of the notes which
constitute the imitation.

2
Examples have just been given of several methods
of treating retrograde imitation by contrary move-
↑ Highly as Cherubini speaks of this work, his own, and other
modern works, may be considered to have superseded it.-
TRANSLATOR.
COUNTERPOINT AND FUGUE.
45
Coda.
Ex. 149.


Imitation with reversed accents is effected when
the parts follow each other upon opposite portions of
the bar; that is to say, when one part commences
upon the accented portion of the bar, and the other
responds by commencing upon the unaccented portion.
This device is frequently worked out by the employ-
ment of syncopation.
Accented.
Ex. 147.
Inversion.

Unaccented.
Interrupted imitation is effected by suspending,
through the medium of rests in the consequent, the
continued progression of the notes proposed by the
antecedent.
Ex. 148.
Coda.
e
Inversion.
LE


Periodic imitation takes place when a portion only
of the melody or theme proposed by the antecedent
is imitated. Here are two examples :-






J
Convertible imitation is the name given to a
period written in such a way that the parts may be
inverted without any change; that is to say, the
upper part may become the lower part, or the lower
part become the upper. In order to do this, care
must be taken never to employ the interval of a fifth ;
because, in its inversion, it produces a fourth. This
kind of imitation is, properly speaking, a double
counterpoint, as will be seen hereafter.
Canonic imitation is that in which the consequent
responds to the antecedent note for note from begin-
ning to end. This imitation, which, by its very
denomination, becomes what is called CANON, may be
treated in two ways, viz.: finite, when it is finished
by a coda, or conclusion; infinite, or circular, when
it is so carried out as to return from the end of the
imitation to the beginning without ceasing.
46
A TREATISE ON
Finite canonic imitation.
Ex. 150.
Infinite canonic imitation.
Ex. 151.
In three parts,
Coda.
The student should endeavour as much as possible
to acquire practice in all these imitations, by all the
movements, and in all the intervals. What has been
demonstrated in the first and second section with
respect to imitations must suffice; and, now, imita-
tions in three and in four parts will be discussed.
Third section-imitations in three and in four
voices.
All the kinds of imitation mentioned in the two
preceding sections may be treated in three, four,
and even a larger number of parts. Azzopardi, a
Maltese composer, made use of two given subjects,
upon which it is good practice to write all sorts of
imitations, either in an interval above, or in an
interval below. This method may first be pursued;
it can be no other than extremely advantageous in
the study of imitations, and will help the pupil in
his labour.


1st subject.
These are the two subjects from Azzopardi.
Ex. 152.


2nd subject.
Jo

Examples of imitations, from Azzopardi, in three, and in four parts, on these subjects,
viz. imitations in two parts, on this given subject.

Imitation in the unison.
串
​In four parts.
Third part (ad libitum).
dot:
Imitation in the second above.
睚
​T

COUNTERPOINT AND FUGUE.
47
In the latter example there is one part which
merely appertains to the whole, and has no con-
nection with imitation; wherefore it has been
called ad libitum. Such a part becomes requisite
when four parts are used, and when no more is
written upon the subject than a single imitation
between the two other parts. If three parts in
imitation upon the subject be written, there are
then two consequents, both of which imitate the
Antecedent or Theme.
&
Ex. 153.
theme proposed by the antecedent, in the same
interval, or in a different one. After having prac-
tised treating imitation upon a given subject in
two parts only, with or without the fourth part,
ad libitum, from imitation in the unison up to
imitation in the octave inclusive, the exercise
above stated must be undertaken, viz.: to intro-
duce the two consequents and achieve a double
imitation.

a
Subject.
1st Consequent, or
imitation in the 7th below.
2nd Consequent, or
imitation in the 5th below.
Before proceeding it should be remarked that
this subject may be written, if needful, and if
judged fit, in semibreves, thus:—
instead of being written in breves.
a
When once the pupil has sufficiently worked on
imitations between two and three parts upon the
two subjects, he should practise treating imitation
Ex. 154.
in three, and then in four parts, upon a given subject
of his own.
It will be necessary for him to consult
MARPURG's work on this point, in order to see all
the combinations of the intervals by means of
which imitations may be made. It is for the sake
of having a great number of examples under the
eye that the pupil is advised to consult MARPURG'S
work. Here are two examples of imitations, one
in three parts, and the other in four, which will
suffice as a sketch of this kind of exercise:

Example in three parts.
Canonic imitation.

Canonic imitation in the unison.
Ex. 155.
Canonic imitation in the octave below.
Imitation in the fifth below.
Example in four parts.-Regular canonic imitation.
G. ALBRECHTSBERGER.

Imitation in the octave below.
a
a
Imitation in the twelfth below.

48
A TREATISE ON
The pupil should also practise treating imitation
in five, six, seven, and eight voices, either upon
given basses, or by inverting imitations without
any of these basses; that is to say, by himself com-
posing the whole. Parts ad libitum, or parts of
accompaniment, may be combined, if the student
cannot succeed in making regular imitations, with
all the parts.
Before closing this section, mention must be made
of another kind of imitation, which may be intro-
duced in eight parts by means of two choirs. This
imitation comes under the denomination of inverse
contrary imitation.
Explanation.
A Theme is proposed in four parts in one of the
two choirs; the response should be made by the
other.
In order that the response may be inverse the
bass of the Theme must be placed in the soprano
part of the response, the soprano part placed in the
bass, the part of the contralto in that of the tenor,
and, lastly, that of the tenor in the contralto.
In order that the response may be contrary, each
part of the response must answer by contrary move-
ment, and in the order stated above, to the parts
which have proposed the Theme.
In compassing this device the following rule must
be observed: no one of the lower parts must ever
form a fourth with the soprano, unless this fourth
proceed by degree as a passing discord. With regard
to contrary movement, it must be obtained by means
of the scales mentioned in the second section, when
this contrary movement was under discussion; but
for the sake of more clearly comprehending the use
that should be made of it they shall be reproduced
in the following order :-
Correspondence of the parts, when inverting by contrary movement.
Soprano
in
Bass.
Ex. 156.
1st Form.
Below are other scales, not adduced when treating
imitation by contrary movement in two parts.
These scales may be employed when the chromatic
style is adopted for modulating.
Soprano
in
Bass.
Contralto
in
Tenor.
Soprano
in
Bass.
#
Chromatic by sharps.

3rd Form.
α
ago to
Chromatic by flats.

4th Form.
Contralto
ba za
in
Tenor.
a:
Another disposal of this latter scale.

Ꮎ
The 3rd form may be used when from the key
of C we wish to modulate into its dominant; and
the 4th form when from the key of C we wisu co
modulate into the sub-dominant. See the following
example:-

Theme.
Ex. 157.
Inverse contrary response,
according to 3rd Form.

#
Contralto
in
Tenor.
Soprano
in
Bass.
2nd Form.
Contralto
in
Tenor,
E

Theme.
Inverse contrary response,
according to 4th Form.
bo to

#
匪
​COUNTERPOINT AND FUGUE.
49
Before giving an extended example of this kind
of imitation it is necessary to state that the inverse
contrary response must commence before the period
of the theme terminates, or else just upon the close
of it; the theme, in its turn, should recommence
either before the response, or upon the close of the
response. The harmony and the parts must be
combined in such a way that they shall adapt
themselves to this disposal of the several com-
mencements. The subjoined example will con-
vey fuller comprehension of what has here been
said.
1st Choir.
¡nd Choir.
Theme.
a
Example of a regular piece, composed in inverse contrary imitation.

Inverse contrary response, by the 1st scale in C
aba
Scale (4th form).
D
涯
​
H
50
A TREATISE ON

Scale in C
a

I
Scale (3rd form).
Scale in C.
a
a
拜
​
COUNTERPOINT AND FUGUE.
51

a
Ω
.0.
Coda.

Coda.
ON DOUBLE COUNTERPOINT.
Double counterpoint is a class of composition
skill in which consists in so combining the parts as
that they shall, without inconvenience, be transposed
from the higher to the under part, if they be placed
above the theme, and from the under to the higher
part, if they be placed below it; while the theme
itself undergoes no change in its melody, whether
it occur in one of the extreme parts, or in one of the
intermediate parts.
These inversions may be made in seven ways;
consequently, there are seven kinds of double coun-
terpoint, viz.: in the ninth or second; in the tenth
or third; in the eleventh or fourth; in the twelfth
or fifth; in the thirteenth or sixth; in the four-
teenth or seventh; and in the fifteenth or octave.
Those most frequently employed are the tenth or
third; the twelfth or fifth; and the fifteenth or
octave.
Before speaking of each of these seven kinds
separately it is necessary to observe in general:
1stly, that in double counterpoint the parts must
be distinguished from one another as much as pos-
sible by the value of the notes; that is to say, if the
theme be composed of semibreves or minims, crotchets
and quavers must be opposed to it—as many, and in
counterpoint; 2ndly, that the part which forms the
the same manner, as in the treatment of florid
counterpoint should commence after the theme ;
3rdly, that the parts must not, at haphazard, or
without due reason, be made to cross, because then
the intervals would not change in the transposition
or inversion of the counterpoint from the higher to
the lower, or from the lower to the higher; 4thly,
that in all double counterpoint, except that on the
alter the intervals by inversion, particularly when the
octave, it is not only permitted but even needful to
modulations require this.
First section-double counterpoint in two parts.
Inversion in the octare.
When the inversion or transposition of a part takes
place at the distance of an octure or a fifteenth the
52
A TREATISE ON
counterpoint becomes double counterpoint in the
octave.
In learning how to construct this counterpoint, it
must be known what are the intervals to be avoided,
in order that the inversion may be correct. For the
acquirement of such knowledge, two rows of figures,
not exceeding the number of eight, should be placed
one row against the other, thus:-
1. 2. 3. 4. 5. 6. 7. 8.
8. 7. 6. 5. 4. 3. 2. 1.
The figures of the upper row indicate the intervals
of the counterpoint; those of the under row, the
intervals which result from its inversion. It will be
seen that the 1, or unison, changes into an octave ;
the second into a seventh; the third into a sixth;
the fourth into a fifth, and so on with the others.
The octave and the unison should not be too much
employed, because they do not produce sufficient
harmony; excepting, indeed, at the commencement
and at the close of the theme, and when syncopation
is used.
Ex. 158.
Ex. 161.


Different ways of introducing inversions, with
respect to the preceding example.
1st manner.
Invert the counterpoint an octave, from higher to lower.
Ex. 162.

Theme.
Inversion in
the octave.
2nd manner.
That the counterpoint may be in the fifteenth, it must be inverted thus,
a fifteenth lower.



Inversions.
Theme.
涯
​Inversion in
the 15th.
a
The fifth should be avoided because on inversion
it becomes a fourth. It can be employed only as a
passing note, or in syncopation.
Ex. 159.
3rd manner.
Transpose the theme an octave higher, and the counterpoint an octave
lower.
Theme
transposed
an octave
higher.
Counterpoint
transposed
an octave
lower.

4th manner.
Transpose the theme an octave higher, while the counterpoint remains
in its place.


Theme
transposed
an octave
Inversions.
The fourth being open to the same objection, and
to the same exceptions, as the fifth, it should be
avoided and admitted in the same way.
All the other intervals may be employed, by sub-
jecting them to the laws which affect them. Placing
the parts at a distance beyond the octave should also
be avoided, as the intervals which exceed this limit
undergo no change by inverson; that is to say, the
third remains a third, the sixth remains a sixth, &c.
Ex. 160.
3
6
Inversions.
6
3
Here is an extended example of double counter-
point, from which it may be seen how all the intervals
should be employed so as to obtain correct inversion.
higher.
Counterpoint
remaining in
its place.
Before passing to another kind, it is essential to
observe that the discord of the ninth cannot be em-
ployed in double counterpoint in the octave, because
it cannot be inverted; double counterpoint in the
octave is one of the counterpoints most used.
Inversion in the ninth.
When the inversion of a counterpoint takes place
in the ninth, either in the higher, or the lower part,
the counterpoint takes the name of double in the
ninth or second. The combinations of this kind of
counterpoint are attained by the method already
employed for that in the octave, which consists in
placing one against the other two series of figures,
each of which should be limited by the figure indi-
cated by the denomination of the counterpoint;
that is to say, the series in the counterpoint in the
octave being composed of eight figures, and in the
counterpoint in the ninth-which is here in question

COUNTERPOINT AND FUGUE.
53
of nine figures; for that in the eleventh, eleven, and
so on with the rest. This explanation is given here,
in order not to be obliged, hereafter, to speak again
of it, when discussing the kinds which ensue.
The following is the series of figures which belong
to double counterpoint in the ninth :—
1. 2. 3. 4. 5. 6. 7. 8. 9.
9. 8. 7. 6. 5. 4. 3. 2. 1.
From this table it appears that the unison
changes into a ninth, the second into an octave, and
so forth. The fifth forms here the principal interval;
it merits particular attention, whether in preparing
or preventing, not only dissonant intervals, but even
those which become so by inversion. The discord
of the fourth resolved into the third; the discord of
the seventh resolved into the sixth; that of the
second, &c.—such are the proper means for combin-
ing a double counterpoint in the ninth, which should
be confined within the extent of a ninth, for the
same reasons that that in the octave should not
exceed the limits of the octave.
Examples taken from Marpurg.
Ex. 163. Counterpoint.
Theme.
4
3
4
3
Inversion in the ninth below.
6
7
6
7
Inversions.
Other examples.

Among double counterpoints that in the ninth is
one of the most limited, one of the most ungracious to
treat, and one of the least used; when it is adopted,
it should only be employed during very few bars.
Inversion in the tenth.
We go on to speak of double counterpoint in the
tenth or third, commencing, as usual, with two rows
of figures :-
1. 2. 3. 4. 5. 6. 7. 8. 9. 10.
10. 9. 8. 7. 6. 5. 4. 3. 2. 1.
From these it appears that two thirds or two
tenths must not be made in succession, since there
will then be two octaves or two unisons. Neither
must two sixths in succession be employed, because
their inversion would produce two fifths. Nor must
the fourth and the seventh be employed, except as
passing discords (I.), unless the fourth be resolved
into a fifth or into a sixth (II.), and the seventh be
resolved into a fifth (III.)

(I.)
Ex 166.
(II.)

6
By transposing the theme an octave higher, and
the counterpoint a note lower, the double counter-
point in the second will be obtained.
Ex. 164
Jal
7
(III.)
D
P

By transposing the theme to the second above, and
the counterpoint to an octave below, the following
inversion will be obtained, to which accidentals must
be added, on account of the change of key.
Ex. 165.
a
|---

The ninth must be resolved either by the octave,
or by the fifth, in this manner:
Ex. 167.
9
8
9 59
5

Inversions.
E
54
A TREATISE ON
From the foregoing-with consideration, intelli- tions by the usual method of two rows of figures :-
gence, and application-the pupil may practise him-
self in this kind of double counterpoint, of which an
extended example is given below:-
Ex. 168.
Theme.
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.
11. 10. 9. 8. 7. 6. 5. 4. 3. 2. 1.
We see that the sixth is in this counterpoint the
principal interval, and with that one we can begin
or end. Moreover with it not only must the
discords be prepared and resolved, but also those
concords which change into discords by inversion.

This counterpoint may be inverted in several
ways, viz.:
By transposing the counterpoint a tenth below, while the theme remains
1st manner.
in its place.
Ex. 169.
Theme.
Counterpoint
in the tenth
串
​below.
2nd manner.
By transposing the theme a third above, and the counterpoint an octave
Theme
in the third
above
Counterpoint.
an octave
below.
&
below.
3rd manner.
By transposing the counterpoint a third below, and the theme an octave
Counterpoint
below.
a third
below.
Ex. 170

OTT
6
'6
6
8 6
6-
4
6
6
6
4 6
6
4
6
6-
8
6
6
Inversions.
ba
E
a
2
6
7 6
6
3
6
6
5 6
6
9 8 6 6
6
566
6
6
3
4 6
6
6 7 6 6
7 6 6 6
—-་

----


Theme
an octave
車
​below.
4th manner.
By transposing the counterpoint, and the theme, a third higher.
The interval of the eleventh forms the limit of
this counterpoint. A developed example is given
below:
Ex. 171.

Theme.
In all the inversions and transpositions of this
example it will perhaps be necessary to add some
accidentals, either to the theme or to the counter-
point, and sometimes even a third part, in order
to render the whole more correct; at the same time,
nothing has been indicated of this, seeing that a
counterpoint can be constructed in such a manner
as to require no such alterations, nor any additional
parts. The short examples set forth above have
only been given to show in how many ways a double
counterpoint in the tenth may be inverted. This
counterpoint, as well as that in the octave, is one of
those most used.
Inversion in the eleventh.
Double counterpoint in the eleventh or fourth has
now to be discussed. We will set forth its combina-
Inversion in the eleventh.
Ex. 172.
2nd Inversion.
Transpose the theme a fourth above, and the counterpoint an octave
below.

3rd Inversion.
BONU
Transpose the theme a fifth below, while the counterpoint remains in its
place.
E
น
-ba
COUNTERPOINT AND FUGUE.
55
Ist manner of inverting.
4th inversion.
Transpose the theme a fourth above, and the counterpoint a fifth below.
Transpose the counterpoint a fourth below, while the theme remains
in its place.

E
D
5th inversion.
Transpose the theme a fourth above, or a fifth below, and the counter-
point a fourth above or a fifth below.
2nd manner of inverting.
Transpose the theme a twelfth above, while the counterpoint remains
in its place.


d bo
ba
Double counterpoint in the eleventh is, of all double
counterpoints little used, that which may be employed
with the fewest objections and difficulties.
Inversion in the twelfth.
Here are the two rows of figures which should
be compared together for obtaining the inversions of
double counterpoint in the twelfth:
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.
12. 11. 10. 9. 8. 7. 6. 5. 4. 3. 2. 1.
It will be seen that the unison or octave changes,
in counterpoint of this kind, into a twelfth, the se-
cond into an eleventh, &c.
The sixth, which by inversion becomes a seventh,
should be prepared either in the upper part, or the
lower; and the bass should then descend one note
or degree.
Ex. 173.
3 6
Examples from Marpurg.
5
6
LO
со
3
7
8 7
5
Inversions.
6
5 6
5
6
3rd manner of inverting.
Transpose the theme an octave above, and the counterpoint a fifth
below.

4th manner of inverting.
Transpose the theme a fifth above, and the counterpoint an octave
below.

This counterpoint is one of the most used, and
among the most fertile in resources.
Inversion in the thirteenth.
Double counterpoint in the thirteenth or sixth is
obtained by the same method as the other double
counterpoints; that is to say, by the two series of
figures. These are they which belong to the coun-
terpoint in question:-
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13.
13. 12. 11. 10. 9. 8. 7. 6. 5. 4. 3. 2. 1.
It is easily seen that two sixths in succession must
not be employed in this kind of counterpoint.
Since the seventh cannot be resolved in a regular
manner, it must be employed as a passing discord.
The second, third, fourth, fifth, and ninth must
be prepared by the sixth or by the octave, either
above or below, and be saved by one of these
intervals.


Ex. 175.

7
8 7
o
8
7
a
6
4 6
4 6
6
9
6
Here is an extended example of double counter-
point in the twelfth :
8 3 8 3 8
8
5
00
8
Ex. 174.
Ω
E a
9 6
2
6 2
6
5 8
5 8
8 5
8
— — — —

56
A TREATISE ON


8
3 8
3
8
6
5
Q
6
4 6
4 6
2 3
9 8
6 5
.8
5 8
5 6 8
2
6 6
2
A MAN HAR S
16
G
The interval of the thirteenth serves as a limit
to this counterpoint.
An extended example of double counterpoint in
the thirteenth, or sixth, will now be given. This
counterpoint is less frequently used than the coun-
terpoints in the octave, tenth, and twelfth.
Ex. 176.
The interval of the fourteenth serves for the
limit of this counterpoint.
Extended example of counterpoint in the fourteenth.

Ex. 178.
MARPURG.
Theme.
a
1st manner of inverting.
ま
​


2nd manner of inverting.
Transpose the theme a seventh above, and the counterpoint an octave
Theme.
below.
etc.
This counterpoint is inverted by first transposing
the upper part in the thirteenth below the theme.
Then the theme should be transposed a sixth higher,
or a third lower, while the counterpoint does not
stir; the theme may also be transposed a third lower,
and the counterpoint a third higher; &c. &c.
Inversion in the fourteenth.
It remains, finally, to speak of double counterpoint
in the fourteenth or seventh. Here are the two
series of figures which give the inversions :-
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14.
14. 13. 12. 11. 10. 9. 8. 7. 6. 5. 4. 3. 2. 1.
According to the above combinations, two thirds
in succession must be avoided, particularly by similar
movement, since, in transposition, they produce two
fifths. Every concord, as well as the octave and the
siath, which become discords when inverted, should
be prepared and resolved either by the third, or by
the fifth.
Ex. 177.
Inversion.
poldidad dol
3rd manner of inverting.
Transpose the theme, and the counterpoint, a seventh below.
Theme.
etc.
Second section-triple and quadruple counterpoint.
Double counterpoint is naturally in two parts, as
has been seen in the preceding section; triple coun-
terpoint is in three parts, and quadruple counterpoint,
in four parts. In discussing the counterpoints now
in question only those mostly used will be spoken of;
viz. in the octave, in the tenth, and in the twelfth.
The rules about to be given for these counterpoints
will also show how to treat those not mentioned.
:
Triple and quadruple counterpoint in the octave.
There are two ways of composing these counter-
points; the first, and most easy, consists in adding to
a double counterpoint one or two parts proceeding in
thirds either with the lower part or with the upper
part.
Double counterpoint, in order to be capable of
receiving these two parts in thirds, or even a single
1 1 1 1




COUNTERPOINT AND FUGUE.
57
one, must be constructed according to certain con-
ditions; viz. :—1stly, it should not contain two
thirds or two sixths in succession; consequently, it
should be written entirely in contrary movement or
in oblique movement. 2ndly, it should contain no
discords, excepting passing ones.

Ex. 179.
FE

In order to transform this double counterpoint
into triple counterpoint, no more need be done than
add a third part, either a third above the upper part,
or a third above the lower part.
L
The parts of this counterpoint may be inverted in
several ways, as the following example shows:-


&


f

a
&
I
In order to convert the same double counterpoint
into quadruple counterpoint, there must be joined to
the two principal parts two other parts, one, a third
above the upper part, the other a third above the
lower part, as thus:-
The other way of employing triple and quadruple
counterpoint in the octave consists in combining the
parts in such a manner as that they may be inverted;
that is to say, so that each part can be placed above
or below, without changing the melody at all, and
without the least objectionable point arising, or the
least infringement of the strictest rules. To ensure
this, it is indispensable that the parts shall never
form between each other either a fourth or a fifth;
excepting in the case where the melody proceeds by
conjunct movement, or in that where only discords,
prepared by the second, the fourth, and the seventh,
are employed. The discord of the prepared ninth
is impracticable in this kind of counterpoint, as has
been already said with regard to double counter-
point in the octave.

58
A TREATISE ON
Ex. 180.
B
車
​3rd.
Theme.
Ex. 181.
3rd.
9th.
Theme.
6th.
a
Examples of a triple counterpoint of this kind.

1st inversion.
4th.
a
5th.
Examples of a quadruple counterpoint of the same kind.
1st inversion.
2nd.
여
​a
10th.
眼
​4th.
7th.
a
a
Τ
2nd.
脂
​
a

5th.
8th.
勝
​11th.
a
O
2
a


a
IE


----
COUNTERPOINT AND FUGUE.
59
12th.
α
15th.
13th.
16th.
a
.Ω.
14th.
a
17th.
a
a
D.
a
α
72
Ω.
Q.
This kind of counterpoint, oy its nature and its
regularity of inversions, may be applied to the
counter-subjects of a fugue; as will be seen when
that sort of composition comes under discussion.
Triple and quadruple counterpoint in the tenth.
By observing the rules laid down in the first sec-
tion on the subject of double counterpoint in the
tenth, as well as the laws which ordain the necessity
of employing contrary movement and oblique move-
ment, triple and quadruple counterpoint in the tenth
will be obtained.
Ex. 182.
Example of a double counterpoint in the tenth.
MARPURG.
#
In order to obtain quadruple counterpoint, the
following example of a double counterpoint in the
tenth is first proposed :-
Ex. 184.
a
MARPURG.

a
Of this double counterpoint a triple counterpoint
is formed by adding a third part at the distance of
a tenth or a third from one or other of the two exist-
ing parts, and by inverting, alternately, each of
these parts in the manner worked out in the example
of quadruple counterpoint in the octave.


1stly.
In order to convert this double counterpoint into
triple counterpoint, nothing is required but the
addition to these two parts of the upper part a tenth
below, or of the lower part a tenth above.
Ex. 183.
2ndly.


1st.
Q
五​車
​2nd.
3rdly.
60
A TREATISE ON
4thly.

5thly.
Ex. 186.
1st.
By adding to this same double counterpoint the
two parts in thirds, in the following manner, a qua-
druple counterpoint in the tenth will be obtained:
勝
​MEN MAN KAN ADA
16
2nd.

E

This counterpoint-at least, as it is combined in
the above example-gives but few inversions exempt
from reproach.
Triple and quadruple counterpoint in the twelfth.
In order to obtain triple and quadruple counter-
point in the twelfth it will be necessary, after first
combining it according to its appointed rules, to pro-
ceed in the manner already shown with regard to
counterpoint in the octave; that is to say, by taking
care to avoid discords that are not passing ones, and
by scrupulously observing contrary movement or
oblique movement.
Example of a double counterpoint in the twelfth.
Ex. 185.
For transforming a double or triple counterpoint
into a quadruple counterpoint the following example
will afford a guide :-
1st Part. Ex. 187.

E
Inversion in the fifth
below of the first part.
1st part inverted in the fifth.
Fourth part in the fifth above.


Inversion in the twelfth.
a
In order to form a triple counterpoint from a
double one, there need only be added a third part,
either a third below the upper part, or a third above
or below the lower part.
Conclusion.
All these examples suggest an important remark
which is, that, notwithstanding the denominations
of triple and quadruple counterpoint in the tenth,
or in the twelfth, there is no true triple or quad-
ruple counterpoint save that in the octave.
In fact, the combinatious of this kind of counter-
point alone permit the composition of a piece in
three or in four voices (or even in a greater number
of voices), in which the parts admit of complete in-
version. In a good quadruple counterpoint in the
octave the parts can, without difficulty, change
places, and supply a multitude of fresh aspects, by
COUNTERPOINT AND FUGUE.
61
being transposed to the upper, the middle, or the
lower part, while the lower ascends from the middle
to the upper part. But it is,-so to speak,-impos-
sible to compose in three or in four voices upon
the condition that each of the parts may, in its turn,
be transposed to the third or to the tenth above or
below, to the fifth or the twelfth above or below,
without ceasing to be in harmony with the other
parts. It is therefore necessary to use some
ingenuity for the obtaining of so-called triple and
quadruple counterpoints in the tenth and in the
twelfth.
In composing-as has been said-a double coun-
terpoint in one or other of these intervals by con-
trary or oblique movement, so as never to have two
successive thirds, and avoiding all prepared discords,
it is possible to add to each of the parts another
part in thirds. The counterpoint becomes triple
by the addition of one, quadruple by the addition

of two.
But in quadruple counterpoint in the tenth, ob-
tained by this measure, an inversion in the tenth is
no longer possible; since it is the inversions them-
selves which, proceeding with the principal parts,
are to form the four parts: but this counterpoint can
be inverted in the octave; that is to say, it is possible
to change the places occupied by the different parts,
if care have been taken to observe the rules of double
counterpoint in the octave.
Quadruple counterpoint in the twelfth is more
real and more varied: that is to say, among the four
parts thus combined there will be always two which
may actually be transposed, the one a fifth above,
the other a fifth below; these two are the two prin-
cipal parts, which on that account are not the less
able to proceed in thirds with the two added parts.
Before concluding this section, a series of examples
will be given, from the learned Padre Martini, rela-
tive to these counterpoints; in which will be seen
the use that should be made of them.
Ex. 188.
Counterpoint in the upper part. 1st order.
Upper part a third above.
Upper part an octave above.
a.
Lower part a third above.
Upper part.
Lower part.
Lower part a third above.
3rd order. Contrary movements.
勝
​Upper part an octave below.
Lower part a fifth above by
contrary movement.
Upper part stationary.
Lower part a fifth above by
contrary movement.
a
Lower part an octave below.
Upper part.
Middle part.
f
4th order.
-a
Lower part an octave above.
----

Upper part a third below by
contrary movement.

Lower part a tenth above by
contrary movement.
Upper part an octave above.

Lower part an octave or a
fifteenth above.
Lower part a twelfth above
by contrary movement.

Lower part ad libitum, but essential.
Middle part an
16
Upper part an
Ibid.

Lower part.
Counterpoint a third above.
Counterpoint in the upper part.
Lower part.
Counterpoint an octave below.
octave above.
Middle part a fourth above.

Counterpoint a tenth below.
----
octave below.
Upper part an octave below.
Ibid.
2nd order.

Lower part a fifteenth above.

Middle part a sixth above.
216
a
Upper part an octave above.
Middle part a fourth above.
bo
Upper part a third above.
Upper part an octave above.
Upper part a twelfth below.
D
Lower part an octave above.
Lower part an octave below.
Ad libitum, ibid.
a
a
62
A TREATISE ON
Middle part a sixth above.
Upper part a sixth.above.
Middle part an octave above.


Upper part a third below.
Middle part an octave below.
Ibid.
Ibid.
Upper part.
5th order.
T
Middle part a fifth above by contrary movement, suspended and varied.
Upper part an octave below, anticipated and varied.
Ibid ad libitum.

Middle part.
Ad libitum part.
Middle part an octave above, suspended.
Upper part a sixth below, anticipated and varied.
Upper part an octave below, anticipated and varied.
吃
​Ibid.
Ibid.
a
Upper part a third below, anticipated and varied.
Middle part a fifth above anticipated and varied.
Middle part in the unison.
Middle part a third above, and varied.
a
Middle part in the unison, suspended and varied.
Upper part an octave below, anticipated and varied.
Ibid ad libitum.
Middle part an octave above by contrary movement.
Upper part a tenth below by contrary movement and varied.
Ibid ad libitum.
u
ON FUGUE.
The word Fugue (FUGA) is ancient. It is to be
found in the old composers' works, but they did not
apply it in the same sense as modern writers.
They called by this name counterpoints in imitation,
whereof the cantilenas of plain-song furnished the
themes, and in which canons are occasionally to be
met with. In the present day, the name of fugue
has been given to a developed and regular composi-
tion unknown to ancient composers-which, indeed,
could not be known to them, since their Tonal
system did not assort with what we call tonal fugue
as will be seen farther on. *
Fugue, notwithstanding the ancient origin of the
word, is, then, an invention of modern times, which
has been introduced into church-music only since
emancipation from the self-imposed constraint of
contrapuntists to write always upon Plain-Song.
As it exists at the present time, Fugue is the
perfection of counterpoint. It should comprise, not
only all the resources supplied by the study of the
different kinds of counterpoint, but many other
devices proper to itself, of which there will be
occasion to speak hereafter.
Fugue may be considered as the transition between
the system of strict counterpoint and that of free
composition; accordingly, the pupil is here warned
that in the examples of Fugue now to be given, he
will meet with many chords not hitherto employed.
All that a good composer ought to know may be
introduced into fugue. It is the type of all pieces of
music that is to say, whatever the piece composed,
so that it be well conceived, regular, and conducted
with good intention, it should, without bearing
precisely the character and form of a fugue, at least
possess its spirit.
There are two principal kinds of fugue, from
which springs a third, and again, by this last are
generated all the rest. The two principal are tonal
fugue and real fugue. The third is fugue of
imitation. All the others, offspring of caprice,—
are, irregular fugues of imitation, or pieces in
fugal style.
The indispensable conditions of fugue are the
subject, the response, the counter-subject, and the
stretto. There may be added to these the pedal,
which is almost always employed in a fugue of



any extent.
All the devices that can be introduced into a fugue
depend upon the knowledge, the skill, and the judg
* Vide what is said on this point by Padre Martini, in his treatise
on Counterpoint.
COUNTERPOINT AND FUGUE.
63
ment of the composer, and, at the same time, upon
the nature of the SUBJECT and of the COUNTER-SUB-
JECT, which may offer more or less scope for these
devices. These said devices consist, firstly, in the
employment of imitations formed by detaching
portions either of the SUBJECT or of the COUNTER-
SUBJECT; secondly, in the transposition of the sub-
ject into different keys, and in the advantage which
may be derived with respect to this from double
counterpoints; thirdly, in the inversion of the SUB-
JECT by contrary movement; fourthly, in a new
SUBJECT that may be introduced for combination
with the first SUBJECT and the first coUNTER-SUBJECT;
fifthly, in the manner of combining the STRETTO in
several ways, each time more and more closely ap-
proaching the RESPONSE to the SUBJECT; sixthly, in
the means that may be employed to let the SUBJECT
be heard simultaneously with its inversion by con-
trary movement; seventhly and lastly, in the method
of combining the SUBJECT, the COUNTER-SUBJECT, and
the STRETTO upon the pedal, and in the skill and
taste with which these devices are brought in and
worked throughout the extent of a fugue.
All these combinations and yet others may be
employed in a study-fugue, but there should be a
judicious selection of them in a fugue intended for
the public. Without this precaution, the fugue
would be too long, and consequently tedious.
We now give an explanation of each of the
denominations above-mentioned.
Theme, or subject.
Ex. 190.
ON SUBJECT.
The subject, or theme of the fugue, should neither
be too long nor too short; its dimensions should be
such as that it shall be easily retained in the me-
mory, and that the ear shall readily seize upon and
recognize it in the different parts and different keys
where the author causes it to recur.
Here is an example of a subject of proper
dimension.
Ex. 189.
The subject being conceived, the entire fugue
should, so to speak, be comprised in its extent,
and in that of the COUNTER-SUBJECT which serves
as its auxiliary.
The SUBJECT may also be called PROPOSITION, ANTE-
CEDENT, or GUIDE; and the parts which succeed it
may be called RESPONSES, ANSWERS, or CONSEQUENTS.
The composer is at liberty to choose whichever
part he pleases wherein to propose his subject. The
ancient composers, however, were accustomed to
observe the following method:-When a subject
commenced with the octave of the TONIC and then
descended upon the DOMINANT they proposed it in
the highest part, in order that the response, which
was to descend from the DOMINANT to the TONIC,
might be made by a lower part.
PADRE MARTINI.

Response.
Subject.
Response.
On the other hand, when the subject commenced on the TONIC and then ascended towards the DOMINANT,
they chose, for the same reason, the lowest part for proposing the subject, in order that the response, which
from the DOMINANT was to ascend to the OCTAVE OF THE TONIC, should be made by a higher part.

Ex. 191.

I
a
2
E
The foregoing method of the ancient composers
is not of indispensable observance; it is simply
a rational and judicious plan, well suited to the
distribution of the parts in reference to the nature
of the subject.
This plan need only be carried out with respect
to TONAL FUGUE, as will be seen when this kind of
fugue comes to be discussed.
ON RESPONSE.
or
The RESPONSE, ANSWER, OF CONSEQUENT imme-
diately follows the subject, to which it should be in
all respects similar, but in another key. We will
explain in what key, or at what interval from the
subject it should be, when the different kinds of
fugue are discussed. It may be said that the RESPONSE
decides the particular kind and nature of the fugue.

64
Ex. 192. Subject.
Coda.
A TREATISE ON

Response.
Coda.
脆
​ON COUNTER-SUBJECT.
The melody which accompanies either the SUBJECT
or the RESPONSE is called the coUNTER-SUBJECT. AS
the COUNTER-SUBJECT is intended to be introduced
above and below the SUBJECT and the RESPONSE, the
necessity will be perceived of combining it by double
counterpoint in the octave, that it may be susceptible
of inversion either from high to low, or from low to
high, without incurring risk of defect or necessity
for any change :-

Subject.
Subject.
Counter subject
Response.
Resp.
凍
​It is not, however, absolutely indispensable to
preserve the exact identity of the COUNTER-SUBJECT
in its transpositions and inversions. Some of its
notes may be changed should this be deemed advis-
able for the sake of purity in the harmony and
strictness in the counterpoint.
In a two-part fugue, there can be only one coUN-
TER-SUBJECT; in a three-part fugue, two counter-
SUBJECTS, and in a four-part fugue, three COUNTER-
SUBJECTS. The number of COUNTER-SUBJECTS may
increase in proportion with the increased number of
Subject.
Ex. 194.
Coda.
parts, and it is to be understood that there can only
be as many counter-subjects as there are parts, ex-
clusive of the part which contains either the SUBJECT
or the RESPONSE. When there is only one counter-
subject, whatever the number of parts may be, those
that accompany the SUBJECT and the COUNTER-subject
jointly are called AD LIBITUM parts, of which the
melody may be varied each time they intervene,—
whether in the lower, the higher, or the middle
part:-

Counter-subject.
Coda.
車
​Ad libitum part above.
Subject.
Response.
Counter-subject.
|| Coda.
Ad libitum part.
Response.
Coda.
Counter-subject.
Response.
Coda.
Counter-subject.
Subject.
Counter-subject.
Coda.
Ad libitum part below.
Coda.
Coda.
Coda.

Coda.
Coda.
COUNTERPOINT AND FUGUE.
66
It is needless to say that a fugue in five, six,
seven, or eight parts must contain several AD LIBITUM
parts on account of the difficulty, and even impos-
sibility, of finding a sufficient number of COUNTER-
SUBJECTS; that is to say, of parts in double counter-
point, for so large a number of voices.
The COUNTER-SUBJECTS in a fugue may occur
immediately and simultaneously with the SUBJECT.
For my own part, I cannot say that this disposal
appears to me to be the best. I think that greater
variety in the union of the parts is obtained by so
contriving the cOUNTER-SUBJECTS as that they shall
enter successively, and by allowing the subject first
to be heard by itself, or accompanied at the most by
a single counter-subject, if the fugue be in three
parts, or by two if it be in four.
Whatever the number of parts may be, a fugue is
called a fugue on two subjects, when the principal
SUBJECT is immediately attended by a COUNTER-
SUBJECT.
Example of what is called a Fugue on two subjects, whatever be the
number of parts.
1st Counter-subject, or 2nd subject.
Ex. 195.
Principal Subject.
When a SUBJECT is accompanied by two counter-
SUBJECTS the fugue is called a FUGUE ON THREE
SUBJECTS.
Example of what is called a Fugue on three subjects, whatever be the
number of parts beyond three.
Ex. 196.
2nd Counter-subject, or 3rd subject.
name than that of coUNTER-SUBJECT. Therefore, according
to this principle, a fugue which by habit is called a fugue on
two subjects, should be named a fugue on one subject and a
counter-subject; that on three subjects should be called a fugue
on one subject and two counter-subjects, and lastly, that on four
subjects should bear the name of a fugue on one subject and
three counter-subjects, &c.
As a convincing proof that this should be so, suppose that
the different subjects, instead of being simultaneously em-
ployed with the principal subject, attend successively upon
the parts which enter in turn, Then these different accom.
paniments of the subject or of the response, which are named
subjects when employed at the outset, would be called
counter-subjects, and because they may be introduced at the
same time as the principal subject it does not follow that they
change their denomination.
It should, however, be observed, that, in case a fugue be
so disposed as that several counter-subjects are introduced
when the principal subject is proposed for the first time, the
inversions of these counter-subjects should be invariable during
the whole course of the fugue.
On the contrary, if these different counterpoints are em-
ployed either during the subject, or with the re-ponse, and
not introduced at the beginning with the subject itself, then
there is free leave either to preserve their identity each time
they recur, or to alter them a little by changing some
few notes, according to the exigency and situation of the
parts.
In every case it is important and indispensable always to
combine the counter-subjects according to the laws of double
counterpoint, so as to be able to use them under all circum-
stances, and in order that they may afford scope for the dif-
ferent devices which it may be desirable to employ.

ON STRETTO.
STRETTO is an Italian word, signifying a contrac-
tion. It has been adopted into our language, and
is employed to indicate a device which consists in
bringing the entrance of the response nearer to that
of the subject.
Example of the response entering after the period of the subject is
Ex. 198.

terminated,

Principal subject.
1st Counter-subject, or 2nd subject.
When to a SUBJECT three COUNTER-SUBJECTS are
opposed, the fugue is said to be on FOUR SUBJECTS, &c.
Example of what is called Fugue on four subjects, whatever be the
number of parts beyond four.
Ex. 197.
3rd Counter-subject, or 4th subject.
Principal subject.
Subject.
串口
​駐​車
​a
Response.

TE
Example of the response entering during the period of the subject,-
Subject.
forming the stretto.

Response.
2nd Counter-subject, or 3rd subject.
a
1st Counter-subject, or 2nd subject.
Observation.—Although the denomination of fugue on two,
on three, and on four subjects is generally adopted, this de-
nomination (to my thinking) is improper, and I base my
opinion respecting it upon the circumstance that a fugue
cannot, and ought not, to have more than a single principal
subject for exposition; all that accompanies the subject is
but accessory, and caunot, and ought no., to bear any other
The stretto is, as has been already observed, one
of the essential requisites of a fugue; the place which
it should occupy will be indicated when the entire
texture of a fugue comes in question. The art of
judiciously employing the stretto consists in the
manner of varying its aspects and in inventing
means, each time the stretto is introduced, of bring-
ing the entrance of the response nearer and nearer
to that of the subject. The effect which this pro-
E
66
A TREATISE ON
duces is extremely piquant, and, at the same time,
very taking.
In order that the entrances of the response and
subject may be brought closely together, it is per-
mitted, no other course being possible, to change
some notes of either the one or the other; or, if not
to change the notes, to change their value; but these
alterations can take place in the SUBJECT only after
the entrance of the RESPONSE, and in the RESPONSE
only after the re-entrance of the SUBJECT, and so on.
All this admits of many exceptions, which are de-
termined by the actual emergency, as will be seen
in studying fugue.
It is also permitted,-when the SUBJECT, by its
nature, is not well suited for employing the STRETTO
in a
manner quite natural,-to commence the
STRETTO with the RESPONSE, but if neither the one
nor the other be adapted for obtaining all the variety
desired in the STRETTO, we must content ourselves
with making the RESPONSE enter after the SUBJECT,
or this after the other, at any place we can, and, as
a last resource, employ the permitted changes either
in the notes or in their value. Moreover, practice
will best indicate the means of successfully encoun-
tering difficult cases of this kind.
A good fugal subject should always give scope
for an easy and harmonious STRETTO; in composing
a subject, therefore, the difficult combinations of
STRETTO ought to be carefully pre-considered.
ON PEDAL.
The PEDAL is a note prolonged and sustained
during several bars. It may be placed either in the
highest part, in one of the middle parts, or in the
lowest part; it can be made-whatever its position
-only upon the TONIC, or upon the DOMINANT; but
the best pedal-the one from which the most advan-
tageous effect may be drawn, and the one most
generally used in fugue-is that of the DOMINANT
placed in the lowest part. The function of the
PEDAL is to emancipate the composer from the
rigour of the rules; that is to say, he can, while
the period of its duration continues, introduce un-
prepared discords and even modulate, as if the
PEDAL did not exist, provided the parts which effect
this operation are combined each with each ac-
cording to rule. This, however, may not be done
in the first or the last bar, which ought always to
be in harmony with the PEDAL note. In accordance
with what has just been stated, the composer should
cause to be heard upon the PEDAL:-the SUBJECT,
the RESPONSE in STRETTO, the COUNTER-SUBJECTS,
and, if possible, some of the ingenious devices that
may have been introduced in the course of the
fugue.

Ex. 199.
Subject.
Counter-subject
Modulations.

As at least two parts are usually required to work
upon the PEDAL which shall fulfil all the prescribed
conditions, it follows that the PEDAL is not neces-
sarily in a two-part fugne. This is why the PEDAL
does not form one of the indispensable features of a
fugue.
ON TONAL FUGUE.
A so-called TONAL FUGUE is a fugue of which the
SUBJECT, at its first outset, passes from the tonic to
the dominant, or from the dominant to the tonic.
The response in this kind of fugue is not identically
similar to the subject, and is governed by laws now
to be set forth.
If the SUBJECT commence on the tonic and ascend
or descend towards the dominant, the RESPONSE
should commence on the DOMINANT and descend or
ascend towards the TONIC.
Subject.
Subject.
Ex. 200.
Response.

Response.
勝
​If the SUBJECT commence on the DOMINANT and
ascend or descend towards the TONIC, the RESPONSE
should commence on the TONIC and descend or ascend
towards the DOMINANT.
Subject.
Subject.
Ꮎ
Ex. 201.
勝
​Response.
Response.
Here follow examples of SUBJECTS more florid and
more extended than the preceding ones, but still
conceived on the same principle, in order that the
student may become accustomed to find the exact
RESPONSE to a SUBJECT in TONAL FUGUE.
Example of a subject which from the tonic descends towards the
dominant and of a response which from the dominant ascende
towards the tonic.*

Ex. 202.
Response.
Coda.

P. dal.
a
Response and Stretto.
Subject.
Coda.
* These different examples are presented under the form of stretto;
that is to say, the response is brought as close as possible to the subject.
COUNTERPOINT AND FUGUE.
67
Response. Coda.
| Subject.
Coda.
the simple interval C, G, belong to the chord of the
DOMINANT, that is to say, in the key of G,—and
should be replaced in the RESPONSE by the two notes
G, E, belonging to the chord of the TONIC.
Here is another SUBJECT :—


In G.
In C.
Example of a subject which from the tonic descends towards the domi
nant; and of a response which from the dominant ascends towards
the tonic.
| Subject.
Coda.
Response.
| Coda.
entailing no other change in the RESPONSE than from
the first to the second note; because the SUBJECT,
wh ommences on the DOMINANT, does not proceed
towards the TONIC in the first phrase. This is the
RESPONSE :-
In C
In G.


| Subject.
Coda.
Response.
Coda.
Example of a subject which from the dominant descends towards the
tonic; and of a response which from the tonic descends towards
the dominant.
| Subject.
Coda.
Response.
Coda.
Example of a subject which from the dominant ascends towards the
tonic; and of a response which from the tonic ascends towards the
dominant.
Subject.
a
Response.
Coda.
Coda.
Example of a subject which from the dominant ascends towards the
tonic; and of a response which from the tonic ascends towards the
dominant.
Subject.
| Response.
Coda.
Coda.
Before concluding, one remark which may serve
as a guide must be offered: it is, that all the phrases
of the melody of a SUBJECT which belong to the chord
or to the key of the TONIC should be repeated in the
response in similar phrases belonging to the chord
or to the key of the DOMINANT, and that all the
phrases of a subject which bear analogy to the chord
of the DOMINANT, should be repeated in the RESPONSE
in similar phrases bearing analogy to the chord of
the TONIC.
To demonstrate this the following subject is pro-
according to the immutable rule
posed
f
&
of tonal fugue the response is this:-
But if from this simple SUBJECT a more complicated
one is deduced; according to what
has been said above, the RESPONSE is
for the two notes D, B, added between the limits of
Here is another SUBJECT, in which the melody does
not proceed, in the first phrase, from the TONIC to-
wards the DOMINANT, but so proceeds at the com-
mencement of the second phrase:-
Subject.
In C.
In G.

The D which terminates the first phrase belong-
ing naturally by its descent upon the DOMINANT to
the key of G, the RESPONSE should change the first
note C of the SUBJECT into a G, in order to conform
to the law of TONAL FUGUE, and replace the D of the
subject by another G which will descend upon C in
the key into which will be transposed all the rest of
the SUBJECT in the RESPONSE -

Response.
In G.
In C.
It is superfluous to adduce a greater number of
SUBJECTS. With the methods and explanations that
have been given, the pupil should be enabled to
find the RESPONSE to any SUBJECT of TONAL FUGUE
that offers itself.

FUGUE.
ON REAL FUGUE.
REAL FUGUE is of more ancient date than TONAL
It is that in which the sUBJECT commences-
on the TONIC and then proceeds towards any other
chord than the DOMINANT; the RESPONSE being made
in the fifth of the principal key, and resembling the
SUBJECT in all respects.
The ancient composers recognised two sorts o
REAL FUGUE, FREE, and LIMITED. They called
Real Fugue FREE, when the RESPONSE, which ought
to be precisely similar to the part imitated, was not
so beyond the duration of the SUBJECT and of the
COUNTER-SUBJECT.
Subject.
Ex. 203.
Imitation of the counter-subject.
PADRE MARTINI.
Counter Subject.

Response.
Subject.
65
A TREATISE ON

Response curtailed.
But if the RESPONSE were similar, not only to the
SUBJECT, but to all the notes of the ANTECEDENT part
from the beginning of the fugue to the end, then the
REAL FUGUE took the name of LIMITED. This sort
of fugue was no other than the musical form to which
nowadays is given the name of CANON,-as has been
already said.
At present, these denominations are no longer
used, and what the ancients called FREE REAL FUGUE
is the only REAL FUGUE adopted as a model.
It may happen that a FUGUE SUBJECT offers, in the
earlier bars, all the characters of REAL FUGUE, and
changing suddenly towards the end, terminates in
TONAL FUGUE. The RESPONSE should, in that case,
follow the condition of the SUBJECT; that is to say,
commencing as REAL FUGUE, it must terminate
according to the rules of TONAl fugue.
Subject.
Response.
Real fugue.
Ex. 204. Tonal fugue.
ON FUGUE OF IMITATION.
FUGUE OF IMITATION is that of which the RESPONSE
is very nearly, but not entirely, similar to the SUBJECT,
the composer being at liberty to introduce some
alterations, and to curtail it, if he think fit.
Fugue of imitation possesses still another privi-
lege; which is that the CONSEQUENT OF RESPONSE
has no fixed time or interval for responding to the
ANTECEDENT or SUBJECT, but may enter at the most
favourable opportunity, or at any interval.
Thus the RESPONSE may be made, not only in the
UNISON, in the FIFTH, in the FOURTH, and in the
OCTAVE, but also in the THIRD, in the SIXTH, in the
SECOND, in the SEVENTH, and in their compounds;
by these means is produced the variety so desirable
in music, and so much admired by listeners.
It has been already said that the SUBJECT of a
FUGUE should be of judicious dimensions, neither
too long, nor too short, but, in the kind of Fugue
now in question, the SUBJECT should always be very
short, to avoid delay in making the the RESPONSE
heard.
When treating a SUBJECT of FUGUE of IMITATION
it is possible to change even a TONAL FUGUE into a
fugue of this name, by responding to a SUBJECT of
the nature of this latter FUGUE with the freedom of
a fugue of imitation.
Subject of tonal fugue.
Ibid.
Ex. 205.

Response of fugue of imitation.
Ibid.
IINI

There is no FUGUE, either REAL, or TONAL, which
is not liable in several parts of its extent to become
transformed into FUGUE of IMITATION, on account of
the MODULATIONS, and in consequence of the IMITA-
TIONS which may be introduced by taking a portion
of the SUBJECT, or of the counter-subjects. Examples.
of this will be adduced when the entire composition
of a FUGUE is in question. In accordance with what
we have said, when a SUBJECT occurs-even of FUGUE
of IMITATION Composed of more than one portion, as
thus:-

Ex. 206.
1st portion of the
subject.
| 2nd portion of the subject.j
we may take in the course of the FUGUE Sometimes
one and sometimes the other of these two portions
for making the imitations, even inverting them by
contrary movement, in order that from the conflict
arising between the parts through these devices a
more learned as well as agreeable effect shall be pro-
duced. The following little fugue by PADRE MARTINI,
will serve as an example, and give an idea, of FUGUE
of IMITATION :-
Ex. 207.
1st portion of
the subject.
2nd portion of the
subject.
1st portion of the
response.
2nd portion of the
response.
a
1st portion of the subject
which modulates.
2nd portion of the
subject.
Ibid modulating.
2nd portion of the
Response in stretto.
response.
Ibid modulating.
2nd portion of the
subject.
Ibid.

Imitation
in the fourth
below.
Modulation into
the relative minor.
Response
Modulating

2nd portion by conf
pnd
trary movement.
美
​COUNTERPOINT AND FUGUE.
69
?, ¿ por
1st portion of tion con-
the subject.|trary.
2nd portion
direct move-
ment.

Ibid.
Imitation in the 4th.
Response in
stretto.
Imitation in
the octave,
Ibid in the
unison.
Coda and conclusion.
Before proceeding to what concerns the entire
composition of a fugue it is essential to enter into
rather more circumstantial details relative to the
CODA or CONCLUSION OF A SUBJECT, which has hitherto
been simply indicated, and then to speak of digres-
sions in fugue, and, lastly, of MODULATION.
ON THE CODA.
The coda is that portion of the SUBJECT by which
it is continued after its second section, and which
serves, at the same time, to prepare the entrance
of the response and to bring in the coUNTER-
SUBJECT.

Ex. 208.
1st portion.
11
2nd portion. || Coda.
Response.
Coda.
1st portion. I 2nd portion.
Subject.
Counter-subject.
匪
​There are cases where the coDA itself becomes the commencement of the COUNTER-SUBJECT, and so inti-
mately joins with this latter as that the CODA and the COUNTER-SUBJECT form an undistinguished whole.

Ex. 209.
Coda and counter-subject joined.
Coda and counter-subject joined.
Here is another example of the same kind, in four voices, by Padre Angelo Predieri :—
E
Ex. 210.
Response.
Coda and counter-subject joined.

ad libitum part.
ad libitum part.
E
Coda and counter-subject joined.
Subject.
7-7
Subject.
Coda and counter-subject joined.
Response.
Çoda and counter-subject joined.
Response.
Coda and counter.
subject joined.

Coda and counter-subject joined.
Subject.
匪
​Ad libitum part
In modern fugues, it is usual to prolong the
CODA of the RESPONSE before the SUBJECT re-enters.
This plan is wise and should be maintained. It has
the double advantage of causing the re-entrance of
the subject to be desired, and of imparting variety
to the composition by breaking the monotony of
subjects and responses too closely brought in. It
contributes to the elegance and good making of
a fugue, and it may also furnish an additional
theme for the imitations and digressions. This
applies to every kind of fugue, whatever its number
of parts.
70
A TREATISE ON
E
Ex. 211.
of the subject.
Example of a second attack of the subject immediately after the response without the coda.

Re-entrance of the subject.
Example with the coda.

Coda prolonged before the re-entrance

It will be seen here that the second example has
the advantage, and that the intervention of the
coda between the response and the RE-ENTRANCE of
the subject has a very good effect.
ON DIGRESSION IN FUGUE.
The DIGRESSION, or EPISODE, in a FUGUE, is a period
composed of fragments of the SUBJECT, or of the
COUNTER-SUBJECTS (at the composer's own choice),
with which imitations and devices are formed, and
during which he may modulate so as to introduce,
in other keys, the PRINCIPAL SUBJECT, the RESPONSE,
and the COUNTER-SUBJECTS.
The digression may be, according to need, either
short or long; and, in the course of a FUGUE, there
should be more than one DIGRESSION, each with a
varied method of treatment. When the entire
composition of a fugue comes to be discussed, the
places where these digressions-to which may be
also given the Italian name of ANDAMENTI—should
occur will be designated; and at the same time
will be shown the manner of combining them.
This simple explanation of the DIGRESSION must at
present suffice.
ON MODULATION.
For some time the choice of modulations has
been regulated by the DIATONIC SCALE of the key in
which the composition is, avoiding chords alien
to that key. Thus, we may modulate into the
DOMINANT, and into the sub-dominant, of which the
keys are naturally major; into the SECOND, into.
the MEDIANT or THIRD, and into the SIXTH, of which
the keys are naturally minor. We cannot modulate
into the SEVENTH, or leading note, because its fifth
is not naturally perfect. That which has been here
laid down applies to the scale of the major key.
When it is a question of composing a piece in a
minor key, these are the keys into which modulation
may be made-into the SUB-DOMINANT, and into the
DOMINANT, of which the keys are naturally minor;
into the MEDIANT, and into the SIXTH, of which the
keys are naturally major. We cannot modulate
into the SECOND, because its fifth is not naturally
perfect, and modulation into the SEVENTH should
also be avoided.
Modern composers have held themselves exempt
from observing, in their compositions, this simple
and rational method of modulating, adopting, in its
stead, one much more free and frequently inco-
herent. But if such practices are tolerated in
modern works, it is essential, and it is even expressly
recommended, not to follow erratic courses with
regard to a style of composition so severe as that
of FUGUE.
When a FUGUE is in a MAJOR key, the key into
which we should modulate first is that of the
DOMINANT With its MAJOR THIRD; then, into the
SIXTH, the relative minor key of the principal key;
after that, into the major key of the SUB-DOMINANT,
to the MINOR KEY of the SECOND, to the MEDIANT,
also MINOR, and then return to the key of the
DOMINANT, in order to proceed to the conclusion,
which should be in the principal key.
It is permitted in the course of a FUGUE in a
MAJOR KEY, to change the principal key into the
minor, but this permutation should be employed
only for a few moments, and merely to bring in a
suspension on the dominant, in order afterwards to
attack the PRINCIPAL MAJOR KEY.
When a FUGUE is in a minor key, the first modu-
lation is into the MEDIANT MAJOR, which is the
RELATIVE OF THE PRINCIPAL KEY; then we modulate
either into the DOMINANT minor, or into the SIXTH
MAJOR, or into the SUB-DOMINANT minor, or into the
SEVENTH MAJOR, and lastly, by means of one of
these keys, return to the principal key. That we
may terminate as with the FUGUE in a MAJOR KEY,
the minor principal key may be changed into major,
under the conditions that were shown with regard
to the FUGUE in a MAJOR KEY.
The chief difficulty in the art of modulating is the
choice of the chords in their succession, in order to
go from one key into another in a manner that shall
be natural and suitable to the one into which we are
COUNTERPOINT AND FUGUE.
71
passing, and so that there shall be nothing in these
transitions to offend the ear or the taste.
Experience, which practice can alone give, will
smooth every di..iculty to which the want of both
gives rise.
ON THE ENTIRE COMPOSITION OF A FUGUE.
Having passed in review all that relates to the
elements of a fugue, there remains but to treat of
its entire composition. It has been already said
that the indispensable parts of a FUGUE are the
SUBJECT, the RESPONSE, the COUNTER-SUBJECT, and
the STRETTO; the ACCESSORY or EPISODICAL parts
being the IMITATIONS formed by FRAGMENTS OF THE
SUBJECT, or of the COUNTER-SUBJECT, with which
are composed the different DIGRESSIONS OF ANDA-
MENTI which should occur in the course of a FUGUE.
These elements suffice for the construction of a
short and ordinary FUGUE. But if, in a composi-
tion of this sort, other combinations and devices be
introduced, a more extended and varied whole will
result. It is difficult to determine the number of
devices that may be introduced into a FUGUE, inas-
Ex. 212.
much as this depends upon the nature of the SUB-
JECT and COUNTER-SUBJECT, and upon the greater
or less skill of the composer. There is no FUGUE
which does not differ from another, either by its
mode of conduct, or by its combinations. This
difference and variation are the effect of choice, of
an imagination and invention more or less fertile,
and of the facility which industry gives, while the
experience derived from both, by cultivating the
imagination, directs a composer in the choice of
ideas and of means for the judicious construction of
a FUGUF.
Each composer bears-so to speak-his own
distinctive mark in this respect. It is requisite,
therefore, to examine and analyse many FUGUES of
the best masters in order to become thoroughly
versed in this style of composition.
Below are given different examples of FUGUE in
TWO, THREE, and FOUR parts. These examples, en-
forced by remarks, will suffice to demonstrate how the
plan of a simple and ordinary FUGUE and how that
of a FUGUE extended and complicated by the intro-
duction of several devices should be constructed.
Example of a real fugue in two parts.

Response in the dominant.
Subject.
a
Coda prolonged in the two parts,
so as to cause the re-entrance of
the subject to be desired.
Counter-subject.
Response in the lower part.
Response.
Coda joined with the counter-subject.

Counter-subject.
Re-entrance of the subject in the higher part.
佳
​Counter-subject.

Digression taken from the 2nd portion of the subject, which modulates
into the dominant at its termination, so that the upper part re-enters for the
response, because the fugue began by the subject in the lower part.

Digression composed of a portion of the subject and counter-subject, in which
there is modulation, terminating by modulation into the sixth, the relative
minor key of the principal key.
Subject in the key of the sixth.
a
a
From this passage to the stretto the fugue
takes the character of a fugue of imitation.
Counter-subject.
Counter-subject.
a
Subject.


美
​Response in
72
A TREATISE ON

the dominant of the key of A minor.
ta
Q
Subject in the sub-dominant.
Response.
Digression formed by a portion of the subject. Modu-
lating through different keys it finishes by going into
the minor key of the second.


Subject in the minor mode of the second.
Modulation.


Interruption of the subject, to commence modulating another
digression, combined with a portion of the counter-subject.


ΠΡ
End of the digression;
repose on the dominant.
STRETTO
Subject.

Subject curtailed, which becomes
the consequent of the canon.

Response curtailed, by which is established
the antecedent of a very short canon.

Coda and conclusion.
GENERAL REMARKS.
On examining the foregoing example, it will be
evident that the development of a FUGUE is entirely
made from the SUBJECT and the COUNTER-SUBJECT
it is that which forms the unity of a piece of music
of this kind.
As it is necessary to give to each of the parts—
whatever be their number-repose, or cessation, in
order to vary the effect, these reposes, or cessations,
should take place in a part before the passage where
the SUBJECT or the RESPONSE is to enter. When
cessations are employed under other circumstances,
the part which ceases should never re-enter idly,
without reason, or for filling up, but either to
respond to some IMITATION already proposed, or to
propose one itself.
* It is not of absolute necessity to introduce a "repose" or cessa-
tion before the entrance of the stretto, but when introduced it
makes this entrance tell better by isolating it from that which
precedes, and thus produces a very good effect. Neither is it in-
dispensable, in making the indicated repose, or cessation, to have
it upon the actual key of the dominant; it depends on the fancy
of the composer either to make it upon this dominant, or upon the
actual relative minor key, or upon the chord of the dominant of
this minor key, or upon the actual minor key of the mediant, or,
lastly, upon the dominant of the principal key changed into the
minor; for here-after having prepared it some bars in advance-
is the proper place for introducing this minor key into a FUGUE.
That which has just been stated with regard to the repose in
question, applies to every kind of FUGUE, whatever be its number
of component parts.
It is also particularly recommended to avoid
monotony in the choice of ideas, and in the design
and phrases. This defect is blameable in every kind
of music, but it is one into which it is easy to fall
when composing a FUGUE, if all the ideas employed
be derived either from the SUBJECT, or from the
COUNTER-SUBJECT, with a view to the too strict pre-
servation of the unity of character above mentioned.
In order to avoid the defect, care must be taken,
when planning a DIGRESSION, not to employ the
fragments of SUBJECT or COUNTER-SUBJECT which
were used in the preceding DIGRESSION. With this
precaution, and by skilfully varying the modulations
and the forms of imitations by inversion, monotony
will be avoided.
Another remark which should be made is that in
a FUGUE, whether REAL or TONAL, of which the
RESPONSE is always on the FIFTH of the TONIC, all
the imitations in the course of the FUGUE should be
mnade on the same interval as the response, or on the
FOURTH, which is an inverted FIFTH.
As to a FUGUE of IMITATION, if the response is on
the FIFTH or the FOURTH of the SUBJECT, the law
which served as a guide in REAL and TONAL FUGUES
must be observed with regard to imitations, but if
COUNTERPOINT AND FUGUE.
73
the RESPONSE be on the SECOND, or THIRD, sixth, or
SEVENTH, or on their compounds, the imitations
during the FUGUE should always be made at the
distance indicated by the RESPONSE at the commence-
ment. It may be added that the introduction of
imitations in the UNISON and OCTAVE is permitted,
whatever be the kind of FUGUE, and in whatever
degree or interval the RESPONSE may be.
After these observations, the examples may be
continued without necessity for adding anything more
to that which has already been said on the subject
of FUGUE.
REAL FUGUE IN TWO PARTS.

Response.
女
​Ex. 213.
-6
女
​Subject.
Counter-subject.
2.
Coda, until the re-entrance of the subject.
Subject.
Counter-subject.
Response.
Response curtailed.
Episode or digression.
Episode or digression.
the minor.
Counter-subject.
Episode, or digression, formed of fragments of the subject.
a


LE
Subject in the relative minor key.


Subject in the minor mode of the second, curtailed.

Modulation to the principal major key, in
74
A TREATISE ON

a
Ex. 214.
Subject.
Subject.
Response.
STRETTO.
Response.
Subject.
ΩΣ
Episode or digression.
Response.

Dominant pedal in the upper part.
Dominant pedal in the lower part.

Coda
Subject.
D
b.
Response.
Q.
Subject.

TONAL FUGUE IN TWO PARTS.

Counter-subject.
Counter-subject.
Response.
a
Digression formed of a fragment of the counter-subject.
Counter-subject.
Digression formed of a fragment
of the counter-subject.
Response
Counter-subject.
Response:
Counter-subject.
Subject.
Counter-subject.
LE
拜
​
Subject in the sub-dominant.

Digression formed of a fragment
of the subject, in imitation.

COUNTERPOINT AND FUGUE.
75



Subject in the relative minor key.
Coda.
Counter-subject.
Counter-subject.
Response.
Counter-subject.


Subject.
Fragment of the counter-subject in imitation.
Fragment of the subject in imitation.
Another fragment of the subject
Ibid.
in imitation in the second.
a. p
Fragment of the counter-subject imitated in the fourth.
Subject.
Q.
Subject in the 2nd of the key.
Counter-subject.



STRETTO.
Response brought near to the subject.
Fragment of the counter-subject in imitation.

Q.

Subject.
Digression.
Response.
Fragment of the counter-subject in imitation.
Subject.
Response brought still closer.
Digression.
Q.
Ω!
76
A TREATISE ON

Ex. 215.
Digression.
Subject inverted.
Subject.
Digression.
理
​Subject in response to the subject.

Subject.
Response.

a
Response close upon the inverted subject.
REAL FUGUE IN THREE PARTS.
This fugue, by the nature of its subject, compels the frequent employment of the chromatic genus; and by its features,
and the multiplicity of its notes, it attains an instrumental character.

E
Subject.
2nd counter-subject, ad libitum.
1st counter-subject.
Subject.
Imitation.
Digression formed from a fragment
of the 1st counter-subject.
Imitation.
End of Subject;
Coda.
1st counter-subject.
Response.
2nd counter-subject.
Coda.
Subject.
1st counter-subject.
Response.
a
2nd counter-subject.
1st counter-subject.
Coda.


2nd counter-subject.
Response.

Digression formed of several imitations
COUNTERPOINT AND FUGUE.
77

of the subject, and of the 1st counter-subject.
inverted.
Counter-subject inverted.
Subject inverted.
Response to the subject inverted.
1st counter-subject inverted.
Response.
Counter-subject inverted.
Counter-subject upon the new subject.
New subject formed of the end of
the coda to the 1st subject,
Subject inverted.
拜
​1st counter-subject
Digression.
E






78
A TREATISE ON
Response to the new subject.
Subject.
Counter-subject.
a
Counter-subject.
AN
7.
Counter-subject.
Digression.
Response.
STRETTO.
1st counter-subject.
1st subject.
New subject.
New counter-subject.
Response brought closer to the subject.
Digression.
維
​E
理
​1111
...







COUNTERPOINT AND FUGUE.
79
O
pedal.
Digression.
Digression.
new subject in imitation.
Response.
Subject brought closer.
Subject.

2nd counter-subject.
Imitation.
Imitation.



Response.
Stretto upon the
Subject..
Pedal.


Fragment of the counter-subject of the


80
A TREATISE ON
Ex. 216.
荐
​串
​Subject.
TONAL FUGUE IN THREE PARTS WITH ONE COUNTER-SUBJECT.

Counter-subject.
Ad libitum part.
Counter-subject.
E
Ad libitum part.
Subject.
Counter-subject.
Ad libitum part.
Counter-subject.
Do
Return to the principal key.
Coda,
Response.
a

Digression which in modulating leads back to the return of the subject.

Coda.
Response.

E
Digression formed of a part of the counter-subject in imitation.

a
Idem in the relative
minor key.
Modulation in the sub-dominant.

a

Imitation of the subject in the 9th or 2nd.
Initation of the counter-subject.
Imitation in the 3rd.
Counter-subject also
curtailed and modulating.
Counter-subject curtailed.
THE
Subject curtailed.
Digression.

COUNTERPOINT AND FUGUE.
81

Counter-subject imitated.
Subject in the sub-dominant curtailed.
Counter-subject curtailed.

Second imitation in the mediant minor key.
Subject in the relative minor curtailed in imitation of the subject in the sub-dominant.
STRETTO.
Subject.
Response.
a
Response.
Subject.
D
Digression.
#0
Response.
Subject.
Counter-subject.
20
Digression.
拜
​P
m







82
A TREATISE ON

Response.
Subject.
Pedal.
Response.
a
Subject.
TONAL FUGUE IN FOUR PARTS, WITH ONE COUNTER-SUBJECT.
Ex. 217.
Counter-subject.
CH
α
a
Subject.
Added part.
Response.
תוח



Counter-subject.
Coda formed of a new figure introduced as a theme for digression.

Counter-subject.
Added part.
Subject.
I
ww

COUNTERPOINT AND FUGUE.
83
Response.
Response.
Counter-subject.
Q.
Added part.
净
​Counter-subject.
Q
ta
Digression.
Subject in the relative major.
Counter-subject.
a.
Digression.
New figure.


Added part.
Subject.
Counter
subject.
E




84
.O..
Subject in the sub-dominant serving as response.
Counter-subject.
Imitation.
New figure.
Imitation.
New figure.
A TREATISE ON

Imitation.
Digression.
I
a
Fragment of the subject serving
as theme for the digression.
a
J.


I

ULU



COUNTERPOINT AND FUGUE.
85

STRETTO.
.Q.
Counter-subject.
Subject.
#0
#
Counter-subject.
Response.
I
#口
​Subject.
I
Counter-subject.
tet
Response by augmentation.
Response.
α
Counter-subject.
Imitation.
Subject.
a
Subject by augmentation.
Q
a
Q.
Digression.
E
毛
​Counter-subject.
Response.
Q
E
佳
​
86
A TREATISE ON

Subject.
Pedal.
Ex. 218
Libe
#a
Subject.
Response.
Subject.
p.
Ω
Response.
#加
​a:
e
#
New figure.
TONAL FUGUE IN FOUR PARTS, WITH TWO COUNTER-SUBJECTS.
1st counter-subject.
Subject.
2nd counter-subject.
Response.
#口
​
1st Counter-subject.

Added part.
2nd counter-subject.
1st counter-subject.
2nd counter-subject.

1st counter-
Response.
COUNTERPOINT AND FUGUE.
87

subject.
2nd.counter-subject.
Added part.
Subject.
added part.
1st counter-subject.
Subject.
Digression.
Imitation.
Fragment of the 2nd counter-subject.
Fragment of the 1st counter subject.
Response.
2nd counter-subject.
Added part.
理
​2nd counter-subject.
ま
​1st counter-subject.
a
1st counter-subject.
Added part.
Response.
2nd counter-subject.
1st counter-subject.
Fragment of the first counter-subject.
Imitation.
2nd counter-subject.
Fragment of the subject.
Digression.
2nd counter-subject.
拜
​Imitation of a fragment of the

美
​SS
A TREATISE ON

1st counter-subject.
D
Response to the subject in the sub-domirant.
Added part.
1st c.
Subject in the relative minor.
2nd counter-subject.
1st c.
Subject in the sub-dominant.
2nd counter-subject.
2nd counter-subject.
2nd counter-subject.
Added part..
Digression.
Response.
D
D
1st counter-
subject.




COUNTERPOINT AND FUGUE.
89


STRETTO.
Subject.
2
Response.
Response.
Pedal.
Response.
1st Counter-subject.
Subject.
Subject.
Response.
beb





Counter-subject brought close.
Response.
2nd counter-subject.
1st counter-subject.
Subject.
ま
​
Subject.
Response.
E

90
A TREATISE ON

Subject.
Subject.
Response.

E
CHROMATIC FUGUE IN FOUR PARTS, WITH THREE COUNTER-SUBJECTS.
The subject of this fugue belongs to tonal fugue, as it descends first from the tonic to the dominant;
therefore, the response should go from the dominant to the tonic.
Example of the response according to the rules of tonal fugue.
Ex. 219.

Subject.
Response.
Tonic.
Dominant.
ta
Af
Dominant.
Tonic.
$0
Tonic. Dominant.
But this response would have rendered the working of the counter-subjects extremely difficult, and would
have compelled frequent changes. It has been judged fit, therefore, to treat the fugue as a real one.
This fugue, by its mode of treatment, and by the nature of the subject itself, may be considered as a fugue
of imitation :

Ex. 220.
Subject.
22:
1st counter-subject.
response.
ta
E
2nd counter-subject.
Response.
Ist counter-subject,
a.
#口
​τα
2nd counter-subject.
3rd counter-subject.
Coda, leading to the

3rd counter-subject.
$0
E
COUNTERPOINT AND FUGUE.
91

3rd counter
Coda, leading to the reply of the subject.
Added, or ad libitum part, imitating
the 2nd counter-subject.
2nd counter-subject
subject.
Subject.
1st counter-subject.
1st counter-subject.
Added part.
Coda.
fot
3rd counter-subject.
Counter-subject.
I
ta
2nd counter-subject.
Response.
eta ta
I
Fragment of the subject by diminution.
bo
Digression.
-α
Response.
La
Added part.
1st counter-subject.
2nd counter-subject.
Fragment of the 3rd
Imitation of the new subject.
bd
E
ta
Imitations of this fragment of the subject.
New counter-subject on this fragment of subject.
tet
be
Curtailed subject, entering before the end of the response,
and serving as the digression.
Fragment of the 3rd counter-subject.
a
F
Fragment of the 2nd counter-subject.
be
美
​
92
A TREATISE ON


ta
Subject re-introduced in this digression; but with one of the old counter-subjects, and the new counter-subject.
1st subject.
New counter-subject.
Ad libitum part.
bo
3rd counter-subject.
Continuation of the digression, formed by the imitations of the 3rd counter subject, and subsequently,
by a fragment of the second combined with the third.
...Q
a
ta
Fragment of the 2nd counter-subject combined with a fragment of the third.
Imitation.
Fragment of the 3rd counter-subject.
E
Imitation of the fraginent of the 2nd counter-subject.
Fragment of the subject
ba
Ꮎ
New counter-subject.
Fragment of the counter-subject.
Pedal on the dominant of the relative major key.
Fragment of the first counter-subject.
ba
Imitation of the fragment of the subject.
ba
F
New counter-subject.
ta
to
涯
​


手
​

COUNTERPOINT AND FUGUE.
93

Do-
C
ま
​and diminished.
to-
Counter-subject.
Subject.
inverted.
bata ded
Ω
Counter-subject on the subject inverted and diminished.
美
​I
Fragment of the subject transposed into the relative
major key, but by contrary movement and by diminution.
Response of the counter-
subject.
be to 20:10
Reply to the subject inverted and diminished.
Q.
be be
Response to the subject inverted

Counter-subject.
Reply of the response.

Digression formed of the first portion of the subject

I
Imitation.
to
bo
Imitation.
ta.
be
Fragment of the subject diminished.
Imitation of this fragment.
to
Ibid.
Fragment of the 3rd counter-subject.
Ibid
ta
a
Fragment by contrary movement.


Subject and inverted subject proceeding
together.

to to be te
Q.


•to to to
94
A TREATISE ON

口
​ba
b.
ba
Ibid.
1st counter-subject.
Ibid.
ba-
E
Fragment of the counter-subject of the inverted subject.
E
Imitations of this fragment.
PO
Ibid.
2
Hot
아​.
blat
Ба
ta
$0.
te
ta:
nearer to the subject.
I
Fragment of the 3rd counter-subject.
Subject.
Imitation.
a.
Fraginent of the 2nd counter-subject.
STRETTO by diminution.
Ja.
ba
Ibid.
bo to
Fragment of the subject.
Fragment of the
Subject by augmentation.
STRETTO.
Response brought nearer to the subject.
Imitation.
Fragment of the 2nd counter-subject.
#口
​a
Imitation.
I
Subject by diminution, brought nearer to the response.
Response by diminution.
ba
Subject by diminution, brought nearer.
Response by diminution.
Subject.
fata
Response brought
ta
Subject by diminution.
ta
HE
Response brought still nearer.
Subject by
COUNTERPOINT AND FUGUE.
36

Te to bo
diminution.
#000
Response.
JaL.
bo
#0
bo
Fragment of the 3rd counter-subject.
a
Fragment of the 3rd counter-subject.

Response by contrary move-
ment and by diminution.
to
Response proceeding with the subjects
and responses, diminished and inverted.
Subject Ibid.
Response by contrary movement
and by diminution.
Continuation of this digression on the pedal.
3rd counter subject.
STRETTO by diminution on the pedal.
ate
Subject by diminution.
to to
Response diminished.
Pedal in the lower part, as a basis for several devices.
Subject.
Ibid.
Response.
Fragment of the 3rd counter-subject.
Imitation of the fragment of the 3rd counter-subject.
Fragment of the 2nd counter-subject.
counter-subject.
e
Imitation of the fragment of the 2nd counter-subject.
a
Fragment of the 3rd counter-subject.
Pedal in the upper part.
-to
Ibid.
Ioid.
bo
F.

ta
Fragment of the 2nd
Ω
Subject.

Subject by contrary movement and by diminution.
OBSERVATION.
Plagal cadence.
Mention has not been made until now of PLAGAL cadence: which is frequently met with in ancient
compositions.
The ancients gave the name of AUTHENTIC cadence to that which we at present call PERFECT cadence;
that is to say, the progression from the dominant to the tonic.
They called PLAGAL cadence, that progression from the SUB-DOMINANT to the TONIC; and often terminate
their compositions with this sort of cadence, by taking the chord of the tonic major, whatever might be the
key in which their piece was. This cadence was peculiar to the plagal tones of plain chant.
96
A TREATISE ON
SOPRANO.
TONAL FUGUE OF CONSIDERABLE DEVELOPMENT, IN EIGHT PARTS, AND FOR TWO CHOIES.

Subject.
Imilation in the tenth.
FIRST CHOIR.
Et
vi
tam ven- tu - ri sæ
си
-
CONFRALTO.
SECOND CHOIR.
TENOR.
BASS.
Aft
AM
SOPRANO.
&
CONTRALTO.
TENOR.
BASS.
ORGAN.
AV
I
Tempo a Cappella.
I
2nd counter-subject.
A
1st counter-subject.
車
​A
毒
​proposes another counter-
subject.
3rd counter-subject.
a
<
li. A
-
Fart that
men, A-
Response.
Et
vi -
inen,
Imitation in the unison, of
the 3rd counter-subject.
men,
A
3rd counter-subject.
A
Ad libitum part.
men,
Imitation in the tenth.
A
-
tam ven- tu - ri
sæ
Cu
li. A
E
men,
Response
A
Response of the 1st
counter-subject.
men,
A

Ad libitum part.
men,
A
I
Part which proposes a new counter-subject.
Ad libitum part.
of the 2nd counter subject.
8
A
men,
men,
A
Ad libitum part.
A
Imilation in the oclave below of the 3rd subject.
men,
A
men,
Ad libitum.
A
I
COUNTERPOINT AND FUGUE.
97

OF
meu,
Response of the new counter-subject.
a
men,
Response of the other pro-
posed counter-subject.
A
A
Subject resumed.
3rd counter-subject.
men,
A
Imitation in the tenth.
Et
vi
-
tam ven-tu - ri
sæ
-
си
li. A
1st counter-subject.
A
men,
Ad libitum part.
men,
Response of the 1st new counter-
subject.
A
Response of the subject.
Et
vi
Imitation in the unison.
a
men,
A
men,
Ad libitum.
men,
2nd counter-subject.
mien,
A
A
Response of the 2nd new counter-subject.
A
men,
3rd counter-subject.
men, A
-
-
tam ven tu ri
Response to the second counter-
subject.
men,
A
Response to the counter-subject.
a
men,
A
men,

Digression leading to the dominant, and on which the subject is resumed.
men,
A
Imitation in the unison.
A
A
men,
Imitation in the tenth.
sæ
cu
li.A
men,
men,
men,
A
men,
A
I
men,
A
men,
拜
​58
A TREATISE ON

1st counter-subject.
A
men,
A
men,
Response to the 1st subject.
A
men,
men, A
men,
2nd and 3rd counter-subjects.
men,
a
men,
T
Subject resumed.
I:
Et
-
vi tam ven-tu - ri
sæ
cu
a

men,
A-men, A
-
men,
1st counter-subject.
A-men, A
men,
A
Response to the 2nd subject.
3rd counter-subject.
A
Response brought rather near to the subject.
Et
vi
tam ven-tu-ri
Sæ
cu
-
li.
men,
1st new counter-subject.
A
Subject brought near to the response.
Et
vi
-
tam ven- tu
-
.a.
2nd counter-subject.
Response of the 1st new counter-subject.
-
li.
A
Q
men,
A
ri
sæ
cu
COUNTERPOINT AND FUGUE.
99
A
Response of the subject by augmentation, to which the counter-subjects are added.

-0-
JOL
Et
A
A
vi
tam
ven
tu
-
ri
sæ
cu
D
men.
Et
vi
tam ven
tu-ri sæ
си
li.
A
men,
A
Et
vi
tam
ven
tu
-
ri
sæ
cu
men,
A
li. A
e
men,
A
meu,
mien, A
men,
A
A
Digression, which, in modulating, leads to the response by augmentation in the relative minor key.

-
li. A
men,
·
men,
A
men,
men,
mien,
•
- li.
-
men, A
men,
men,
A
A
A
men,
A
men.
Et
to
A -
men,
A
men,
A - men,
A
A - men,
A
men,
A
men, A
men,
to
men.
Et
ப
10
A TREATISE ON

A
vi
A
tam
men,
A
The digression
men,
A -
men,
cu
li.
tu
ri
sæ
ven
men,
A
- men, A
vi
tam
ven
tu ri
-
8æ
continues modulating.
I
men.
a
men,
A
men.
men, A
men.
си
li.
A
E
Et
vi

men, A
men,
A
men, A
-
men,
A -
-
men, A
to
men,
Q.
Subject in A minor.
Lt vi
tam ven - tu ri
Body
sæ
-
Subject in the sub-dominant.
men.
Et
vi - tam ven- tu - ri
sæ
- cu- li
A
A
men,
A
men,
A
I
men,
A
men,
-
tam ven- tu
ri
·
80 culi.
A
A men,
f
cu
·
-
a
li.
E
men, A
A
COUNTERPOINT AND FUGUE
101

@
A - men,
W
Α
·
men,
α
A - men,
A
-
a
men,
A men,
to
·
A
-
men,
A - men,
A
A
·
men,
men,
men,
A
A
men,
men,
of
A
6
A
men,
men,
men, Amen, Amen,
men, Amen,A - men.
A
I
A

A
men,
102
A TREATISE ON

5萬
​AR
2:0
OFF
A
men,
A
A
men,
men,
A
men,
A
men,
A
-
men,
men,
A
men, A
men,
A
men,
A
men,
A
men,
tet
men,
A
men,
A
men,
A
men,
tat
A
men,
A
·
A
men,
fot
A
A
men,
A
men,
A
men,
A
men,
.Q.
A
A
I
men, A
A
Amen,
a
A.
men,
A
Jod
A

men, A
-
men.
E
men, A-men.
men, Amen.
men, Amen.
d
A
men,
A-men,
A - men,
A - men,
A
-
men,
-
men.
men, Amen,
Amen, Amen,
A - men,
A
men,
A
-
men.
men, Ameu,
Amen, Amen,
A - men,
·
A men,
A
·
men
A - mer,
A - men,
A
-
men,
-
A men,
A
-
men.
men.
C
COUNTERPOINT AND FUGUE.
103

漢
​Subject and counter-subject inverted, with changes.
f
Et
vi
tam ven- tu
sæ
A
-
-
men, A
8
d
cu
- li. A
men, A
I
I
I
Response Ibid.
I
Et
vi -
tam ven -tu - ri
ri
sæ
cu
li. A
-
men, A
men,
A - -
men,
A
d
men,
A
men,
A
-
E

Et
vi
tam ven-tu - ri
sæ
cu -
A
men, A
men,
A
men,
A
a
men,
A
Z
I
men,
men,
拜
​104
A
men,
A
A TREATISE ON

Et
vi
tam ven- tu - ri sæ
cu- li. A
men, A
men,
A
men,
A
men, A
a
a
A
men,
A
men, A
men, A
men, A
men,
A
men, A
men,
A
-
men,
A
men,
men,
A
men,
A
I
a

men,
A
men,
A
men,
A
men,
A
men, A - men,
a
f
Et
vi
tam ven- tu
tu - ri
sæ
men,
A
men,
A
A
A
men,
A
men,
A
men,
A
A
-
cu - li.
men,
A
men,
A
A - men,
men,
men,
A
A
a
Et
vi
tam ven- tu - ri
sæ cu li.
•
A men,
A
men, A
men, A
men,
COUNTERPOINT AND FUGUE.
105

men, A - men,
A
men, A
W
men,
A
men,
men,
A
men,
A
men, A
men,
A
A
men.
men,
A
A
men, A
men, A
men,
A
men.
A
-
men.
men,
A
men,
A
-
men,
A
-
men,
Α
men, A -
men,
A
-
Subject in A minor, in its primitive aspect.
Et
vi
tam ven tu
-
ri
A
A
sæ
ta
men.
men.
A
men,
A
-
men.
E

-
cu-li,
ven
tu - ri
sæ
cu
men,
men, A
Inen.
Et
vi
tam ven- tu
-
men.
A
Subject inverted.
A
ri
-
2
拜
​ваз
си
Et
vi
tam ven- tu
-
ri
sæ
cu
men, A-men, A
OF
Et
vi
tam ven- tu
ri
sæ
men,
A
men,
cu
-
li.
A -
ま
​106
-
li.
A TREATISE ON

Modulating digression, and the two choirs imitating each other, alternately.
men,
A
men,
li.
li. A
A
men,
men,
A
men,
A
men,
men,
A
inen,
0.
men,
A
men,
A
men,
men, A
men,
A
men,
A
men.
I
A
men,
men,
A
A
men,
A

A
men,
A
men,
A
men,
A
men,
A
men,
I
A
men,
I
men,
A
men,
I
A
-
men,
A
men,
A
A
men,
Inen. Et
vi
A
A
men,
A
men,
濃
​拜
​A
men.
Et..
vi
men.
COUNTERPOINT AND FUGUE.
107

#a
Et
A
tam,
@
men,
tam,
-
$
A
men,
Et
vi
men,
2.
A
-
men, A
vi
tam,
Q.
men,
tam
A
A
men,
Et
A
A
men,
E
men,
A
ven- tu - ri sæculi.
A
vi
tam,
#0
A
men
A
men,
A
Et
vi
tam
men,
A
men,
Α
men,
ven - tu
-
ri

A
men,
A
men,
Amen,
A
men,
A
men.
A
キ
​men,
A
men,
A
j
A
men,
A
men,
A
men,
A.
men,
A
-
men, A
men,
A
men,
A
to
men,
A
-
men,
A
men,
A- men,
A
men,
A
-
men,
men,
A
sæ-cu-li
A
まま
​men, A
men,
A
men,
A
men,
A
men,
拜
​men,
108
At
men,
A
men,
A
A
A - men,
A
A
A TREATISE ON

men, A
men,
A
bo-
men,
A
men, A
a
A
men.
men.
A
men.
men,
men,
men.
#口
​A -
men,
A
-
tam ven- tu
ba
men, A
men,
men,
A
ta
Et
vi
tam ven- tu - ri
8æ
-
cu li..
men,
A
men,
A
A
men.
A
a
A
men,
A
bo
men, A
A
20
Et
vi
D
Α
·

men, A
men, A
-
men,
A
men,
A
bo
bo
A
men, A
men,
A
-
ri sæ
- си
-
li.
ta
@
men,
A
•
men,
A
--pa
meu,
Α
by
men, A -
COUNTERPOINT AND FUGUE.
109
to
men,
A
ta
STRETTO.

men.
Et
vi
men,
A
men,
A
men, A
men.
be
22
ba
a
men,
A
men,
A
men,
A
men.
A
bo
men,
A
men,
A
-
tam ven-tu - ri
Sæ
men,
men,
A
A
ba
men.
men, A
-
men.
I
men, A.
men.
A
men, A
men.
tha
men,
A
-
men,
A
men, A
men.
da
cu
-
li. A
men, A
Et
vi
-
tam ven-tu - ri
sæ
cu
-
li. A
men, A
men, A
-
8
men.
Et
A
men, A
A
I
-
men.
men.
men,A
men, A
men
A
I

e
men,
A
men,
vi
-
tam ven- tu - ri
sæ
cu
li. A
TTR
Et
vi
tam ventu - ri
8
110
@
men
A TREATISE ON

Stretto of the three counter-subjects.
A
men, A
men,
A
men,
men,
sæ
men,
cu
men,
A
li.
A
A
to
men,
A
A
men,
A
men,
Ibid.
A
men,
men,
I
a
A
A

E
拜
​COUNTERPOINT AND FUGUE.
111

-
Symmetrical progression, by the subject augmented.
α.
men, A
men,
A men,
A men,
ed
A men,A - men,A-men.
-
men, A
men,
A - men, A-men.
A - men,
A
men,
A -
men, Amen, Amen, A-men, A
to
Et
vi
-
tam
ven
tu
ri
sæculi. Amen, Amen, A
men.
0
Et
vi
tam
ven
tu
ri
sæ- cu
li. A-men,
A -
A
-
men,
A
men,
A
men,
A - men,
Amen, Amen,
A
E
A
men,
A
men,
A
men,
A - men, A-men,
A
A
men, A
men,
A
A
men, A
men, A
men, A-men, A-men,
A-men, A

men.
men.
men,
A
men,
A
men, A
men
men, A
men,
A
men, A
men, A
I
men,
men,
A
men,
A - men.
Et
vi
tam ven- tu - ri
Stretto still closer.
a
men, Amen,
men,
Amen.
昌
​Et
vi
tam ven- tu
ri
sæ
A
112
A TREATISE ON

Ibid.
Et
vi
·
tam
ven
- tu - ri
sæ
·
cu li. A .
men.
et
vi
tamı ven - tu ri
-
sæ
-
cu
li.
A
A
men.
A -
ま
​Sæ
cu
Ji. A
men,
A
cu
men.
A
A
tam ven -
@
A
vi
-
li.
A
do
men.
.p.
Et
vi
men.
.Ω.
men. Et
men.
Et
vi
-
tam ven - tu - ri
K
sæ
culi. A
-
Ω
Et
vi
-
tam
ven tu ri
-
sæ
cu - li.

men.
Et
vi
tam
vi tam ven
men.
Et . .
vi - tam
ven
tu
ri,
ven
•
tu
- ri sæ
cu - li. A
men,
A
men,
A
men.
Et vi-tam
tam
ven
tu - ri
sæculi. A
-
men,
A -
men,
A -
men.
Et
vi
tam
ven
tu
Q.
·
ri
sæ
Et
vi
tam
ven
tu
Ω
Vi -
men.
Et
vi
tam
ven
tu
ri.
ri ..
sæ
cu
men,
-
A men,
A -
men,
A
men.
Et
6
חחחח
COUNTERPOINT AND FUGUE.
113

tu
ri,
sæ
cu - li,
Sæ
-
cu li. A
tu
ri,
sæ
men,
Λ
cu
li.
A
men.
-
ven tu - ri,
ven - tu - ri,
sæ
CH
li.
-
tam ven- tu
ri
sæ
sæ
a
cu
li.
A
men,
Cu
li.
A
-
•
cu
li.
li, et vi
tam ven- tu
ri sæe-cu
li.
A
men,
A
men.
vi
-
tam ven- tu
ri
sæ
cu
li.
Amen, A
·
men,
A
nien,
•
A
-
men,
men, A
A
A
men, A
A
A - men, A
men,
men,
A
men.
meu, A
men,
A
men,
A
a

men.
I
men, A men, A - men, A
A
A
1
men, Amen, A
Π
拜
​114
A TREATISE ON

Pedal, upon which the closest STRETTO of the subject is heard, as well as the counter-subjects.
I
Et
vi
-
tam ven-tu - ri
sæ
cu - li.
A
men, A
men,
Et
vi
tam ven - tu
-
ri, ven - tu - ri sæ
culi. A
Et
vi tam ven-tu - ri
sæ
men,
men.
men.
men,
-
cu li. A
men, A
men, A-men,
Et
vi
-
tam ven tu
- ri
Sæ
cu - li. A
-
men, A-
a
Et
vi
-
tam ven-tu- ri
sæ cu-li. A
men, A
a
men,
Et
vi
tam ven tu
·
ri
sæ - cu li.
-
A-men, A - men,
A
men,

A
A
men,
A
A
men,
A
a
Final digression which
men,
Amen, A
-
men,
A
men,
A
inen, A- men,
A
men,
men,
A
men,
A
I
W
A men, A - men,
A men,
men, Amen,
A -
men,
men,
-
A men, Amen, Amen, A
men,
A
ま
​men, A.
men, A - men,
A
Amen, Amen,
A men,
COUNTERPOINT AND FUGUE.
115

leads to the conclusion of the figure.
men,
A
men,
A
men,
A
men,
A
-
men,
A
men, A
-
men,
Α
A
men,
men,
A
-
men,
A
men,
A
men, A
men, A
@
A
men,
A
men,
A
-
men, A
men.
A
A-men, A
A
men,
A
men,
a.
men,
A
men,
A
men;
men,
A
A-
men,
men, A
men,
A
•
men,
A
men,
A
men,
Α
men,
A
•
At
men, A
men,
A
A
men,
A
·
men,
A
men,
A
men,.
A
-
A
Plagal cadence in termination.

men, Amen, A-men, Amen, A - men,
A
men.
a.
men, Amen, A-men, Amen, A - men,
A
men.
men, Amen, A-men, Amen, Amen,
A
-
men.
men,
a
men, Amen, A-men, Amen, Amen,
A
Largo assai.
men.
A
men, A
men, Amen, A-men, Amen, A - men,
A
men.
men,
A
men,
A
men, Amen, A-men, Amen, A - men,
A
men.
Ꮎ
men, Amen, A-men, Amen, Amen,
A
-
men.
men,
Amen, A-men, Amen, Amen,
A -
men.
a
a
-----
•
* The "Credo" of which this Fugue is the finale, was begun by Cherubini in Italy in the year 1778 9 (while studying under Sarti) and finished at
Paris in 1806. M. Fétis, in his work on Counterpoint and Fugue, says of this noble piece of composition by Cherubini: This fugue-in which all
the devices of its peculiar style are introduced with rare felicity, notwithstanding the extreme difficulty arising from so large a number voices-
had no model of proportionate development. The dread of wounding M. Cherubini's modesty prevents my giving utterance to all the eulogy that
this fine production deserves. I can only urge all those who study the art of composition to examine it attentively, returning to it again and again;
since they will be unable to discover its full merit upon a first inspection, or to comprehend all that such a fugue contains of scientific and artiatiá
excellance.
116
A TREATISE ON
:
SECOND CHOIR.
FIRST CHOIR.
SOPRANO.
REAL FUGUE IN EIGHT PARTS, FOR TWO CHOIRS, BY JOSEPH SARTI.
Allegro moderato.

CONTRALTO.
TENOR.
Subject.
Cum Sancto Spi- ri-tu in glo- ria De-i, Pa
BASS.
ORGAN.
SOPRANO.
E
CONTRALTO.
TENOR.
BASS.
ORGAN.
Tasto Solo.
2nd counter-subject.
1st counter-subject.
A
Tasto Solo.

tris,
in glo-ria De
-
Patris.
men,
A
men,
A
Response to the subject.
Cum Sancto Spi- ri-tu in glori-a De-i
Pa
Response to the counter-subject.
A
tris.
Ad libitum part.
men,
A
|
COUNTERPOINT AND FUGUE.
117

men,
Ad libitum part.
Ad libitum part.
A
men.
In glo- ri-a
Response to the 2nd counter-subject.
men.
In glo-ri-a De
i Pa- tris.
A
men,
A
-
men,
A
Subject.
@
Cum Sanc-to Spi- ri-tu in glo- ria De- i Pa
8th
men,
A
Response to the subject.
TIN
men,
1st counter-subject.
A
d
Cum
Sancto Spi- ri-tu in glo- ria De - i Pa
De-i pa-tris, A
Q.
tris.
men,
men.
In glo- ria De-i Pa
tris,
in glo-ria De
i Pa-tris.
A
men, A
men, A
ま
​a
Response to the 1st counter-subject.
A
men,
A
men, A
men,
Amen,
Ad libitum part imitating a portion of the melody before proposed by the Contralto.
D
E
A
美
​
men.
E
men,
A
men,
A
理
​men,
A
113
¡
A TREATISE ON

ורו
At
Portion of the 1st counter-subject.
A
Subject.
nien,
Cum
Sancto Spiri- tu in
tris
men,
Ibid.
A
gloria De-i Pa
Imitation of the portion of the 1st counter-subject.
A
A
Portion of close imitation
of the response.
inen,
men,
A
men,
E
Ad libitum part, imitating a portion of the subject.
Cum
Sanc
το
Spi
-
ri
tu
in glo
Subject resumed.
ria De
Cum Sancto Spiri- tu in
glo- ria De - i
Response curtailed.
men.
Cum Sancto
Spiritu
ritu in glo- ria
De-i Pa-tris,
A
men,
Cum
Sancto
Spiritu in glo- ria De-i Pa- tris,
A
men,
Digression formed by an imilation of the counter-subject to return to the principal key upon which the

A
tris. A men,
-
A - men, A
men,
A
A
-
men, A
1st counter-subject.
@
A
Pa
Pa
A
tris. A
men.
tris.
men,
A
men.
men,
A-men.
men, A
men,
A
men,
A
men,
A
men.
COUNTERPOINT AND FUGUE.
119

response of the subject is resumed in the dominant.
AX
men, A
*
men.
men,
Portion of the 2nd counter-subject.
a
In glo-ri-a
De
Pa-tris.
-
Portion of the 1st counter-subject.
A
Ad libitum part.
men.
De-i Pa
tris. A
-
men
men,
A
men
A
men,
Response in the octave of the dominant more extended.
Cum Sanc-to
Spi- ri-tu in glo-ri-a De-i
Pa
Portion of the 1st counter-subject.
A
Response in the dominant, but curtailed.
Cum Sancto
Spi-ri-tu in glo-ri-a De - i
Portion of the 2nd counter-subject.
Pa
-
men,
A-men,
1st counter-subject.
#
tris.
A
In glo-ri-a De
·
i Pa-tris.
A
men,

Ad libitum parts.
A - men,
A
-
men.
A - men,
A-
men.
E
Amen.
Amen,
A - men,
Amen.
Digression like the preceding, which, in modulating, ceases on the dominant.
tris. A
Imitation of the 1st subject.
A
men,
A-men,
Ad libitum part.
A-men,
A-men,
Λ
f
E
120
AL
glo
tris,
Pa
Pa-tris,
-
E
A TREATISE ON
Digression in which is introduced the response of the subject, and the re-entrance of this latter brought closer to the response.
Cum Sancto Spi-ri - tu in
glo-ria De-i
Patris, De-i Pa
Cum Sancto Spi- ri- tu
in
glo
וי
a.
Cum
Sancto Spi- ri - tu in glo-ri-a
De
Pa
Cum
Sancto
Spi- ritu in
glo-ri-a De - i
Pa-tris, De -i Pa
men.
men.
men.
tris.
tris.
A
Digression responding to the other by an imitation in the unison.
A
tris.
まま
​Cum Sancto Spi-ri- tu in
gloria Dei Pa- tris,
in
Cum
Sancto
Spi ri
·
-
tu
-
in glo ri-a De
-
i Pa
a
Cum
Sancto Spi- ri- tu in glo
ri-a
De
·
i
Cum
Sancto
Spi- ri-tu in
glo-ri-a De - i
Patris, De i
men,
A
men,
A
m
men.
Cum Sancto Spi - ri-tu in
glo-ri-a De-i
Dei Pa-tris,
De i Pa-tris, A
men,
A - men,
A - men,
A
tris,
A
A
ria Dei De i Pa-tris,
A men,
A - men,
-
Amen,
A - men,
men,
→
·
men,
A
men,
A men,
A - men,
手
​Dei Pa-tris,
·
A men, De - i Pa-tris,
A - men,
Amen,
C
A -
1


COUNTERPOINT AND FUGUE.
121
men,
#
men.
In
men,
Q
glo
Pa
tris.
Imitation by contrary movement.
A
A
d
men,
A - men,
ri
a
De
i,
A
A
men,
A - men,
men,
A
Devices

A
LE
A-men,
A
men, A
The digression continues where a portion of the counter subject is introduced by contrary movement.
A
A
In
glo
-
A men,
-
-
men,
A
-
men,
A
-
men,
A
ri
a
De
i
Pa
Amen,
A
men,
A
and imitations by augmentation of the 1st counter-subject modulating to the
sub-dominant, and then returning to the principal key.
@
A
A
men,
men,
mien,
men,
men,
men,
tris,
men,
H

The digression
Imitation of the preceding device, which ceases on the dominant.
A
A
A
men, A
men, A
122
B
A TREATISE ON

continues by a portion of the 1st counter-subject imitated and brought close: this digression, in modulating, ceases on the key of F minor
A
men,
-
men,
men,
men,
AA
A
A
men,
men,
Imitations.
A
A
A
A
men, A -men,
men,
men,
a
men,
A
men,
A
STRETTO.
men, Amen,
men, A - men,
men,
A
men,
men, A
men,


Cum Sancto Spi- ri-tu in
glo-ri-a De-i
Pa
-
tris,
Cum Sancto Spi-ri-tu in
glo-ri-a De-i
Pa-tris, Cum
Sancto Spi ri -
-
a
Cum
Sancto Spi -ri
tu in glo-ri-a De
-

Cum
Saneto Spi - ri
tu in glo-ri-a De-i Pa-tris,

G
P
Portion of the 1st counter subject.
A
A
Imitation of this inversion.
men.
Cum
Sancto Spi - ri

A
men.
Cum Sancto

Subject almost inverted.
Cum
Sancto Spi- ri-tu in

H
COUNTERPOINT AND FUGUE.
123

tu in glo-ri-a De -i Pa
tris. A
-
men,
A
Pa
A
tris. A
Pedal.
tu in glo-ri-a
De-i Pa
tris.
A
Spi- ri-tu in
glo-ri-a De-i
Pa
-
tris.
A
men,
a
7=7
glo-ri-a De-i
Pa
-
Conclusion.
tris.
Pedal.
A
men,
A
2
a

men,
Amen, A
-
men,
A
men,
men,
Amen, A
-
men,
A
men,
men,
Amen, A
men,
A
men,
men,
Amen, A
·
men,
A
men,
men,
Amen, A men,
A
men.
men,
Amen, Amen,
A
men.
men,
Amen, A
-
men,
A
men.
Amen, Amen,
A
men.
men,
124
A TREATISE ON
GIVEN SUBJECTS OR BASSES TO SERVE FOR LESSONS IN STRICT COUNTERrpoint.
In C.

11. 0
a
2.

3.
4.
5.

6. C
7.

8.

9. ce
10.

11. Ce a
12. ce
13. Ce
14.
15. Ceo o
In D.
16. Ce
17. C
18. Cro
19. & o
D.
a
Varying.

Varying from the preceding one.
ㅇ
​
20. O&
COUNTERPOINT AND FUGUE.
125

21.
22. &
23.
24. C
25.
26. 0
In E.
a
27. Ofte
-12.
4-4
28.
In F.
29. Ca
30.
31. C
$2.
@ &
33.5
34.
ㅍ
​In G.
35. Ol
ㅇ
​D
20
2
to
ㅇ
​ㅇ
​



a
2


126
36.
37.
38. Ce
39.
40. With
41.
In A.
42.co
43.
44.
45.
46.
47.
48. € €
49. C
50.
51. @
In B.
52. Q2&
4-:)
63. 로
​Frarying-
ㅇ
​12
A TREATISE ON

2
O
Eba
20
a
.20.
a
Ω
1
|----




COUNTERPOINT AND FUGUE.
127

Ex.224.
1.
2.
3.
후
​4.
BASSES FOR COUNTERPOINT IN EIGHT PARTS, AND FOR TWO CHOIRS.

Q
a
5.
ㅓ야
​O
a
a

ㅓ아
​"





128
COUNTERPOINT AND FUGUE

6.
7.
車
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FINIS
NOVELLO'S ORIGINAL OCTAVO EDITIONS
OF
Oratorios, Cantatas, Odes, Masses, &c.
Cover.
Paper
| Boards.
THE FAYS' FROLIC
SPRINGTIME
SUMMER
THE GOLDEN CITY
FRANZ ABT.
(Female voices)
2/6
(ditto) (SOL-FA, 0/6) 2/6
(ditto)
2/6
...
(ditto)
(SOL-FA, 0/6) 26
THE WISHING STONE
(ditto)
2/6
THE WATER FAIRIES
THE SILVER CLOUD
MINSTER BELLS
(ditto)
2/6
(ditto)
...
2/6
(ditto)
2/6
...
1/6
J. H. ADAMS.
A DAY IN SUMMER (Sol-fa, 0/6)
T. ADAMS.
THE HOLY CHILD (Sol-fa, 0/6)
THE RAINBOW OF PEACE
THE CROSS OF CHRIST (SOL-FA, 0/6)
B. AGUTTER.
MISSA DE SANCTO ALBANO (English)
MISSA DE BEATA MARIA VIRGINE, IN C
(English) (Female voices)
•
YULE TIDE
***
THOMAS ANDERTON.
...
...
THE NORMAN BARON
་་
WRECK OF THE HESPERUS (SOL-FA, 0/4)
A SONG OF THANKSGIVING..
MASS, IN B FLAT ...
J. H. ANGER.
W. I. ARGENT.
P. ARMES.
HEZEKIAH
1/0
1,0
Cloth
...
...
1/0
3/0 4/0 5/0
2/6
BEETHOVEN.
THE PRAISE OF MUSIC
1/6 2/0 3/0
...
KUINS OF ATHENS
1/0 1/6 2/6
ENGEDI; OR, DAVID IN THE WILDERNESS
MOUNT OF OLIVES (CHORUSES, SOL-FA, 0,6)
10 1/6 2/6
1/0 1/6 2/6
1/0 1/6 2/6
...
COMMUNION SERVICE, IN C
1/6
3/0
...
2/0 2/6 4/0
2/6
...
1/0
1/0
01
MASS, IN C
MASS, IN D
...
THE CHORAL SYMPHONY
DITTO, VOCAL PART (Sol-fa, 0/6)
THE CHORAL FANTASIA (SOL-FA, 0/3)
A CALM SEA AND A PROSPEROUS VOYAGE.
MEEK, AS THOU LIVEDST
KAREL BENDL.
WATER-SPRITE'S REVENGE (Female voices)
WILFRED BENDALL.
0/2
1/0
THE LADY OF SHALOTT Female vv.) (SOL-FA, 1/0) 2/6
A LEGEND OF BREGENZ (ditto)
ST. PETER
...
...
1/6
SIR JULIUS BENEDICT.
THE LEGEND OF ST. CECILIA (SOL-FA, 1/6)
1/6 2/0 3/0 PASSION MUSIC FROM ST. PETER
1/0
...
1/0
EASTER HYMN
GEORGE J. BENNETT.
SIR W. STERNDALE BENNETT.
THE MAY QUEEN (SOL-FA, 1/0)
THE WOMAN OF SAMARIA (SOL-FA, 1/0)...
INTERNATIONAL EXHIBITION ODE (1862)
G. R. BETJEMANN.
THE SONG OF THE WESTERN MEN
1/6
2/6
2/6
...
2/6
...
...
...
2/0
W. R. BEXFIELD.
ISRAEL RESTORED
12
...
1/6
2,6
...
...
1/0
4/0
1/0 1/6
E. M. BOYCE.
ST. JOHN THE EVANGELIST
ST. BARNABAS
...
...
A. D. ARNOTT.
YOUNG LOCHINVAR (SOL-FA, 0/6)
THE BALLAD OF CARMILHAN (SOL-FA, 1/6)
THE GIPSIES
ENDYMION
E. ASPA.
...
...
...
STABAT MATER
...
MASS, IN B MINOR
MISSA BREVIS, IN A
ASTORGA.
...
...
BACH.
THE PASSION (S. MATTHEW)
...
...
...
...
...
...
Abridged, as used at St. Paul's 1/6
THE PASSION (S. JOHN).
CHRISTMAS ORATORIO
MAGNIFICAT
...
(PARTS 3 & 4).
...
GOD GOETH UP WITH SHOUTING
GOD SO LOVED THE WORLD
GOD'S TIME IS THE BEST (SOL-FA, 0/6)
MY SPIRIT WAS IN HEAVINESS
...
...
...
A STRONGHOLD SURE (Choruses only) (SOL-FA, 06) 10
O LIGHT EVERLASTING
BIDE WITH US
BE NOT AFRAID (SOL-FA, 0/4) ...
BLESSING, GLORY, AND WISDOM
I WRESTLE AND PRAY (SOL-FA, 0/2)
...
3.6
3/0 3 6 5/0
2/6 3/04/0
1/6
1/0
...
3/0 3/6 5/0
4/0
6/0
1/0
...
1/0
4/0
6/0
HARVEST-TIDE
HUGH BLAIR.
1/0
BLESSED ARE THEY WHO WATCH (ADVENT) 16
JOSIAH BOOTH.
THE DAY OF REST (Female voices) (SOL-FA, 1/0).
THE LAY OF THE BROWN ROSARY
26 3/0 4/0 YOUNG LOCHINVAR
THE SANDS OF CORRIEMIE (Female voices)
J. BRADFORD.
1/6
2/6 3/0
...
...
20 2/6 4/0
20 2/6 40
HARVEST CANTATA
THE SONG OF JUBILEE
***
1/6
1/0
W. F. BRADSHAW.
1,0
GASPAR BECERRA
1/0
1/0
...
J. BRAHMS.
1/0
...
A SONG OF DESTINY
1/0
1/0
C. BRAUN.
SIGURD...
...
2/6
1/6
1/6
...
1/6
...
1/6
1/6
1/6
1/0
...
THOU GUIDE OF ISRAEL
JESU, PRICELESS TREASURE
WHEN WILL GOD RECALL MY SPIRIT
JESUS, NOW WILL WE PRAISE THEE
A. S. BAKER.
COMMUNION SERVICE, IN E
0/6
0/6
0/1
1/0
1/0
...
1/0
THE SNOW QUEEN (Operetta) (SOL-fa, 0,6)
A. HERBERT BREWER.
NINETY-EIGHTH PSALM
...
...
J. C. BRIDGE.
1/0
DANIEL
...
RESURGAM
...
...
RUDEL
...
...
...
...
...
1/6
...
5/0
1/0
1/6
3/6
1/6
...
...
4/0
J. BARNBY.
REBEKAH (SOL-FA, 0/9)
...
THE LORD IS KING (97th Psalm) (SOL-FA, 1/0)
LEONARD BARNES.
THE BRIDAL DAY
...
J. F. BARNETT.
...
...
1/6 2/0
MOUNT MORIAH
...
...
2/6
4/6 NINEVEH
BOADICEA
J. F. BRIDGE.
1/0 1/6 2/6 CALLIRHOE (SOL-FA, 1,6)...
HYMN TO THE CREATOR
...
...
...
...
...
...
...
...
ROCK OF AGES (Latin and English) (SOL-FA, 0/4)... 1/0
THE CRADLE OF CHRIST (“Stabat Mater
...
2/6
2/6 3/0 4/0
1/0
3/0
2/6 3/0 4/0
18118
...
3/6 4/0 5/0
Speciosa")
1/6
...
...
6/6
9/0
4/0
THE FLAG OF ENGLAND (SOL-FA, 0/9)
THE INCHCAPE ROCK ...
...
1/6
...
...
...
1/0
THE LORD'S PRAYER (SOL-FA, 0/6) ...
...
...
1/0
THE ANCIENT MARINER (Sol-fa, 2/0)
THE RAISING OF LAZARUS ...
PARADISE AND THE PERI
...
...
THE WISHING BELL (Female voices) (SOL-FA, 1/0) 2/6
15/6/98.
NOVELLO'S OCTAVO EDITION OF ORATORIOS, &c.—Continued.
DUDLEY BUCK.
F. G. DOSSERT.
THE LIGHT OF ASIA
EDWARD BUNNETT.
3/0 3/6 5/0
MASS, IN E MINOR
COMMUNION SERVICE IN E MINOR...
&& Paper
●☎ Cover,
Paper
Boards.
Cloth
Gilt.
5/0
2/0
OUT OF THE DEEP (130th Psalm)
LUCY K. DOWNING.
...
1/0
A PARABLE IN SONG
2/0
W. BYRD.
F. DUNKLEY.
MASS FOR FOUR VOICES (in F minor)
2/6
THE WRECK OF THE HESPERUS
1/0
CARISSIMI
JEPHTHAH
1/0
ST. LUDMILA
DITTO
F. D. CARNELL.
SUPPLICATION
DITTO
...
5/0
STABAT MATER
ANTONIN DVOŘÁK.
THE SPECTRE'S BRIDE (SOL-FA, 1/6)
(German and Bohemian Words)
2/6 3/04/0
...
...
(German and Bohemian Words)
5/0 6/0 7/6
8/0
30 3/6 50
60
...
...
GEORGE CARTER.
PATRIOTIC HYMN...
1/6
...
DITTO
(German and Bohemian Words) 3/0
SINFONIA CANTATA (116th Psalm)
2/0
3/6
REQUIEM MASS
5/06/07/6
MASS, IN D
2/6
...
...
...
WILLIAM CARTER.
COMMUNION SERVICE, IN D
...
2/6
118 11
11911
PLACIDA
...
...
2/0 2/6 4/0
A. E. DYER.
CHERUBINI.
SALVATOR MUNDI
...
...
2/6
REQUIEM MASS, C MINOR (Latin and English)
SECOND MASS, IN D MINOR...
THIRD MASS (CORONATION)
FOURTH MASS, IN C
ELECTRA OF SOPHOCLES
...
...
1/6 2/0
...
1/0 1/6 2/6
2/0 2/6 3/6
...
...
...
1/0 1/6 2/6
...
...
THE ASCENSION
...
...
1/0 1/6 2/6
THE EPIPHANY
E. T. CHIPP.
H. J. EDWARDS.
PRAISE TO THE HOLIEST
EDWARD ELGAR.
...
THE BLACK KNIGHT
THE LIGHT OF LIFE (Lux Christi)
KING OLAF (SOL-FA, Choruses only, 1/6)
THE BANNER OF ST. GEORGE
TE DEUM AND BENEDICTUS
CARACTACUS
...
...
...
2/0
2/6
...
3/0
1/6
...
1/0
...
ROSALIND F. ELLICOTT.
2/6
...
...
...
21
2/0
...
1/6
•
3/6 40 50
JOB
NAOMI
...
...
...
...
...
...
4/0
2/0
HAMILTON CLARKE.
PEPIN THE PIPPIN (Operetta), both Notations
(DITTO, SOL-FA, 0,9)
THE MISSING DUKE (Operetta) (SOL-FA, 0,9)
THE DAISY CHAIN (Operetta) (SOL-FA, 0/9)...
DRUMS AND VOICES (Operetta) (SOL-FA, 0,9)
HORNPIPE HARRY (SOL-FA, 0,9)
S. COLERIDGE-TAYLOR.
...
...
2/6
222
2/6
2/6
2/0
2/6
ELYSIUM
THE BIRTH OF SONG ***
...
...
...
***
1/0
...
1/6
HIAWATHA'S WEDDING-FEAST
...
1/6
FREDERICK CORDER.
THE BRIDAL OF TRIERMAIN (SOL-FA, 1/0)
SIR MICHAEL COSTA.
2/6
GUSTAV ERNEST.
ALL THE YEAR ROUND (Female vv.) (SOL-FA, 0/9) 2/0
T. FACER.
RED RIDING-HOOD'S RECEPTION (Operetta)... 2/6
(DITTO, SOL-FA, 0/9)
THE DREAM ...
1/0
A MERRY CHRISTMAS (SOL-FA, 0,6)
H. COWARD.
E. FANING.
THE STORY OF BETHANY (SOL-FA, 1/6)...
...
2/6 3/0
BUTTERCUPS AND DAISIES (Female voices)
...
1/0
...
2/6
(DITTO, SOL-FA, 1/0)
F. H. COWEN.
ST. JOHN'S EVE (SOL-FA, 1/6)
A SONG OF THANKSGIVING...
SLEEPING BEAUTY (SOL-FA, 1'6)
KUTH (SOL-FA, 1/6)
SUMMER ON THE RIVER (Female vv.) (SOL-FA, 09)
THE WATER LILY
VILLAGE SCENES (Female voices) (SOL-FA, 0,9)
CHRISTMAS SCENES (Female voices) (SOL-FA, 0/9)
THE ROSE OF LIFE (Female voices) (SOL-FA, 0,9)
A DAUGHTER OF THE SEA (Female voices)
(DITTO, SOL-FA, 1/0)
...
...
...
2/6 3/0 4/0
...
...
1/6
...
...
2/6 3/0 4/0
4/0 4/6 6/0
2/0
2/6
...
1/6
2/0
2/0
2/0
DREAM OF ENDYMION...
ODE TO THE PASSIONS
...
...
...
22
2/6
2,0
♡ O
...
HENRY FARMER.
MASS, IN B FLAT (Latin and English) (SOL-FA, 1/0) 2/0 2/6 3/6
THE LADY OF THE ISLES
1/6
THE ANGELS OF THE BELLS (Female voices)... 1/6
(DITTO, SOL-FA, 0/8)
THE BONNIE FISHWIVES (Female vv.) (SOL-FA, 0/9) 2/6
SNOW FAIRIES (Female voices)
1/6
***
THE COMING OF THE KING (Female voices)... 1/6
(DITTO, SOL-FA, 0/8)
PRAISE YE THE LORD (117th Psalm)
MYLES B. FOSTER.
ROBERT FRANZ.
J. MAUDE CRAMENT.
I WILL MAGNIFY THEE, O GOD (145th Psalm)..
LITTLE RED RIDING-HOOD (Female voices)
EUDORA (A dramatic Idyll)
2/6
...
2/0
NIELS W. GADE.
W. CRESER.
PSYCHE (Sol-fa, 1/6)
2/6
W. CROTCH.
PALESTINE
...
...
3/0 3/6 5/0 COMALA
...
W. H. CUMMINGS.
THE FAIRY RING
...
...
2/6
TE DEUM
...
W. G. CUSINS.
FÉLICIEN DAVID.
THE DESERT (Male voices)
HERVE RIEL...
H. WALFORD DAVIES.
...
...
1/6 2,0
...
1/0
P. H. DIEMER.
THE SHUNAMMITE
THE TWO ADVENTS
...
...
...
BETHANY
...
4/0
M. E. DOORLY.
EZEKIEL
LAZARUS
...
2/6
THE WILD HUNTSMAN
...
1/6
SPRING'S MESSAGE (SOL-fa, 0/3)
ERL-KING'S DAUGHTER (SOL-FA, 0,9)
ZION
...
THE CRUSADERS (SOL-FA, 1/0)
...
CHRISTMAS EVE (SOL-FA, 0,4) ...
HENRY GADSBY.
LORD OF THE ISLES (Sol-fa, 1/6)
ALCESTIS (Male voices)
COLUMBUS (Male voices)...
F. W. GALPIN.
YE OLDE ENGLYSHE PASTYMES...
G. GARRETT.
...
24
2/6
...
4/0
2/6
...
...
1/6
...
...
...
...
1/0
3/0
1/6
R. MACHILL GARTH.
...
...
...
Doe
4/0 4/6
...
1/0 1/6
HARVEST CANTATA (SOL-FA, 0/6)
1/0
...
...
...
2/6 3/0 4/0
0/8
...
...
...
...
...
1/0 1/6 2/6
1/0 1/6 2/6
2/0 2/6 4/0
2/0 2/6 4/0
1/0 1/6
...
| | |
1 1
NOVELLO'S OCTAVO EDITION OF ORATORIOS, &c.—Continued.
A. R. GAUL.
AROUND THE WINTER FIRE (Female voices)
(DITTO, SOL-FA, 0/9)
A SONG OF LIFE (Ode to Music) (SOL-FA, 0/6)
JOAN OF ARC (SOL-FA, 1/0)
PASSION SERVICE
RUTH (SOL-FA, 0/9)
...
...
...
...
THE HOLY CITY (SOL-FA, 1/0)
THE TEN VIRGINS (SOL-FA, 1/0)
ISRAEL IN THE WILDERNESS (SOL-Fa, 1/0)
TOILERS OF THE DEEP (Female voices)...
UNA
...
(DITTO, SOL-FA, 1/0)
Paper
Cover.
Paper
2/0
1/0
Boards.
I
Cloth
Gilt.
...
...
26 3/0 4/0
...
20 2/6 4/0
...
2/6 3/0 4/0
THE LEGEND OF THE WOOD (Female voices)...
(DITTO, SOL-FA, 0/8)
TOILERS OF THE DEEP (Female voices)
FR. GERNSHEIM.
SALAMIS. A TRIUMPH SONG (Male voices)
E. OUSELEY GILBERT.
HANDEL.-Continued
...
***
...
...
...
...
...
JOSHUA
DEBORAH
SAUL
2/6 3/0 4/0 CHANDOS TE DEUM
2/6 3/0 4/0
DETTINGEN TE DEUM
UTRECHT JUBILATE
O COME, LET US SING UNTO THE LORD
...
036 Cover.
☎ Boards
2/0
2/6 4/0
2/0 2/6 4/0
2/0 2/6 4/0
1/0 1/6 2/6
1/0
1/6 2/6
...
1/0
150
(5th Chandos Anthem) 1/0
O PRAISE THE LORD (6th Chandos Anthem)
CORONATION AND FUNERAL ANTHEMS
Or, singly:-
THE KING SHALL REJOICE
ZADOK THE PRIEST
MY HEART IS INDITING..
LET THY HAND BE STRENGTHENED
THE WAYS OF ZION
ODE ON ST. CECILIA'S DAY
L'ALLEGRO
•
1/0
0/8
0/3
0/8
0/6
..
1.0
1/0 1/6 2/6
...
2/6 3/0 4/0
2/0
2/6 3/0 4/0
1/0
...
2/0
1/6
...
...
DIXIT DOMINUS (from Psalm cx.)
NISI DOMINUS
SANTA CLAUS AND HIS COMRADES (Operetta) 2/0
(DITTO, SOL-FA, 0/8)
F. E. GLADSTONE.
...
PHILIPPI
ORPHEUS (CHORUSES, SOL-FA, 1/0)
...
GLUCK.
2/6
...
3/6
-
...
HERMANN GOETZ.
BY THE WATERS OF BABYLON (137th Psalm)... 1/0
NCENIA
...
THE WATER-LILY (Male voices)
F. K. HATTERSLEY.
ROBERT OF SICILY
SYDNEY HARDCASTLE.
SING A SONG OF SIXPENCE (Operetta)...
BASIL HARWOOD.
INCLINA, DOMINE (86th Psalm)
111
1100
5.0
2/0 2/6 4/0
1/0
...
1,0
...
2/6
0/9
...
3/0
HAYDN.
1/0
...
1/6
THE CREATION (SOL-FA, 1/0)
THE CREATION, Pocket Edition
THE SEASONS
2/0 2/6 4/0
1/0 1/6 2/0
...
...
...
3/0 3/6 5/0
1/0
Each Season, singly (SPRING, Tonic Sol-fa, 6d.)
FIRST MASS, IN B FLAT (Latin)
1/0
1/0 1/6 2/6
040
DITTO
2/0
1/0
1/0 1/6 2/6
...
1/0 1/6 2/6
...
1/0 1/6 2/6
DITTO
•
1/0 1/6 2/6
6/0 6/6
6/6 7/6
2/0
1/6 2/0 3/0
2/6 3/0
2/0 2/6 4/0
1,0
0/4
1 1
A. M. GOODHART.
EARL HALDAN'S DAUGHTER
ARETHUSA
SIR ANDREW BARTON...
CH. GOUNOD.
MORS ET VITA (Latin or English)
SOL-FA (Latin and English)…..
REQUIEM MASS, from "Mors et Vita
DITTO,
DITTO
DITTO
"
THE REDEMPTION (English Words) (SOL-FA,2/0)
...
(French Words)
(German Words)...
...
...
MESSE SOLENNELLE (ST. CECILIA)…..
OUT OF DARKNESS
DITTO
...
...
5/0 6/0 7/6
8/4
10/0
1/0 1/6 2/6
10
COMMUNION SERVICE (Messe Solennelle)
1/6 2/0 3/0
(Troisième Messe Solennelle) 26
TROISIEME MESSE SOLENNELLE
DE PROFUNDIS (130th Psalm) (Latin Words)
(Out of darkness)
DITTO
THE SEVEN WORDS OF OUR SAVIOUR ON
THE CROSS (Filiæ Jerusalem)
DAUGHTERS OF JERUSALEM
...
...
...
GALLIA (SOL-Fa, 0,4)
...
C. H. GRAUN.
THE PASSION OF OUR LORD (Der Tod Jesu)
TE DEUM
...
...
ALAN GRAY.
THE WIDOW OF ZAREPHATH
ARETHUSA
THE LEGEND OF THE ROCK-BUOY BELL
THE FOE BEHIND
J. O. GRIMM.
THE SOUL'S ASPIRATION
THE PARACLETE
G. HALFORD.
...
...
2.6
1/0
1/0
1/0
1,0
...
1/0
...
240
2/0 2/6 4/0
2/0 2/6 4/0
(Latin and English)
•
SECOND MASS, IN C (Latin)
THIRD MASS (IMPERIAL) (Latin and English)
(Latin)
SIXTEENTH MASS (Latin)
THE PASSION; OR, SEVEN LAST WORDS OF
OUR SAVIOUR ON THE CROSS
TE DEUM (English and Latin)
INSANE ET VANE CURE (Ditto) ...
BATTISON HAYNES.
THE FAIRIES' ISLE (Female voices)...
A SEA DREAM (Female voices) (SOL-FA, 0/6)...
JUBILEE ODE
•
H. HEALE.
•
C. SWINNERTON HEAP
FAIR ROSAMOND (SOL-FA, 2/0)
ERIC THE DANE
EDWARD HECHT.
...
O MAY I JOIN THE CHOIR INVISIBLE
GEORGE HENSCHEL.
OUT OF DARKNESS (130th Psalm)
TE DEUM LAUDAMUS, IN C
STABAT MATER
...
HENRY HILES.
THE CRUSADERS...
2/6
...
2/6
4.
1/6
3/6 4/0 5/0
...
3/0
1/0
2/6
44.
...
...
...
1.6
2/6
4.0
2/6
...
4/0
1/0 1/6
6,0
FERDINAND HILLER.
NALA AND DAMAYANTI
A SONG OF VICTORY (SOL-FA, 0/9) ...
THE GOLDEN LEGEND
...
2/0
1/6
1/0
...
1/6
...
1/0
2/0
...
0/8
2/0 2/6 40
1/0 1/6 2/6
CINDERELLA
SONG OF THE NORNS (Female voices)
C. HOLLAND.
AFTER THE SKIRMISH...
2/0
HUMMEL.
H. E. HODSON.
HEINRICH HOFMANN.
FAIR MELUSINA
...
...
2/0
2/0 2/6 4/0
4/0
...
1/0
...
1/0
...
1/0 1/6 2/6
2/0
...
4/0
E. V. HALL.
IS IT NOTHING TO YOU (SOL-FA, 0/3)
ALEXANDER'S FEAST
ACIS AND GALATEA
HANDEL.
...
...
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DITTO, New Edition, edited by J. Barnby (SOL-FA, 1/0) 1/0 1/6 2/6
...
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THE TRIUMPH OF TIME AND TRUTH..
ALCESTE
SEMELE...
THE PASSION
ALEXANDER BALUS
HERCULES
ATHALIAH
ESTHER...
SUSANNA
THEODORA
BELSHAZZAR
•••
...
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co co co c∞ 1
3/0 3/6 5/0
3/0 3/6 5/0
3/0 3/6 5/0
3/0 8/6 5/0
8/6 5/0
3/0 3/6 5/0
3/6 5/0
3/6 5/0
3/0
3/0 3/6 50
3/0 3/6 5/0
2 CO CO
FIRST MASS, IN B FLAT
COMMUNION SERVICE, ditto
SECOND MASS, IN E FLAT
COMMUNION SERVICE, ditto
THIRD MASS, IN D
•
...
COMMUNION SERVICE, ditto
ALMA VIRGO (Latin and English)
QUOD IN ORBE
(Ditto)
...
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W. H. HUNT.
...
10 1/6 26
2/0
4/0
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1/0 1/6 2/6
2/0
***
4/0
0/4
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0/4
THE MESSIAH, edited by V. Novello (Sol-fa, 1/0)
THE MESSIAH, ditto, Pocket Edition ...
THE MESSIAH, edited by W. T. Best
ISRAEL IN EGYPT, edited by Mendelssohn
...
...
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2/0 2/6 4/0
2/0 2/6 4/0 VICTORIA; OR, THE BARD'S PROPHECY
3/0 3/6 5/0
3/0 3/6 5/0
2/0 2/6 4/0
1/0 1/6 2/0
STABAT MATER
...
..
...
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G. F. HUNTLEY.
212
222
2/0 2/6 4/0
1/0 1/6 2/0
2/0 2/6 4/0
2/0 2/6 4/0
2/0 2/6 4/0
SWEET ECHO
...
(DITTO, SOL-FA, 1/0)
H. H. HUSS.
...
...
...
F. ILIFFE.
ISRAEL IN EGYPT, edited by V. Novello, Pocket Edit. 1/0 1/6 2/0
JUDAS MACCABEUS (SOL-FA, 1/0)
JUDAS MACCABEUS, Pocket Edition
SAMSON (SOL-FA, 1/0)
SOLOMON
JEPHTIIA
...
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AVE MARIA (Female voices)
...
3/0 3,6
2/0
1/0
1/0
NOVELLO'S OCTAVO EDITION OF ORATORIOS, &.
—Continued.
c.&cOLIVER IVE.
LA BELLE DAME SANS MERCI
THE YEAR
...
...
W. JACKSON.
D. JENKINS.
DAVID AND SAUL (SOL-FA, 2/0)
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A. JENSEN.
THE FEAST OF ADONIS
W. JOHNSON.
ECCE HOMO
...
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Paper
Cover.
Paper
Boards.
1/0
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2/0 2/6
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3/0 3/6
H. FESTING JONES.
KING BULBOUS (Operetta) (SOL-FA, 0/8)
...
1:0
42915
~ Paper
Cover
C. MACPHERSON.
BY THE WATERS OF BABYLON (137th Psalm) ... 2/0
L. MANCINELLI.
ERO E LEANDRO...
F. W. MARKULL.
ROLAND'S HORN (Male voices)
F. E. MARSHALL.
PRINCE SPRITE (Female voices)
CHORAL DANCES from Ditto
...
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5,0
2/6
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2/3
1,0
1/0
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J. T. MASSER.
2,0
HARVEST CANTATA
...
2,0
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1/6
C. WARWICK JORDAN.
BLOW YE THE TRUMPET IN ZION
N. KILBURN.
...
THE SILVER STAR (Female voices)
THE LORD IS MY SHEPHERD (23rd Psalm)
BY THE WATERS OF BABYLON
ALFRED KING.
THE EPIPHANY
...
OLIVER KING.
1/6
08
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1/0
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3/0
Paper
Boards.
Cloth
| G
J. H. MAUNDER.
PENITENCE, PARDON, AND PEACE (SOL-FA, 1,0) 1,6 2/0
J. H. MEE.
HORATIUS (Male voices)
DELPHI, A LEGEND OF HELLAS (Male voices) 1/0
MENDELSSOHN.
ELIJAH (SOL-FA, 1/0)
ELIJAH (POCKET EDITION)
...
1/0
1
BY THE WATERS OF BABYLON (137th Psalm)...
THE NAIADS (Female voices)
THE SANDS O' DEE
...
16
26
10
...
...
...
THE ROMANCE OF THE ROSES
...
...
2,6
J. KINROSS.
J. T. KLEE.
MASS OF ST. DOMINIC
H. LAHEE.
SONGS IN A VINEYARD (Female vv.) (SOL-FA, 0/6) 26
AS THE HART PANTS (42nd Psalm) (Sol-fa, 0,6)
COME, LET US SING (95th Psalm)
WHEN ISRAEL OUT OF EGYPT CAME™
(DITTO, SOL-fa, 0/9)
NOT UNTO US, O LORD (115th Psalm)
ST. PAUL (SOL-FA, 1/0)
...
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2.0 2/6 4:0
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1/0 1/6 2/0
1/0
1/0
1/0
5/0
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1/0
2.0 2/6 4/0
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7
10 1/6 2.0
10 1/6 2/6
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10
1/0
0/4
0001110010
ST. PAUL (Pocket Edition)
HYMN OF PRAISE (Lobgesang) (SOL-FA, 1/0)
LORD, HOW LONG WILT THOU (Sol-fa, 0/4) ...
HEAR MY PRAYER (s. solo and chorus) (SOL-FA, Ú/2)
DITTO
DITTO
LAUDA SION (Praise Jehovah) (SOL-FA, 0/9)
THE FIRST WALPURGIS NIGHT (SOL-FA, 1/0)...
MIDSUMMER NIGHT'S DREAM (Female voices)
ATHALIE (SOL-FA, 1/0)
...
20 2/6 4/0
10 1/6 2/6
1.0
2/0 2/6 4/0
THE SLEEPING BEAUTY (Female vv.) (SOL-FA, 0/6) 2/6
LEONARDO LEO.
DIXIT DOMINUS
...
...
...
1/0 1/6
F. LEONI.
THE GATE OF LIFE
THE FIRST CHRISTMAS MORN
THE LEGEND OF ST. ELIZABETH
THIRTEENTH PSALM
2,0
H. LESLIE.
2.6
...
F. LISZT,
30 3/6 5/0
2,0
...
...
2,0
...
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ANTIGONE (Male voices) (SOL-FA, 1/0)
MAN IS MORTAL (8 voices)
4/0
***
1/0
...
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LORELEY (SOL-FA, 0/6)
FESTGESANG (Hymns of Praise)
DITTO (Male voices)
CHRISTUS (SOL-FA, 0/6)
THREE MOTETS FOR FEMALE VOICES
SON AND STRANGER (Operetta)
CEDIPUS AT COLONOS (Male voices)
TO THE SONS OF ART (Ditto) (SOL-FA, 0/3) 1/0
JUDGE ME, O GOD (43rd Psalm) (SOL-FA, 0 1½)
WHY RAGE FIERCELY THE HEATHEN
MY GOD, WHY, O WHY HAST THOU FOR-
SAKEN ME (22nd Psalm)
SING TO THE LORD (98th Psalm)
...
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88
1/0
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1/0
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1/0
1/0
4/0
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1/0
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3/0
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0/4
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0/6
0/6
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0/8
...
C. H. LLOYD.
ALCESTIS (SOL-FA, 1,6)
ANDROMEDA
3/0
...
...
...
SIX ANTHEMS for the Cathedral at Berlin. For
8 voices, arranged in 4 parts
AVE MARIA (Saviour of Sinners), 8 voices
0/8
...
1/0
...
...
30 3/6 5/0
THE VILLAGE FAIR
HERO AND LEANDER
THE SONG OF BALDER
THE LONGBEARDS' SAGA (Male voices)
THE GLEANERS' HARVEST (Female voices)
A SONG OF JUDGMENT
ROSSALL
SIR OGIE AND THE LADIE ELSIE
A HYMN OF THANKSGIVING
CLEMENT LOCKNANE.
THE ELFIN QUEEN (Female voices)...
W. H. LONGHURST.
HAMISH MACCUNN.
LAY OF THE LAST MINSTREL (SOL-FA, 1/6)
LORD ULLIN'S DAUGHTER (Sol-fa, 0/8)...
G. A. MACFARREN.
SONGS IN A CORNFIELD (Female voices)
(DITTO, SOL-FA, 0/9)
MAY-DAY (Sol-fa, 0,6)
THE SOLDIER'S LEGACY (Operetta)
OUTWARD BOUND
A. C. MACKENZIE.
1 6
...
...
...
1/0
...
1/6
111
2/6
...
2/6 3/0 4/0
20
DITTO
...
...
...
1/6
2,0
R. D. METCALFE AND A. KENNEDY.
PRINCE FERDINAND (Operetta) (SOL-Fa, 0/9)
NINETY-FIRST PSALM (Latin)
(English)
A. MOFFAT.
A CHRISTMAS DREAM (A Cantata for Children)... 16
(DITTO, SOL-FA, 0, 4)
MEYERBEER.
2/0
...
...
...
1/0
1/0
...
...
2/6
B. MOLIQUE.
ABRAHAM
...
...
2/0 2/6
J. A. MOONIE.
A WOODLAND DREAM (SOL-FA, 0.9)
...
2/6 3/0 4/0
1/0
MOZART.
KING THAMOS
...
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1/6
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1/0 1/6 2/6
60
1/0
DITTO
26
REQUIEM MASS
...
...
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THE DREAM OF JUBAL
...
4.0
2/6 3.0 4/0
(DITTO, Choruses only, SOL-FA, 1/0)
THE STORY OF SAYID...
JASON
...
...
...
...
THE BRIDE (SOL-FA, 0/8)...
3/0 3/6 50
2/6 3/0 4/0
1/0
O GOD, WHEN THOU APPEAREST
HAVE MERCY, O LORD ...
GLORY, HONOUR, PRAISE
FIRST MASS (Latin and English)
SEVENTH MASS, IN B FLAT
COMMUNION SERVICE, IN B FLAT, ditto
TWELFTH MASS (Latin)
(Latin and English) (SOL-FA, 09)
DITTO (Latin and English) (SOL-FA, 1/0)...
LITANIA DE VENERABILI ALTARIS (ED)
LITANIA DE VENERABILI SACRAMENTO (B)
SPLENDENTE TE, DEUS
1185
1/6 2/0 3/0
1/6 2/0 3/0
First Motet 0/3
ditto
0/3
Second Motet 0/3
Third Motet 0/3
30 3/6 5/0
2/0
1/0
1/6
...
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...
1/0 1/6 2/6
1/0
1/6
...
...
...
10 1/6 2/6
10 1/6 26
1/0 1/6 2/6
...
1/0 1/6 2/6
...
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THE ROSE OF SHARON (SOL-FA, 2/0)
JUBILEE ODE (SOL-FA, 16)
THE COTTER'S SATURDAY NIGHT (SOL-FA, 1.0) 20
THE NEW COVENANT..
VENI, CREATOR SPIRITUS
BETHLEHEM...
DITTO.
...
Act II., separately
J. B. MCEWEN.
THE VISION OF JACOB
...
...
...
...
1.6
2/0
5/06/0
5/0 6/0 7/6
2/6
JEREMIAH
DE PROFUNDIS
...
2/0
MASS, IN C...
...
...
50 6/07/6
E. MUNDELLA.
...
2/6
11
VICTORY OF SONG (Female voices)
...
DR. JOHN NAYLOR.
JOSEF NEŠVERA.
...
...
E. A. NUNN.
...
1/0
3/0
2/6
1
...
...
2/0
NOVELLO'S OCTAVO EDITION OF ORATORIOS, &c.—Continued.
| Boards
Cloth
| Gilt.
Paper
Cover.
Paper
Boards
Cloth
Gilt.
•
2/0
E. CUTHBERT NUNN.
THE FAIRY SLIPPER (SOL-FA, 0/8)
...
REV. SIR FREDK. OUSELEY.
THE MARTYRDOM OF ST. POLYCARP ...
...
R. P. PAINE.
C. T. REYNOLDS.
CHILDHOOD OF SAMUEL (SOL-FA, 1/0)
Paper
Cover.
L'aper
...
...
2/0
ARTHUR RICHARDS.
PUNCH AND JUDY (Operetta) (SOL-FA, 0,6)...
THE WAXWORK CARNIVAL (SOL-FA, 0,8)
J. V. ROBERTS.
2/6
...
1/0
JONAH
2/6
20
THE GOOD SHEPHERD
2/6
2/6
THE LORD REIGNETH (93rd Psalm)
PALESTRINA.
MISSA ASSUMPTA EST MARIA
MISSA PAPE MARCELLI
MISSA BREVIS
MISSA "O ADMIRABILE COMMERcium”
H. W. PARKER.
HORA NOVISSIMA...
...
...
...
1/0
135
...
...
...
1/6
2,0
...
...
2.0
W. S. ROCKSTRO.
•
...
J. L. ROECKEL.
THE SILVER PENNY (SOL-FA, 0/9)
THE HOURS (Female voices) (SOL-FA, 0,9)
2/6
2/0
2/0
...
EDMUND ROGERS.
3/6
5,0
THE FOREST FLOWER (Female voices)
ROLAND ROGERS.
...
...
2/6
PRAYER AND PRAISE
...
FLORABEL (Female voices) (Sol-fa, 1,0)**
...
...
...
4/0
2/6
THE KOBOLDS
LEGEND OF ST. CHRISTOPHER
...
...
C. H. H. PARRY.
DE PROFUNDIS (130th Psalm)
ODE ON ST. CECILIA'S DAY (SOL-FA, 1/0)
BLEST PAIR OF SIRENS (SOL-FA, 0/8)
...
2/0
...
2/0
...
1/0
THE GLORIES OF OUR BLOOD AND STATE 1/0
PROMETHEUS UNBOUND
...
JUDITH (CHORUSES, SOL-FA, 2/0)...
L'ALLEGRO (SOL-FA, 1/6)
ETON
...
THE LOTUS-EATERS (The Choric Song)
JOB (CHORUSES, SOL-FA, 1/0)
KING SAUL
...
INVOCATION TO MUSIC
...
A SONG OF DARKNESS AND LIGHT
...
...
3/0
...
5/06/07/6
...
2/6
2/0
2/0
2/6
...
...
5/0 6/0 7/6
2.6
...
...
...
...
...
...
1/6
2,0
...
...
DR. JOSEPH PARRY.
NEBUCHADNEZZAR
DITTO,
| |
ROMBERG.
THE LAY OF THE BELL (New Edition, translated
by the Rev. J. Troutbeck, D.D.) (SOL-FA, 0 8)
THE TRANSIENT AND THE ETERNAL
(DITTO, SOL-FA, 0/4)
ROSSINI.
STABAT MATER (SOL-FA, 1/0)
MOSES IN EGYPT ..
...
CHARLES B. RUTENBER.
ED. SACHS.
...
1/0 1/6 2/6
1,0
10 16 2/3
6.0 66 7/3
...
...
2/6
...
1/0
...
2/6
DIVINE LOVE
...
...
...
...
(SOL-FA) ...
...
...
3/04/0
3/0 4/0 5/0
1/6 2/0 2/6
WATER LILIES
3/6
B. PARSONS.
THE CRUSADER
T. M. PATTISON.
MAY DAY
1/6
...
2,0
...
2/6
...
...
2/8
THE MIRACLES OF CHRIST (SOL-FA, 0/9)
THE ANCIENT MARINER
THE LAY OF THE LAST MINSTREL
...
A. L. PEACE.
ST. JOHN THE BAPTIST
A. H. D. PRENDERGAST.
THE SECOND ADVENT...
...
...
...
2/6
...
1/6
...
...
C. SAINTON-DOLBY.
FLORIMEL (Female voices)
CAMILLE SAINT-SAËNS.
THE HEAVENS DECLARE-COELI ENARRANT
(19th Psalm)....
ELYSIUM
...
...
...
W. H. SANGSTER.
•
...
FRANK J. SAWYER.
...
THE STAR IN THE EAST
THE SOUL'S FORGIVENESS...
H. W. SCHARTAU.
CHRISTMAS HOLIDAYS (Female voices)
SCHUBERT.
1/6
...
1/0
2/6
...
...
1,0
0,9
PERGOLESI.
STABAT MATER (Female voices) (Sol-fa, 0/6)
CIRO PINSUTI.
PHANTOMS-FANTASMI NELL' OMBRA
E. PROUT.
DAMON AND PHINTIAS (Male voices)
THE RED CROSS KNIGHT (SOL-FA, 2,0)
THE HUNDREDTH PSALM
FREEDOM
HEREWARD
...
...
QUEEN AIMÉE (Female voices)
DIDO AND ENEAS
PURCELL.
TE DEUM AND JUBILATE, IN D
...
26
...
...
...
4/0 4/6 6/0
10
...
...
...
...
DITTO (Edited by Dr. Bridge) (SOL-FA, 0/6)
ODE ON ST. CECILIA'S DAY
THREE SCENES, from "King Arthur
LADY RAMSAY.
THE BLESSED DAMOZEL
F. J. READ.
THE SONG OF HANNAH
J. F. H. READ.
HAROLD
...
BARTIMEUS
1/0
...
MASS, IN A FLAT
...
...
...
COMMUNION SERVICE, ditto
MASS, IN E FLAT
...
...
...
...
1/0
...
...
...
1/0
40
2/6
COMMUNION SERVICE, ditto
MASS, IN B FLAT ...
COMMUNION SERVICE, ditto
MASS, INC
COMMUNION SERVICE, ditto
MASS, ING
...
...
...
...
3/6
1/0 1/6 2/6
2/0
2.0
2/6 4/0
2.0 2/6
2/6 4/0
1.0 1/6 2/6
2.0
3/6
1.0 1/6 2/6
2,0
3/6
1.0 1/6 2/6
2.0
3/6
1.0 1/6 2/6
...
...
...
...
...
COMMUNION SERVICE, ditto
MASS, IN F (SOL-FA, 0/9)
COMMUNION SERVICE, ditto
SONG OF MIRIAM (SOL-FA, 06)
...
:
...
...
...
...
20
1,0
...
...
...
SCHUMANN.
3/6
...
...
...
2112
2/6
1.0
1/0
THE MINSTREL'S CURSE
THE KING'S SON
...
1/6
1/0
...
2,0
MIGNON'S REQUIEM
1/0
...
1/6
PARADISE AND THE PERI (SOL-FA, 1/6)
PILGRIMAGE OF THE ROSE...
...
2/6 304/0
MANFRED
...
...
...
FAUST
1/0 1/6 2/6
1/0
3,0 3/6 5.0
...
2/6
-
ADVENT HYMN, "IN LOWLY GUISE"
NEW YEAR'S SONG (SOL-FA, 0/6)
THE LUCK OF EDENHALL (Male voices)
...
...
...
1/0
1/0
...
1/6
| | |
...
1/0
H. SCHÜTZ.
4/0
THE PASSION OF OUR LORD
•
1/0
...
1/6
...
2/6
1/6
7.0
BERTRAM LUARD SELBY.
CHORUSES AND INCIDENTAL MUSIC TO
"HELENA IN TROAS”
SUMMER BY THE SEA (Female voices)
THE WAITS OF BREMEN (For Children)
...
3/6
...
1/6
1/6
CARACTACUS...
THE CONSECRATION OF THE BANNER
IN THE FOREST (Male voices)
PSYCHE
400
THE DEATH OF YOUNG ROMILLY
THE HESPERUS (SOL·FA, 0/9)
...
...
...
1/0
50
1/6
1/6
...
...
...
DOUGLAS REDMAN.
COR UNAM, VIA UNA
2/6
(DITTO, SOL-FA, 0/6)
H. R. SHELLEY.
VEXILLA REGIS (The Royal Banners forward go)
2/6
NOVELLO'S OCTAVO EDITION OF ORATORIOS, &c.—Continued.
JOASH
2/6
MASS, IN C
E. SILAS.
COMMUNION Service, in c
...
...
R. SLOMAN.
SUPPLICATION AND PRAISE
L'over.
Paper
||| Boards.
...
1/0
...
1/6
4/0
Cloth
Gilt.
W. TAYLOR.
...
...
A. GORING THOMAS.
...
E. H. THORNE.
ST. JOHN THE BAPTIST
Paper
| Cover.
Boards.
Paper
[30])
| Gilt.
THE SUN-WORSHIPPERS
1/0
CONSTANTIA
2,6
BE MERCIFUL UNTO ME
...
1/0
HENRY SMART.
BERTHOLD TOURS.
KING RENE'S DAUGHTER (Female voices)
THE BRIDE OF DUNKERRON (SOL-FA, 1/6)
J. M. SMIETON.
KING ARTHUR (SOL-FA, 1,0)
ARIADNE (SOL-FA, 0/9)
CONNLA
...
ALICE MARY SMITH.
THE RED KING (Men's voices)...
1/0
THE SONG OF THE LITTLE BALTUNG (ditto) 1,0
(DITTO, SOL-FA, 0/8)
2/6
A FESTIVAL ODE ...
...
...
1/0
2/0 2/6 4/0 THE HOME OF TITANIA (Female voices)
(DITTO, SOL-FA, 0/6)
...
1/6
2/6
2/0
...
...
2/6
FERRIS TOZER.
KING NEPTUNE'S DAUGHTER (Female voices) 2/6
(DITTO, SOL-FA, 0/6)
BALAAM AND BALAK
...
...
P. TSCHAÏKOWSKY.
NATURE AND LOVE
•
...
ODE TO THE NORTH-EAST WIND
ODE TO THE PASSIONS
E. M. SMYTH.
MASS, IN D
A. SOMERVELL.
...
2/6
1/0
...
1/0 1/6 2/6
MASS, IN C MINOR
THE POWER OF SOUND (SOL-FA, 10).
THE FORSAKEN MERMAN
...
THE ENCHANTED PALACE (SOL-FA, 0/9)
THE CHARGE OF THE LIGHT BRIGADE
2/0
(SOL-FA, 0/6)
0/9
...
ELEGY
1/6
ODE TO THE SEA...
10
2/0
...
2/6
2/6
2/0
2212
6900
1,6
ST. CECILIA'S DAY (Sol-fa, 0/9)
CHARLES VINCENT.
THE VILLAGE QUEEN (Female voices) (SOL-FA, 0/6) 2/6
THE LITTLE MERMAID (Female voices)
THE MAGICIAN (Operetta) (SOL-FA, 0/9)
A. L. VINGOE.
W. S. VINNING.
...
2/6
...
2/0
SONG OF THE PASSION (according to St. John)... 1/6
S. P. WADDINGTON.
VAN BREE.
2/0
JOHN GILPIN
...
CHARLTON T. SPEER.
W. M. WAIT.
THE DAY DREAM...
2/0
THE JACKDAW OF RHEIMS ...
...
...
2/0
THE GOOD SAMARITAN
GOD WITH US
...
ST. ANDREW...
SPOHR.
LAST JUDGMENT (SOL-FA, 1/0)
MASS (for 5 solo voices and double choir)
HYMN TO ST. CECILIA ...
CALVARY
FALL OF BABYLON
THE CHRISTIAN'S PRAYER ...
GOD, THOU ART GREAT (SOL-FA, 0/6)
HOW LOVELY ARE THY DWELLINGS FAIR... 08
JEHOVAH, LORD OF HOSTS...
JOHN STAINER.
...
...
2:0
1/0
THE PIED PIPER OF HAMELIN
...
...
2/6 3/0 40
...
...
...
...
3/0 3/6 5 0
10 1/6 2/6
...
...
1/0 1/6 2/6
1.
...
R. H. WALTHEW.
H. W. WAREING.
THE WRECK OF THE HESPERUS
THE COURT OF QUEEN SUMMERGOLD
2/0
...
...
...
...
222
2/0
2/0
2/0
...
...
2/0
...
...
1/6
1/0
1/0
...
...
...
0/4
(SOL-FA, 0/6)
WEBER.
THE CRUCIFIXION (SOL-FA, 0/9)
ST. MARY MAGDALEN (SOL-FA, 1/0)
THE DAUGHTER OF JAIRUS (SOL-fa, 0/9)
...
...
1/6 2/0
2/0 2/6 4/0
...
...
...
1/6 2/0
PRECIOSA
C. VILLIERS STANFORD.
IN CONSTANT ORDER (Hymn)
MASS, IN G (Latin and English)..
MASS, IN E FLAT (Ditto)
COMMUNION SERVICE, IN E FLAT
JUBILEE CANTATA
THREE SEASONS ...
...
...
...
...
...
...
...
...
...
...
...
...
...
...
...
EDEN
...
5/0 6/0 7/6
S. WESLEY.
THE VOYAGE OF MAELDUNE
...
2/6 3/0 4/0
IN EXITU ISRAEL
CARMEN SECULARE
...
...
...
1/6
...
DIXIT DOMINUS
THE REVENGE (SOL-FA, 0:9)
...
...
1/6
GOD IS OUR HOPE (46th Psalm)
2/0
S. S. WESLEY.
CEDIPUS REX (Male voices)
THE EUMENIDES...
MASS, IN G MAJOR
COMMUNION SERVICE, IN G
EAST TO WEST
THE BATTLE OF THE BALTIC
VASCO DA GAMA
...
...
F. R. STATHAM.
...
...
...
H. W. STEWARDSON.
3/0
...
322
3/0
2/6
...
...
2/6
1/6
1/6
2/6
O LORD, THOU ART MY GOD
J. E. WEST.
SEED-TIME AND HARVEST (SOL-FA, 1/0)...
MAY-DAY REVELS (Sol-fa, 0/4)
...
...
...
...
C. LEE WILLIAMS.
THE LAST NIGHT AT BETHANY (Sol-fa, 1/0)
GETHSEMANE
...
A HARVEST SONG OF PRAISE
...
...
...
...
...
1/6
1/0 1/6 2/6
1/0 1/6 2/6
1/6
1/0 1/6
1/0
1/0
0/4
1/0
1/0
2/0
1/6
2/0 2/6
2/0 2/6
1/6
GIDEON
...
BRUCE STEANE.
THE ASCENSION ...
J. STORER.
THE TOURNAMENT
MASS OF OUR LADY OF RANSOM"
E. C. SUCH.
NARCISSUS AND ECHO...
GOD IS OUR REFUGE (46th Psalm)
ARTHUR SULLIVAN.
THE GOLDEN LEGEND (SOL-FA, 2/0)
ODE FOR THE COLONIAL AND INDIAN
EXHIBITION
FESTIVAL TE DEUM
A GREYPORT LEGEND (1797) (Sol-fa, 0/6)**
3/6 4/0 5/0 OLD MAY-DAY (SOL-FA, 0/6)
...
4/0
A. E. WILSHIRE.
GOD IS OUR HOPE (Psalm 46)...
...
2/6 3/0 4/0
THOMAS WINGHAM.
...
...
2/0
2/0
TE DEUM (Latin)
MASS, IN D (Regina Cæli)
CHAS. WOOD.
ODE TO THE WEST WIND
...
...
3/0
1/0
F. C. WOODS.
KING HAROLD (SOL-FA, 0/9)
...
2/0
...
...
***
...
1/6
3/0
...
...
1/0
...
...
1/6
1/0
1/6
...
1/0
1/0 1/6 2/6
E. M. WOOLLEY.
THE CAPTIVE SOUL
...
...
...
...
...
2/6
T. W. SURETTE.
THE EVE OF ST. AGNES
2.0
J. M. W. YOUNG.
THE RETURN OF ISRAEL TO PALESTINE 2/6 3/0
LONDON NOVELLO AND COMPANY, LIMITEd.
...

FULL ORCHESTRAL SCORES
PUBLISHED BY
NOVELLO AND COMPANY, LIMITED.
£ s. d.
...
I
I O
J. BARNBY.
THE LORD IS KING (PSALM 97)
J. FRANCIS BARNETT.
THE ANCIENT MARINER (English and
German words)
ST. PETER
...
...
JULIUS BENEDICT.
...
THE LEGEND OF ST. CECILIA
W. STERNDALE BENNETT.
THE MAY QUEEN ...
F. CORDER.
PROSPERO. Concert-Overture
MICHAEL COSTA.
GOD SAVE THE QUEEN
...
F. H. COWEN.
RUTH
22 0
32
32
о
2 0
2 2 0
...
O 12
о
...
0 2
6
O
12
O
325
3 20
THE DREAM ...
SLEEPING BEAUTY
SYMPHONY, No. 4 (THE WELSH)
ANTON DVOŘÁK.
ST. LUDMILA (English, German, and
Bohemian Words)
THE SPECTRE'S BRIDE. Op. 69. (English,
Bohemian, and German words)
A PATRIOTIC HYMN. Op. 30. (English,
Bohemian, and German words)
STABAT MATER
REQUIEM MASS
...
...
SYMPHONY (No. 4) IN G MAJOR
H. GADSBY.
THE FOREST OF ARDEN.
TROISIÈME MESSE SOLENNELLE
BY BABYLON'S WAVE
O 15
Scene
...
O O O
400
3 30
I I о
5
O
...
3
3
O
I IO O
...
::
2
H & M H
Orchestral
0 7 6
CH. GOUNOD.
MORS ET VITA
JUDEX from ditto
REQUIEM from ditto...
THE REDEMPTION
...
MARCH TO CALVARY from ditto
HANDEL.
2 о
୯୦୩ ୦
A. C. MACKENZIE (continued).
TWELFTH NIGHT. Overture
BENEDICTUS. From Six Pieces for Violin.
Op. 37
...
THE STORY OF SAYID. Op. 34
JASON. Op. 26
...
INTERMEZZO from ditto
THE BRIDE. Op. 25
PRELUDE to COLOMBA. Op. 28
...
BALLET MUSIC and RUSTIC MARCH
(COLOMBA)
...
LA BELLE DAME SANS MERCI. Ballad
for Orchestra. Op. 29
...
RHAPSODIE ECOSSAISE. Op. 21
£ s. d.
O 12 О
O 2 2 OH
о
6
5
О
2 12 6
I
2
7
I
4
O
Ο ΙΟ
6
O
7
о 5
6
...
...
0 5 0
...
I O
4
SECOND SCOTCH RHAPSODY
("BURNS"). Op. 24
ATHALIE.
...
MENDELSSOHN.
Op. 74. (English words)
The Overture
Priests' March...
...
A HYMN OF PRAISE. Op. 52. (English
words)
Ditto
The Symphony
ELIJAH. Op. 70. (English and German words)
ST. PAUL. Op. 36
HEAR MY PRAYER
M. MOODY.
1)
OVERTURE, "DER STERBENDE
KRIEGER'
OVERTURE IN A
"THEMISTOKLES," Overture for a
Military Band
TWELFTH MASS
...
MOZART.
E. MUNDELLA.
VICTORY OF SONG (Female Voices)
5
3
3
О
3
6
...
2 2 О
о
3 3 О
7 6
JOB
THE MESSIAH, with Mozart's Accompani-
ments. Cloth, gilt edges
ACIS AND GALATEA (English and Ger-
man words), with Mozart's Accompani-
ments
...
...
SAMSON, with E. Prout's Additional Accom-
paniments
ISRAEL IN EGYPT. Edited by Mendels-
sohn...
...
HAYDN.
THE CREATION. Cloth, gilt edges
G. HENSCHEL.
THE MUSIC TO HAMLET
STABAT MATER. Op. 53…..
ADOLF JENSEN.
OW N
NW NW W
I I O
...
I II 6
3 3 о
I I O
...
I I O
...
I IO
O
::
THE FEAST OF ADONIS (English and
German words)
...
OLIVER KING.
...
AMONG THE PINES. Concert-Overture.
Op. 36
...
NIGHT. A Symphony in F. Op. 22
C. HARFORD LLOYD.
HERO AND LEANDER
...
...
HAMISH MACCUNN.
2 2 О
0 15 0
...
0 4
Ο ΙΟ
о
6
THE LAND OF THE MOUNTAIN AND
THE FLOOD. Concert-Overture
G. A. MACFARREN.
MAY-DAY. A Cantata
I I O
C. H. H. PARRY.
BLEST PAIR OF SIRENS
SYMPHONIC VARIATIONS
E. PROUT.
SYMPHONY IN F (No. 3, Op. 22)
C. SAINT-SAËNS.
O
O
2
I I
о
7 6
нон
но
155N H
0 6
O
O O O
5 0
...
050
0 15 0
...
050
7
6
72
O N
2
...
Ο ΙΟ Ο
...
I
50
THE HEAVENS DECLARE (Latin and
English words)
FESTIVAL OVERTURE
W. H. SPEER.
SPOHR.
I 5 0
...
0 8 0
THE LAST JUDGMENT (English and
German words)
Ditto
Ditto
...
The Overture
...
The Second Overture..
GOD, THOU ART GREAT (English and
German words)
...
...
...
I II 6
O
5 O
5
ноо
IN IN
Ο ΙΟ 6
2 2 о
O CI
I
Ι Ο
CALVARY (English and German words)
C. V. STANFORD.
THE REVENGE. Op. 24
IRISH SYMPHONY IN F MINOR. Op. 28 I IO
PRELUDE to the Epidus Rex of Sophocles o 6
SUITE for Violin Solo and Orchestra
SYMPHONY (No. 4) IN F. Op. 31
OVERTURE DI BALLO
IN MEMORIAM.
TE DEUM
...
Ο ΙΟ
O IO 6
I I O
A. C. MACKENZIE.
...
3 3 O
CONCERTO FOR THE VIOLIN. Op. 32
Ι Ι (
ROSE OF SHARON. Op. 30
A. SULLIVAN.
...
Overture
...
THE GOLDEN LEGEND
MUSIC TO "THE TEMPEST"
TSCHAÏKOWSKY.
PIANOFORTE CONCERTO, No. 3
MARCHE SOLENNELLE...
MARCHE MILITAIRE (Military Band)
LONDON: NOVELLO AND COMPANY, LIMITED.
...
I I О
...
I IO
O 12
4
0 15
о
O
5
I
2 12 6
Ι ΙΟ
O 15
O
7
6
...
о
4 0
ORCHESTRAL ACCOMPANIMENTS
ARRANGED FOR
HARMONIUM & PIANOFORTE.
To obviate the difficulty experienced by such country Choral Societies as are unable
to procure the assistance of an orchestra for the performance of complete works, Messrs.
Novello and Company, Limited, are publishing arrangements of the Orchestral Accom-
paniments of many popular works for Pianoforte and Harmonium.
For the convenience of performers the parts for the two instruments are printed
together, and two copies are therefore necessary for performance.
REBEKAH-J. Barnby...
MAY QUEEN-Bennett
CRUSADERS-N. W. Gade
REDEMPTION-Ch. Gounod
MORS ET VITA-Ch. Gounod
GALLIA-Ch. Gounod
THE MESSIAH-Handel
THE CREATION-Haydn
MAY-DAY-G. A. Macfarren
ATHALIE-Mendelssohn
ELIJAH-Mendelssohn
LAUDA SION-Mendelssohn
S. d.
Arrd. by KING HALL
5 0
""
J. LEMMENS
7 6
J. W. ELLIOTT
7 6
10 6
....
11
....
;)
""
""
....
,,
HEAR MY PRAYER-Mendelssohn
HYMN OF PRAISE-Mendelssohn
FIRST MASS-Mozart....
TWELFTH MASS-Mozart
STABAT MATER-Rossini
KING HALL 10 6
T. E. AYLWARD 2 6
KING HALL 10 6
WINDEYER CLARK 10 6
""
J. W. ELLIOTT 7 6
E. PROUT 10 6
WINDEYER CLARK 5 0
50
50
99
MYLES B. FOSTER 2 0
""
29
J. W. ELLIOTT
7 6
WINDEYER CLARK
5 0
50
76
""
99
,,
J. LEMMENS
60
GOD, THOU ART GREAT-Spohr
KING HALL
26
""
LAST JUDGMENT-Spohr
CALVARY-Spohr
DAUGHTER OF JAIRUS-J. Stainer,,
THE ROSE OF SHARON—A. C. Mackenzie
Arrd. by KING HALL 10 6
ST. MARY MAGDALEN—J. Stainer
THE RED CROSS KNIGHT-Prout
JOAN OF ARC—A. R. Gaul
W. HODGE 7 6
76
""
22
J. W. ELLIOTT 10 6
7 6
22
7 6
7 6
27
W. HODGE 50
LONDON: NOVELLO AND COMPANY, LIMITED.
To renew the charge, book must be brought to the desk.
Three
F WEEK BOOK
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RECO

Cherubini, L
A treatise on counter-
Music
MT
55
point
.C523
1884
fugue