Music
Lib.
MT
55
B764C
bo UNTER POINT
J.FREDERICK BRiDGE
THE LIBRARY
OF
THE UNIVERSITY
OF CALIFORNIA
LOS ANGELES
GIFT
MUSIC
'-IBRARY
COUNTERPOINT
BY
J. FREDERICK BRIDGE
MUS. DOC, OXON.
ORGAN'ST AND MASTER OP THE CHORISTERS OF WESTMINSTER ABKEV; PROFESSOR O
HAlIMONY AND COUNTERPOINT AT THE ROYAL COLLEGE OF MUSIC; EXAMINER
IN MUSIC FOR THE UNIVERSITIES OP OXFORD, CAMBRIDGE, LONDON, DURHAM;
AND THE VICTOKIA UNIVERSITY; GRESHAM PROFESSOR OP MUSIC.
1.25
OLIVER DITSON COMPANY
THEODORE PRESSER CO.. DISTRIBUTORS
BRYN MAWR, PENNSYLVANIA
MADE IN U.S.A.
4-437 _ 40001
My best thanks are due to Sir John Goss, for kindly
allowing me to insert several examples, written in
1864, when I was receiving instruction from him iu
counterpoint ; to H. Keeton, Esq., Mus. Doc, Organis*
of Peterborough Cathedral, for Examples 121, 123.
127 ; and to James Higgs, Esq., Mus. Bac, Hon. Sec.
of the Musical Association, for oiany valuable sug-
gestions
J. F. B.
The Cloisters,
Westminster Ab«e\',,
MarJi, 1878.
Music
Libmry
INTRODUCTORY OBSERVATIONS.
TnK rirst attempts at combining parts to be performed simul-
taneously, about which anything definite is known, resulted in
what was called DIaplioiiy or Organiim^ the part to be accom-
panied (corresponding to our ^iubject or canto termo) being
termed Principalis, and the accompaniment, Oyganalis. This
accompaniment consisted of fourths, fifths, and octaves, some
one of these intervals being continued throughout, cither above
or below, and sometimes botli above and below, the principalis.
Various innovations on these crude forms, both as regards
intervals and motion, were made from time to time, developing
about the end of the eleventh centurv into what was termetl
Descant. This was a great step forward, for while diaphony was
generally " note against note" — tlie organalis moving through-
out in similar motion, and at the same interval (/.r. in fourths,
fifths, or octaves) — in descant, notes of various value, contrary
motion, and even accidentals were used. The principalis was
now termed the tennr{{xo\\\ teneo., •' I hold ") , this part as it were
holding the subject and controlling the descant, as the organalis
was now termed. Tliis was added accordinof to numerous
rules depcjiding upon the progression of the tenor. Descant
in its turn gave way to Counterpoint (see Definitions), the woid
contrapunctum instead of descant being first used by a celebrated
musical theorist of the fourteenth centurv, Jean de Muris.
The term and functions of the tenor in like manner were
supplanted by the Canto Prrnm. This frc(iuentlv consisted of
some fragment of ecclesiastical music, hence it \vas called the
'• plain song," although secular themes were sometimes adopted
as Canti Fermi even of music for the Church. Counterpoint
was written in the old Churcli modes, and its laws, constantly
improving as they were, governed tlie art of musical composition
up to nearlv tiie end of the sixteenth century. From this tinje
rapid strides in the direction of modern tonality were made, and
counterpoint iiaving ])ccoine ch^selv associated with artificial
devices, a new art gradti.iIK s])rang up by which a melody could
be accompanied without special reference to the inter-relation of
the parts. Tliis was called Harmony^ of the development of
4 INTRODUCTORY OBSKRV'A TION'S.
which we are not, of course, treating. In England and in some
other countries it became customary to teach harmony o)dy^ or at
♦aiy rate before counterpoint. To a certain extent a reaction
has set in, and many eminent musicians* now urge that counter-
point should be taught with, and made the basis of, harmony.
The author lias, however, in conformity with the more usual
method of teaching, presupposed some slight knowledge of
harmoriv ; and with this view he has ventured to use, without
strictly dehning them, a few technical terms familiar to those
who have thus studied.
There is no doubt that the stud}' of counterpoint is most bene-
ficial, exercising the powers in many directions not altogether
covered by the study of harmony, particularly in the important
matter of part-writing. It will be seen that the essence of
counterpoint lies in the eq7ial interest which should belong to
each part added to the canto fermo. This should be speciallv
kept in mind in note against note and florid counterpoint, which
are, after all. the species ot most artistic value, since the others,
though most useful as ste})s between the elementary form of
note against note and the developed form of florid, are in them-
selves of less value as music. Our feeling for modern tonality
need not necessarily be violated, since canti fermi free from
ambiguity of key can be chosen. This point has been kept in
view in writing the examples in the following pages, and the
author trusts this will be accepted as his apology for using,
for the most part, original examples, instead of inserting the
well-known ones of Fux and other writers. It has been his
desire to reconcile the spirit of ancient counterpoint with the
feeling for modern tonality, and "to put before students exam23les
which they ma\ readilv understand and imitate.
*" The modern student should master the laws of counterpoint, and so
approach the fundamental or massive harmonic school by the path of history."
— Six Lectures on Harmony, by G. A. Macfarren, p. 35.
DEFINITIONS.
Canto Fermo. — A short diatonic passage, generally of whole
notes, used as a subject for contrapuntal treatment. (See Intro-
ductory Observations.)
Although, following the usual custom, tlic whole note has been chosen as
the notation for the canti lernii in all the examples illustrating this work, it is
of course open to the student to use a note of any le ), but this
progression is hardly admissible in two-part counterpoint.
Ex.3.
6. The key-note and its fifth when preceded by the harmony
of the subdominant, and also the dominant and its fifth when
preceded by the harmony of the kev-nnte, are aniongthe some-
what less objectionable hidden consecutives.
7. The following example from Fux contains progressions
which may perhaps be explained as above, lie gives it (and
others have since adopted it) as a coiTect piece of four-part
counterpoint.
8. The descent of a fourth by the bass, and the notes common
to the two chords in each of the above cases, also probably
account for the comparatively un(>l)jectional)le character of the
hidden consecutives.
9. It is better, however, to adhere to the rule forbidding hidden
consecutives as strictly as possible in two-part counterpoint.
Proceeding by skip to an octave or unison, even in contrary motion when
rhe lower part ascended one degree, was forbidden by the older contrapuntists,
Fux, Albrechtsberger, etc. There seems, however, little to be said in support
of such a rule, and Cherubini does not mention it.
10. Except in the first and last measures the octave and unison
should be sparingly used, and the imperfect concords (thirds
and sixths) should be employed in preference to the perfect
concords (fifths and eighths).
11. We must avoid the monotony of having more than three
thirds or sixths in succession, and these should be, if possible,
alternately major and minor. Two successive major thirds should
be avoided, unless taken by the step of a minor second, as in
FIRST SPECIES IN TWO PARTS. 9
the minor key when the major third on the dominant is pre-
ceded or followed hy tliat on the sixth note (Ex.5, **' ^) • Some
writers allow these major thirds if taken by the step of a perfect
fourth, but it gives rise to an objectionable point, viz. the lower
part proceeding to a higher note in the second chord than the
note belonging to tlie upper part in the first chord (Ex. 5, c).
Ex. 5.
12. The skip of an augmented fourth (tritone) is not only
strictly forbidden, but the existence of this interval between the
notes t^f dilibrent parts, in two successive chords, is also to be
avoided. It occurs naturally, and in its most oljcctionable form
when tlie major thinls of tlie dominant and subdominant succeed
each other (Ex. 6. a, l>). It is almost equally d-isagreeable to
the ear when one of these notes bears a perfect fifth, instead of
a third (Ex. 6. c, -
r\
zasz
— tS>-
uzzs:
1^,
-«>-
g=E^^^^ ^^P^^
r^ 1 i'lv
/M? r^^
r2
SIMPLE COUNTERPOINT.
ZS21
-^'-
=fe
_e^:
Ex. 1 6.
--
JtS2=
:^EES
(S*-
"CP-
-1=2—
"C-
:=S
IS-
I^
"C?"
Jt22:
-ntrary motion in the counterpoint.
Ex, 20. This canto fermo begins on the dominant. If the
counterpoint were placed above, it would begin on G or D.
With the counterpoint below, it is possible in this case to com-
mence ivith a Jifth. r.ot withstanding par. 2, which refers to Canti
Fermi beginning (as is usual) on tiie tonic.
The student should write similar examples in each species on some of the
canti fermi given on page 86. In doing this he should use such clefs as will
bring the parts tolerably near together. He is also earnestly advised to write
his exercises in open score, i.e. giving a separate line to each part. The pro
gression of the individual parts — such an important consideration in counter-
point — will thus be readily seen.
CHAPTER ri.
SECOiVD SPECIES IN TWO PARTS : TWO NOTES TO ONE.
27. Two notes are here written ni the counterpoint to ever>
note of the canto fermo. witli tiie exception of the first anel last.
The counterpoint usually begins on the second beat of the nrst
measure, being preceded b}- a half-measure's rest. In the last
measure the counterpoint has a note of equal value with the
canto fermo.
28. The first note of the counterpoint must be a perfect con-
cord^ and thejRrst note of evei'y following measure either a per-
fect or imperfect concord.
39. The second note in each measure may be a concord or a
discord. If the latter (which is advisable) we must move to
and from it by conjunct degrees, i.e. without skip, it being
merely a passing note from concord to concord.
30. Occasionally in the carrying out of a sequence, or to
secure a flowing counterpoint, a discord may appear at the first
part of a measure. In such a case (which should be rare) the
notes immediately preceding and following the said discord
should be consonant.
31. The immediate repetition of a note is forbidden in this and
all species except the first (note against note).
32. The unison is still to be avoided except at the first and last
measures, tliough it may be used occasionally at the second part
of the measure.
33. Similar perfect concords {i.e. two fifths or octaves) on
the accented beats of successive measures should not be used,^
the efi'ect of consecutives being too apparent. Even on suc-
cessive miaccented beats the use of these combinations is not
recommended. Some authors oermit the former if the inter-
mediate notes are taken by a skip greater than a third, and
the latter if the notes in question have the character of passing
notes, but it is seldom possible to entirely obviate the bad effect
of consecutives.
34. The parts may occasionally cross at the unaccented part of
the measure in this and the other species of counterpoint yet to
be explained.
35. The following are the cadences when the canto fermo falls
to the final bv a whole tone : —
(14)
SECOND SPBCIKS IN TWO PARTS.
«5
i
Ex. 31.
a
3
— c?
22:
22:
22:
■^?-
-^^
T
The cadence at Ex. 21, <-, involves a skip of a diminished fifth, and is not so
frequently used as those at a and b. If the canto fermo approaches the final
from some other note than the supertonic (see Ex. 9) a suitable cadence will
of coarse have to be made.
36. In this and the following species the student will do weii
to avoid three successive skips, even of a third, in the same
direction ; and the frequent use of the three notes of a triad in
succession, without change of harmony, is not recommended.
37. In triple time this species has three notes to one. the canto
fermo being dotted. The second and third notes in each measure
may be either consonant or dissonant.
Ex. 22.
'f--
^1
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:zc2zzd
C.F.
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7^
g^P^=^=F=^
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-(S^
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m^^m
1
T=t:-
uw^^^^m^i^
I6
bIMPLE COUNTERPOINT.
Ex. 24.
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122:
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'f ^ ^ — I
--
— ■S'—
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-(S--
-(S?-
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it::
4==^
=f=2zz:^-
«S— rr-^ ^-
?2:
g
Ex. 26.
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^_ ___ ^
2^
^U fg^-J-g ^
^
-. — <^-
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=^§
SKeovn SPECIES ix two parts.
»7
^^mm
=l^=t=
EEE^Ei
-s^
Stl^
■^-
q:
*==i:
$ct^EE^3
-(2-
Ex. 27.
•— iS^
t^^
rrt=^r:
fe
-iS-
""C"
^__(S -J^^ —
-J-f
I — — r — '^'
i^S^:
:?2:
tt=i^
^-3=)r:— -
sc
Ex. 28.
I
:z2LLn
-^a «■
1^1
ti
SIMPLE COUNTERPOINT.
Ex. 29.
W^
"C?"
P
42— !S-
4=:
-^— <&-
;Jfff^
f=EFj=^:SEfe«e
t=r
Observations on Ex. 22 to
29.
Wide skips are avoided, even the minor sixth being seldom
used. At a in Ex. 22 it is rendered necessary by the leap of a
fifth in the canto fermo. The skip of an octave (see Ex. 27 and
29) is not only unobjectionable but frequently gives great vigor
to the counterpoint.
Ex. 28 and 29 are specimens of this species ^ith three lotes
to one.
CHAPTER ITI.
THIRD SPECIES IN TWO PARTS: FOUR NOTES TO ONE.
38. Four notes are here written in the counterpoint to every
one of the canto fermo with the exception of the first and last.
The first measure of the counterpoint usually commences with a
quarter rest ; the last measure must contain a note of equal value
with the canto fermo.
39. A? in the second species, the first note of the counterpoint
must be a perfect concord, and the first note of everv foUowin*'-
mcusure (with the license allowed in par. 30) either a perfect or
imperfect concord, the latter being preferred. The remaining
notes may be either consonant or dissonant, the latter being ap-
proached and quitted by conjunct degrees. When consistent
with good flowing counterpoint, the third note in each measure
should be a concord. This rule may, however, be freely disre-
garded for the sake of a melodious progression.
It is necessary to warn the student that a note may be consonant with the
canto fermo, and yet, by reason of the implied harmony, must be treated as a
discord, i.e, " approached and quitted by conjunct degrees." Thus in Ex. 30,
first measure, the i.r.plied harmony is a f on C. The last quarter-note, A, be-
ing therefore dissonant, is wrongly quitted. Two different chords may of
course be taken in every measure in this species; but when this is the case the
second chord must appear upon the second or third quarter-note, and not (as is
the case in Ex. 30) upon the fourth.
Ex. 30.
)
m^k^0M
-^ i-^-^
^
40. Skips should be avoided as much as possible, because of
the small value of the notes of the counterpoint.
41. Particular care should be taken, after the use of three or
four notes alphabetically, to avoid a skip, even of a third, in the
same direction, more cspcciallv to an accented note. The melody
will gain much by making the skip at the begimiing of the passage.
42. 'I'hc unison may be more freely used in this and tlie other
species yet to be explained. Care should lie taken to use it only
at tlie weak part of the measure, and not at the accent.
43. Similar perfect concords should not appear upon the
accented notes of successive measures, nor upon the third quarter-
note of one measure and the fir.st of the next. Thcv are not so
(IV)
30
SIMPLi: COUNTERPOIXT.
objectionable upon unaccented notes, unless these are the highesi
(it" the counterpoint be above) or the lowest (if the counterpoint
be below) in two successive measures.
44. The skip of an augmented fourth, or tritone, is of course
to be avoided, nor slioidd the notes forming this intenal appear
as the first and third quarter-notes in a measure, or as the third in
one measure and the tirst in the next, nor as the first and last notes
of an ascending or descending passage (Ex. 31 , «-, />, c. d) . If the
passages at c and c/ were parts of a longer series, so that the notes
forming the tritone were i^ot at the beginning and end (and
therefore not so prominent) there would be no objection to them.
Ex.31.
-i
tM^{
45. Many of the older contrapuntists allowed what are called
'■• changing notes." i.e. a skip from a discord on the second, and
sometimes the fourth, quarter-note of a measure, to a concord.
Cherubini and others object to this ••• license," but the judicious
use of certain changing notes often gives great spirit to this
species. The following are the most effective forms — those at a
and o being particularly valuable at the cadence.
Ex. 32.
a
4^=i:
"s:?"
^-d:
■^-
t-h-
1^:
m-
p"
F^F
46. It will be observed in the above examples that the skip is
not always made to a concord {d, r, d) ; and, in fact^ to speak
correctly, the thirtl note in every measure of Ex. 32 is dissonant,
theimpiied harmony at a lieing a sixth on D. (See note to par. 39.)
47. There are nimierous cadences, depending of course upon
the position and conclusion of the canto fermo. The following
are some of the best : —
Ex.33.
$m
:~7g~'
i--=i=-
-r::'-
JZ^z
I
^*^^
w
^
^\
The examples at a and b are of course somewhat rare, the former containing
the skip of a diminished fifth, the latter (in which the canto fermo rises to the
final) a changing note.
THIUn SPECIES IX TWO PARTS.
ai
48. i^ix or ciglit notes arc sometimes written against one.
The rules given above sliouUi be observed in attempting this
counterpoint, which is merely a development of the one we have
just been considering.
Kx. 34.
*-=1:
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;3^T^^i^5l
rr
1
C. Fz
TSr
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.
tt==^
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11
r;. F-
1= :--p ■
P"^^?1^e£.? L-
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Fh4=4=-
gg!^
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13
i
P^
.t
l^-fJE^^:i:^^^^-pP^^l
22
SIMPLE COUNTERPOINT.
Ex. 36.
^^i^sia^t
4.
:^_E^"3
Se^^eS^^i^^
:jt:
fe
-«:2_
S
C.F.
5
T::^=
*z^
:p=^-
?^^^
:i^=p:
t=t:^=t
-Ci.
i
lb
PE^='Hg
:±==t
^ ^
:»at
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.£U.
iQ_
--
Ex. 37.
m
"C"
I^ZZ^
?^=^
=t^
e^
^3^s^=r^r:^
=-r|=::
i
-«&-
122:
-«— r.
^~*-
t=E
#^->*-»-^-F =^-^~^= r-i
i:-=fz=t:
-ST"
(^^g^^ifci^llgii
TIIIKD SPECIES IN TWO PARTS.
n
Ex. 38.
flS
2^^
qM=i.:
3§3e^^P*|^^
a F.
^^eeS^
^
itizt
^-fc
-is..
^5-
^1:
r^=^^
:=i"==t==i=i3=i=*^t_#±zi:l
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1
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I
g^£^i^^fe^^&?^
1^
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;^
?:3^-
d— *.— *- :p:;^(*3=(?:_^— *:
??izf=il==F.EE=t=:zE:nE=t::
2a simple countenpoint.
Observations on Ex. 34 to 39.
Ex. 34. Imperfect concords are used at the beg^inning of every
measure except the first and hist.
Ex. 35. The implied harmony in the thirteenth measure being
a 3 on D, the first note of the counterpoint in that measure is
of course dissonant. Par. 30 will explain its appearance here.
Ex. 36. The first four measures are answered eftectively bv
measures 5 to 8. The key is well marked at the earlier part of
the example, and a modulation to the relative major is made at
the fourth measure. The cadence is formed by the aid of the
changing note.
Ex. 38 and 30 have six notes to one, the parts crossing at
the seventli measure of the former.
CHAPTER IV.
FOURTH SPECIES IN TWO PARTS: SYNCOPATION.
49. Two notes are liere written in the counterpoint to everv
one of the canto fermo with the exception of the first and last.
The first measure of the counterpoint should commence with a
iialf-measure's rest, the last measure should contain a note of
equal value with the canto fermo.
50. As in the preceding species, the first note of the counter-
point must be a perfect concord, and the second note of each
following measure must be a c(jncord either perfect or imperfect.
These concords arc svncojjated or suspended into the following
measure. The first note of each measure is thus generally tied
to the second note of t)ie preceding measure, and may be, and in
fact as often as possible should be, a discord. This prepared
discord must rcsoKe bv falling one degree, the note to which it
falls being a conconl. Sliould the syncopated note, however, be
a concord. \ve ma\ of course move from it by skip.
51. The dissonances of the fomth, seventh, ami ninth (not the
second) may be used abo\ c the canto fermo, the seventh being
])referred in two-part coiuiterpoint. The second and fourth may
be used below the canto fermo. the second being preferred.
^2. There are cases u hen a perfect fifth nnist be treated as a
discord, viz. when it is clearly a " retardation " of a sixth. It
w ill resolve by ascending one degree (Ex. 40, a).
Ill the retardation of a sixth in a minor key an augmented fifth is occasionally
used, but this is rare (Ex. 40, t).
Ill n Minor.
I'.x. 40. a . J
-^'
■^r
53. The diminished fifth may be used as a suspension, the
resolution being deferred for one note, and the syncopation
interrupted, the counterpoint lieing then in the second spi-cies.
26
SIMPLE COUNTERPOINT.
Ex. 41.
^^^^W^mt'-$E
_ etc.
■^w.-?5-
^ ^
w
— =^-"
:etc.
54. The interpolation of the second species is often most
useful in other places besides when following a diminished fifth
as above, helping us to avoid tiresome repetitions. The inter-
ruption of the syncopation should not exceed two half notes.
55. Passages which would be incorrect without suspensidns
are equally incorrect with them. The following progressions
are bad, being only disguised consecutives ; that at a, without
the syncopation, would be a •' hidden " fifth, and must be avoided
in two-part : —
^^
a
— iS>-
-fS IZZ
zasi
e^-
^^^
:^2:
-<&-
r
56. The best cadences are-
Ex. 43.
m
-j^
^JEF
1221
--•
58. Some authors recommend the combination of the second
and fourth species, instead of treating them separately. This is
of course merelv a development of par. 54. For a specimen, see
Ex. 46.
FOURTH SPECIES IN TWO I'AKIS.
27
Ex. 45,
^C.F.
-zzr
i
:?2:
'-^2=Gr-
?=:
^=t
3z;
-^-
t.-=n
122:
i
•— «3-
"gSJ-
Ex. 46.
'C.F
-o-
^^J^' tfi* y^l-^ '^^
=1-F^
?=:
^
:3:^
=i^
-G>-
•— (©-
•JIT-
--
t=tt=±z±t=}z=d
^ C.F.^^
-Z=7-
-iS»-
22:
I
2='"
-.SI-
i
;,-jE
:22Tr22-
P^=(^
-tSi-
£
^^
:<=2'-
z^
3
-(S"-
lis
XI2S:
i
■-
—
~-
:t=tt:
^51 s*-
H -, incor-
ct, as may be seen by referring^ to Ex. 14, which is E\. 47
re
without the syncopations. The student is advised to be sparine;
in his use of such Hfths, at least in two-part counterpoint.
Ex. 51. A specimen in triple time, the cadence by the aid of an
ornamental resolution. The canto fermo begins on the dominant.
Ex. 5z. The E tlat in measure 5 avoids the tritone which would
have existed between E natural and the following; H Hat, and in-
troduces a satisfactory modulation t(j the subdominant. In meas-
ure 9 the diminished fifth is used, the resolution beintj deferred.
CHAPTER V.
FIFTH SPECIES IN TWO PARTS : FLORin COUNTERPOINT.
59. This is a mixture of the various kinds of counterpoint
explained. In addition to the notes already employed, eighth-
notes are admitted, which should succeed each other, and also be
approached and quitted, diatonically, and by conjunct move-
ment. More than two eighth-notes are rarelv used in one meas-
ure, though occasionally four may be met with. They should
always occur at the second or fourth divisions of the measure
(z*. e. the unaccented portions), and four eighth-notes should
never be taken in succession. As in the other species in two
parts, the counterpoint commences after a quarter or half-rest.
The first note of the counterpoint must be a perfect concord.
60. The counterpoint must be as vigorous and melodious as
possible. To insure sufficient variety it will be well not to use
one species for more than two successive measures ; and the first
species should be used onlv at the last measure. The above rule
does not apply to the fourth species, provided that we avail our-
selves of the ornamental resolutions. Various examples of these
are given below, and their judicious use will add greatly to the
effect of florid counterpoint. Most of them may of course be
inverted.
Ex. 53. a
The resolutions at (7, b may be used in triple time, thus : —
Ex. 54-
(3°)
-Y
and
^^ ..—I f=s
w — ^
?^ — ^ Z
etc
FIFTH SPECIES IN TWO PARTS.
3«
6i . It will be seen that by the use of the ornamental resolutions
a half-note is often tied to a quarter-note (Ex. 55, a) . Care must
he taken that the first of tlie tied notes is not of less value than the
second. For instance a quarter-note should not in this way pre-
cede a half-note, c : two cjuarter-notes should rarely be tied, 6.
Ex.55. I
!— S?-
S^
^
?z;
:c:
123"
62. It will greatly conduce to the vigor and flow of the coun-
terpoint if all half-notes at the second half of the measure be tied
to the first note of the following measure. This should, in fact,
always be the case if the half-note has been immediately preceded
by quarter-notes or eighlh-notes. This rule cannot of course be
applied to the last measure but one, as the last note of the coun-
terpoint must be of equal value with the last note of the canto
fermo.
63. The best cadences are those used in tlie fourtli species,
with or without ornamental resolutions. Others, particularly
those employed in the third species, are occasionally used.
Ex. 56.
r&-'-— (S*-
:i^rzd=j:
^^p
IKZIiZ
f 7 (p I"..
•t= t=-
-^5>'
:!=zE:Liiit=:=*-3
n 3
'7 n
T. F-
i— s*—
:i=--r
'- -s--
m
• t '/
J I iJ
C122:
'C?"
I
=]-
.1?-
'; i ^
-S>-
:p
_u .,s,.
-25'-
-«^ ■ -ry
I
33
SIMPI.E COUXTKRPOIXT.
I
Ex. 57.
I
w^-^'-'-
■(=i-^0—^- «-rzpPz:^-_-:^_- '
10
q^i2^
b-s-
g=£E^
r . "
r—
1 1
"1
*-•■-
r--
— ■•-
1
Ex. 58.
X
:^_:
'S^-J
i*
:^2i
:t=t=:
--
^3
C.i^.
i*
3E^E^i^t^
-#-i — ^—0-
S^T^[^ I
i '/ b
g
.^ — r-^
ei
FIFTH SPECI£:i IN IWO PARTS.
33
(
Ex. 59.
-^
I
C. F.
(fe
- g> I g?
1=^
St
22:
^
;-^ Gh
^i^
^i f ^f- r , "^
# «c
p^j^f^j
Ex. 60.
I
J3:
h2:
'^E<^^^^
-s>-
-^t-o-
0-^
221
^=P^
i
3:
zasL
I
C. i^'.
fe_^^£fef
:-::J=J:
^di3Si|-i
i
I
y
C7"
M
SIMPLE COUXTERPOINT.
Ex. 6 1
^:
:^:
:^:
-iS"-
1
122
11
OB.SERVA^ lOXS ON Ex. 56 TO 61.
Ex. c;6. In measure 2 the leading-note lises a fourth, efiec-
tivcly avoiding a cadence so early in the exercise. In meas-
ures 5 and 12 ornamental resolutions are introduced.
Ex. 57. In measure 2 the leading-note does not rise, :n order
to avoid a unison on the accented beat of measure 3. The mod-
ulation to C minor in measures 9, 10, 11 is perhaps somewhat
late in the example.
Ex. <^g. Four eighth-notes are introduced in measure 3, and
the ornamental resolution at the cadence to carry out a sequence.
Ex. 60. A specimen in triple time. The parts cross in meas-
ures 7 and 9.
Ex. 62*
:dz-^:
^— +
^w~^-
tt
3=^
--
w—^
qf-__,_:^ -f-_.^_-f-_ ^_^^_^^,ft
^^^gH^I^
1=::
(
xnz
-I
r^sj"
"s?""
1
.'S'-r^-^
d-e
-S"-
^zP±^
Ex. O5.
'C.F.-
s>-
—fs-
ici:
-(Si — r^S>
v~
It:
gi^:
_^:
:^2=|i:
-i-
1^--^ F
--
(
ISSZ
•— (S-
\
rati?;
i^i
CHAPTER VT.
FIRST SPECIES IN THREE TAR IS : NOTE AGAINST NOTE.
64. Three-part counterpoint includes the same species, and,
generally speaking, is bound by the same rules, as two-part
counterpoint.* The additional part in this and the other species
is composed of notes of equal value with those of the canto
fermo.
65. The chords used arc the triad (major and minor, not
diminished) and its first inversion, the chord of the sixth. It is
not always easy to use a complete chord (though this shoidd be
done when possible), and then one or other of the intervals
should be doubled, avoiding the doubled major third and doubled
leading-note. It is also well to avoid having two sixths or even
two minor thirds in the same chord, but this rule may be fre-
quently disregarded for the sake of a flowing counterpoint. Al-
though the diminished triad is not available, its first inversion,
the ciiord of the sixth on the supertonic, may be used freely.
66. It should be observed that three difcroit notes must be
used in every chord except in the first and last measures, the
only places where the unison may be used in this species.
67. The first measure should contain a triad, complete or in-
complete, but if the third be wanting, it will be better to omit
the fifth also, the counterpoint being then in unison or octave.
68. Tlie presence of a third part causes the rules rcs])ccting
hidden consecutives to be less stringent, })arlicularly as regards
the inner and one of tlie extreme parts, between which similar
motion to the fifth or octave is frecjuently necessary to secure a
smocjth and, in other respects, correct progression. 'Jhc upper
part of the two in question should, if possible, move conjunctly,
the third part being either stationary or moving by contrary
♦ Indeed it mav be said that the rules of two-part remain in force in a prc;il
mrasurc as regards the < xtrcme (j>. the cutside) parts of ,i/i simple count' r
point : the student will do well to bear this in mind
^ (17)
38
SIMPLE COUNTERPOINT.
motion (Ex. 66, a). All the parts should rarely move in the
same direction (Ex. 66,3).
Ex. 66.
W:
f=g-.
221
-iSf-— '
l:52:
69. Although, as has heen said on page 37, " the rules of two-
part remain in force in a great measure as regards the extreme
parts of all simple counterpoint," the relaxation of the rule as to
hidden octaves is most useful at the cadence when the canto
fermo is in the upper part (Ex. 67).
Ex. 67.
C,F.
70. Hidden fifths between the extreme parts are seldom neces-
sary or advisable in less than four parts.
71. The parts must be kept as equidistant as possible, and
may cross occasionally if required.
73. The cadences are as in Ex. 68 ; those at b and c may be
used in the course of the counterpoint. The first of the two
chords forming the cadence should be complete, and the .second
may be in unison or octave. If the third was used in the final
chord of an example in the minor key it was formerly always
made major ; this is not now imperative, but is sometimes
effective.
Ex.68
Q.F.c
In a minor kev.
C. F.
C.F.
FIRST SPECIES IX THREE I'AKTS.
39
Ex. 69.
» »
tr
-^
:iz2:
I — — r
32:
■ZS21
-<&-
f^
tr
cr^s:
^--
'.Z31
-yS*-
22T
zfeE?^
S^
C.F.
Ex. 70.
-=?-
32:
EEE-
I.
* *
-s^-
m
C.F.
^■
-^^-
"fZ^'
H^TF^_4_^j_^^
Ex. 71.
-iS>
-J21
I
s?:i:
ii
ICZ."
s>
-
-&—^--^-
r - — r-inant has a major third.
Ex.71. The old writers would have nnded with a bare fifth,
which is, however, not now necessary.
Ex. 72. Between the fourth and sixth measures it is possible a
false relation may be considered to exis' : the major third on the
dominant (sixth measure) is, however, so welcome that the
author does not hesitate to use it here-
in Ex. 69, 70, and 72, at the measures marked * all the parts
move by similar motion, not generally advisable (see par. 68) :
being all chords of the sixth, howerer, and in close harmony,
there is nothing objectionable in the eft'ect.
CHAPTER Vn.
SECOND SPECIES IK THKKK I'AKTS : TWO NOTES TO ONE.
7j. Two notes are here written throughout one of the counter,
points to e\erv note of the canto fermo, \\ ith the exception of
the fust and last measures. The additional part, in this and the
other species of three-part counterpoint, commences with the
canto fermo.
74. The unison and doubled major third shoidd be avoided at
the accented beat, but both, jjarticularly the unison (between two
of the parts only),, may be used at the 7iiiaccented part of the
measure in this and the remaining- species of three-part counter-
point.
75. Con.sccutive Hfths and octave.'^ upon accented beats should
l)e avoided. riie\" mav occasionallv appear between the coun-
terpoint moving in half notes and one of the other parts, when
one of tlie two is an imier part. Even in this case, which is not
recommended, we should endeavor to separate them by a skip
of at least a fourth in the part containing tlie two notes in a
measure (Ex. 73).
Ex. 73.
IJad. Bad. Possible.
-JZ>'.
t
^?^^^^m=s^F^^f
'p^r
.s>-
r — r-"-,'^ - 1 — '(=:>-
1 ■ ■ I I
5 5 « 8 55
-(©-
isz:
-S> 1 — rzf — 1 — 1&-
pzs?— — I — '=-^ — F~^ i
76. The cadences are \:niou.s. those most in use being formed
b\- the ;iid of s\ ncop.itioiis (ICx. 7.}) as in this species of two-part
counterpoint, with the .iddltiou of course of a third part, coni'
pleting the harmony.
MO
+2
SIMPLE COUNTERPOINT.
Ex. 74
J
--
^
zr=^=f::
^^
-,^^
:^=
:^
4 iS*
^
SECOND SPECIES IN TIJKEE PARTS.
43
izs:
^
zs?:
i-g:? -I — &
;^
=^&^
^
=^-
^
Ex. 77-
-^-C.F-
i
i
I
Ex. 78.
1^21
af.
Implied
i-gi g*
Ex. 79.
i"^^
^ c./:
"g?~
-fS'-
c&=^
T^l
.— ?=^'
H
:=d--=l::
5^ ir^
^
-=^
I^
1221^
[IS?:
(S-r-
Observations on Ex. 75 to 80.
Ex. 75. The fifths in measures 4 and 5 being on unaccented
beats are unobjectionable, especially as the G in measure 4 is a
passing note, and because of the contrary motion.
Ex. 76. The lower part entering on the second beat causes the
example to begin with a sixth. This is quite correct ; the student
must, however, be careful not to let an exercise begin with a
fourth, as in Ex. 77, this interval being a discord between the
lowest and an upper part (see Definitions). Some canti fermi
begin upon the dominant (see Ex. 78) ; if placed in an inner
part, with the second species in the bass, care must be taken not
to commence with an implied \ as in Ex. 78.
CHAPTER Vm.
THIRD SPECIES IX THRKK PARTS: FOUR NOTES TO 0^fE.
77. The rules laid down in the corresponding species in two
partb with regard to hidden consecutives and the use of the
changing note must be borne in mind. As in the other species
of three-part counterpoint, more freedom is allowed as to hidden
consecutives when one of the counterpoints between which they
occur is an inner part.
78. Each measure (except of course the first) should if possible
commence with a complete chord, but if this cannot be done an
effort should be made to bring it in on the first quarter note.
Some authors say on the second^ but this often causes the part
containing quarter notes to move awkwardly.
79. The cadences are those given for this species in two parts,
with the addition of course of a third part.
So. Students must beware of confusing concords and discords
in this species, bearing in mind what was said in the note to
par. 39.
81. Avoid moving conjunctly and obliquely to the unison (Ex.
Si, a. b), except wlien the parts are crossing, the unison being
then merely passed through (Ex. 81, c).
. Ex. 81. a b c
-^
— : i 1"
-H
-^ FH-4— 1 -=l
i^=
■«& r
— ^ —
-h-
-s> —
82. Six or eight notes are sometimes written against one (see
Ex. 86).
83. This species mav be combined with the preceding, and. as
it will be difficult to avoid disjunct movement in one of the parts,
the rigour of the rule against it may be relaxed, p;*rticularlv as
regards the second species.
(45)
4^
SIMPLE COUNTERPOINT.
Ex.82.
^:
32:
1
C.F.
m
^-iS'-
:fct3
jttz^
-j^zztm.
:i=^*^
^=E
-0—m--
h^
--
:zs2i
iss:
^
THIRD SPECIES IN THREE PARTS.
47
Ex- 84.
^:
:=- X_J _-
■Tzr
.-&-
-iS-
-(S'-
-iSi-
^~=^-
- -^ gy.
-"*§^5
tp
:^-T~^1'
"p:
_~f^
*
g^gH
i
--
Z2:
•^f-
:js^
-£>-
^
48
SIMPLE ( OUNTERPOINT.
Ex 86.
^
li}-^::^
~£ /^ .
isz:
CK
^^
2
1
^
ga
^c^
^^
^3^s^^S-
c«|it:*
^11
St
g
-!S>-
11221
I— -^
^1:
i=?ir:
i^^l^
-25^
it3>K
;=1:
-! — ; *-j — ^ —
-I u
^^frW
.q:
^
Ex. 87.
C.F.
CZ22I
--(S-
^1-^
-t-S^
=^^=^^=^^?=^3r-^:^r-:ii
■^-
-«i^
iii^z^:
f=t
T=
i
l:t=t::
ii^
third species ix three parts. 49
Observations ox Ex. Sz to 87.
A complete chord {i.e. f or j) is used at the heginning of
every measure as often as possible.
Ex. 82 and 83. The cadences are formed by the aid of chang-
ing' notes.
Ex. S6. A specimen in triple time.
Ex. 87. Combines tlie second and third species.
CHAPTER IX.
FOURTH SPECIES IN THREE PARTS: SYNCOPATION.
84. The rules for this species in two parts apply generally in
three parts. The additional part will be in notes of equal value
with the canto fermo, forming with it and the resolution of each
syncopation either a triad or chord of the sixth. Care must be
taken that the note, or its octave, tne appearance of which is
delayed by a suspension, does not occur in another part during
the suspension. The nmm suspenuiuii the octave is of course
an exception to this rule.
85. All the dissonances used in the corresponding species are
available.
86. The fourth will be accompanied by the fifth or octave, and
will resolve on the third.
87. The fifth (as a retardation) will be accompanied by the
third, and will resolve on the sixth.
88. The seventh by the third (<^ometimes by the octave, par-
ticularly when it is a minor seventh), resolving on the sixth.
89. The ninth by the third, resolving on tlie octave.
90. Occasionally the sixth must be treated as a discord, viz.
when it is clearly a suspension of the fifth.
91. We may also suspend the tliird in a chord of the sixth, by
a fourth, and the octave in a chord of the sixtli. by a ninth, i-.ut
the effect is not always good, and the syncopations given above
should be preferred.
92. The dissonances already mentioned occur in one of the
upper parts only.
93. The dissonance of the second will be accompanied by the
fourth or fifth, and occurs only in the bass.
94. The syncopation may be broken, as in the corresponding
species in two parts, and the second species may be interpo-
lated, or even a rest introduced. This should not be longer thar
half a measure, unless at the commencement, when an additional
measure's rest may sometimes be necessar\ to enable us to begin
with syncopation on the second half of the second measure.
(50)
FOURTH SPECIES IN THREE PARTS.
5«
95. Passages involving hidden consecutives must be avoided,
even if they occur between the inner and one of the extreme
parts.
96. The rule which requires a concord to prepare a syncopa-
tion may be dispensed with if the bass remain stationary for two
or more measures (Ex. 88, b). This ''pedal," as it is termed,
is best when used just previous to the cadence, the dominant
being sustained in the bass, although it may be effectively intro-
duced in other places. The first discord on a pedal must, liovv-
ever, be prepared as usual by a concord, and the last must also
resolve on a concord.
97. During a pedal the part next above the bass may be dis-
sonant with it (see Ex. 88, a) ; but it must be borne in mind
that this part, during the continuance of the pedal, is after all the
real bass, and the laws of strict counterpoint hold good between
it and the upper part or parts.
Ex. SS.
iPi
98. The cadences are as follows :
Ex. 89.
32:
:gg — <=?"-i —fT^
:^32
-(S>-
iti^-bitiizit:
iJ^
-•S--
l^i^li^l
^ ^ m ^~
J-P=l:
1^
99. This species may be written in triple time as in two-part,
and the second or third species may also be combined v\ ith this
(see Ex. 92).
s»
SIMPLE COUNTERPOINT.
Ex. 90.
I 2
i
-tS>'
i^^g
i^=g^
i
— Y^ — '
c.y^. zs: -^^
— *-~<5'-
-~
:«^
:{::
-(^ H, 1-
-H 1-
:2:t|i2=t:
P=i=:ta
-SH-i^
C^zzsi
- c? I ■ g:? — ^ -f-^
isr
I
^
^22:
■iS'-
-iS^
--
-^
22:
FOURTH SPECIES IN THREE PARTS.
53
Ex. 92.
m^ij^i^^^ ^m^^
p^^
m
JO. F.
-^-
us:
— ^-
p-H:
:1=r:1=:
::^
:ic2:
I
1S>-
122:
^i^^=j5fei^|EJ£'^:^giggi p^^^^ p^l
1
^
j=t
%:
-/^-
i
-^ — C=>'
G"
zc^
■jC^
ISl
^
-1^-
"r:ic2_
m\
54
SlMPl-E COUNTERPOINT.
Ex. 93.
^r-
(Sr-r
-TTST
S^^^
^^=t:^=J^==f?2=^
:t:=tt=:^:
P$^
Ex. 94.
f^
3
=4;
^:^
^^F?J=^
tS*-
-s^-t^^
E=EEFZE?EEEt)==t^e5
Observations on Ex. 90 to 94.
Ex. 90. The canto fermo commences on the dominant, ren-
dering the progression to measure 2 somewhat awkward, if the
syncopation commence as usual in measure i. Advantage has
been taken of par. 94, the syncopation entering on the second
half of measure 2. In measure 3 the dissonance of the second
is accompanied by a fifth, in measure 6 the same dissonance is
accompanied by a fourth.
FOURTH Sl'ECIES IN THREE PARTS. 55
Ex. 91 . In measure 3 the sixth may be looked upon as a sus-
pension of the fifth. In measure ii the fifth is a retardation ot
the sixth.
Ex. 92. The third and fourth species are combined here. In
measures 10 and 13 the fifth is taken by skip, against the seventh
suspending the sixth. As will be seen in four-part counterpoint,
the fifth often appears as an accompaniment to a suspended
seventh.
Ex. 93. A specimen in triple time. In measures 3 and 8 the
suspensions are resolved ornamentally (see par. 60).
Ex. 94. In measures 3 and 5 occur the somewhat unusual sus-
pensions of a ninth and fourth on a chord of tlie sixth, alluded to
'.n par. 91. In measures 7 and S a '•'pedal" is used.
CHAPTER X.
FIFTH SPECIES IX THREE PAKTS : FLORID.
100. The student will be able to construct this counterpoint
by the aid of the rules already given (see the corresponding
species in two parts). Florid counterpoint may be written against
the canto fermo in both parts, instead of one being composed of
notes of equal value with the canto fermo. In doing this care
should be taken to contrast the two florid parts. If one is moving
rapidly let the otiier one syncopate or mo\ e by the second species.
Contrary and oblique motion between the two will also greatly
help the student to write smooth and melodious counterpoints.
101. The student may combine some one of the previous
species witli this, instead of having two parts in florid counter-
point.
102. The 4 has hitherto been excluded ; it may, however, be
used in this species, occurrmg as tlie second, third, or fourth
quarter-note, when the bass moves in arpeggio (Ex. 95, a).
Ex. 95.
^
"S?:
-^~
£==t
r-
--t^-
--
103. The 1 at h is of course only implied. The passjige at a
should not be often used, as it transgresses the rule laid down in
par. 36 ; that at b may be freely used.
Ex. 96.
FIFTH SPKCIES IN IHREE PAH IS.
57
i^^^
m
:E-=
It
i^i^iiiilliiS
^^-^ gg^ sM
Ex. 97.
gi§^^^ilHi?aS£E^]s
(»-^-
i
£•./•.
-1^-
:22:
i^fei^
1=1
^*-^
t^--
^^— ^s*'
^>^;-^^pi
:i:^EE^=
-c:?"
HI
^:-:££]^|fc|-^^g
-«>- -tS-^
i^jli
58
SIMPLE COUNTERPOINT.
Ex.98.
^^^gi^^^i=i
■c?
-^1
C.F.
t^-=^-
"-c^^
L-^ &-
r-
-fSh-
Sn-
~S2L
jrsL
ga^li^i^i^
- I c?
t:^JI^2i:
--(£?-
:5-:1-
122^
iii^
rr:d-
:=t
izz^^z
-t:1:
iP^:^l
^=1-
EEEEE
-dS''-
Observations on Ex. 96 to 98.
Ex. 97. Two parts are here written in florid counterpoint, care
being taken to contrast them as was suggested in par. 100.
Dotted half notes are also introduced occasionally in one of the
parts. These should not be introduced unless there are at least
two florid parts.
Ex. 98. The second and fifth species are combined here, the
second being of necessity somewhat disjunct.
CHAPTER XI.
FIRST, SECOND, AND THIRD SPECIES IN FOUR PARTS-
104. The additional part now necessary is obtained by doubling
5ne of the three notes of the triad or chord of the sixth, these
being the only chords used. The context will generall)' decide
what note should he doubled, it being well to avoid doubling
the major third to tlie root, more especiallv when it is a leading-
note.* Two of the counterpoints will thus be in notes of equal
value with the canto fermo ; the other will consist exclusively of
one of the species now under consideration, i.e. of whole-notes,
half-notes, or quarter-notes.
lOv When possible the first measure should contain a com-
plete chord, but this will depend upon the necessary progression
to the second measure. All the parts 7)2ay commence in octave
or unison (see Ex. loi).
106. Although the rules given for the various species of coun-
terpoint of which we have already treated remain in force, they
are observed much less rigidly as the parts increase in number.
The relaxation of the rules as to hidden consecutives mentioned
in par. (i^ will be found useful and necessary.
107. The student may combine the three species we have just
been explainfng (see Ex. 112).
Ex. 99.
• The occasional doubling of the major third is by no means objected to — on
the contrary, the Author, following the examples of Fux, Albrechtshcrger,
Cherubini, etc., does not hesitate to etujiloy this combination to gain a smooth
progression, or to escape (jne that is unadvisable. The doubled leading-note is
by far the most objectionable. (59)
6o
SIMPLE COUM KRPOINT.
Ex. loo.
1221
•--/&-
:"2:7_ :
:»2=
C.F.
-c?
-iS^
ic?:
"?:?-
c-g?:
-<& — r
22:
-(S?-
"C?^
-<©-
The nature and position of the canto fernio in Ex. looinvolvo a wide dis-
tribution of parts, not altogether advisable. The melodj- is, however, smooth,
and moves in effective contrary motion with the canto fermo. The last measure
might, perhaps, with advantage, follow the ancient models, and have no third.
Ex. loi.
m
'S^r
^
t-^
:^
S2_
122 _:
\
C.F.
^^m
m
:t.
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Ex. 102.
^ C.F.
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FIRSr, SECOND, AND IIIIKL) bl'KClKS I.N KUUK PARTS. 6l
-
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A good effect is produced in the above example by the sequences. The
student mav begin a« above, with a chord of the si.Kth, but not with a fourth
( ^ee p. 38 ).'
Ex. 103.
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122:
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111 measures 4 and 7 the second species is introduced in one of the parts
accompar.ving the svncopation, avoiding awkward skips and improving the
harmony. ' In measure 12 the third in a chord of the sixth is suspended by a
fourth.
Kx. Hi.
'^^.
C. F.\
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68
SIMPLE COUNTERPOINT.
Ex. 112
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ill
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'The second, third, and fourth species are combined here. Many licen.ses
are of necessity allowed under these circumstances, although this example is
tolerably strict.
CHAPTER XIII.
FIFTH SPECIES IX FOUR PARTS : FLORID.
125. Nothing need be added to the remarks already made on
florid counterpoint, except that this may of course be written in
one part only (the other parts havino; notes of equal value with
the canto fermo). or in all the parts. In the latter case particu-
lar care should be taken to contrast the counterpoints, as was
remarked in par. 100.
Kx. 113.
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(69)
SIMPLE COUNTERPOINT.
Ex. 114.
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32:
The notes in the tenor part of the above example, measure 3, represent F.
There is therefore only an appatfiit J at tlic third c|uarter note.
72
SIMPLE COUNTERPOINT.
Ex. 1 1 6.
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321
C. F.
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In Ex. 115 and 116 a part occasionally rests a whole measure or, rather, two
half-measures. This is often very useful in florid counterpoint in four or more
parts.
FIFTH SPECIES IN FOUR PARTS.
73
Ex. 117.
Sir J. Goss, Mus. Doc.
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76
SIMPLE COUNTERPOINT.
Ex. I20.
FIVE-PART. FLORID.
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TSii
C. F.
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So
SIMPLE COUNTERPOINT.
Ex. I>S.
SEVEN-PART. FLORID.
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i=f=i=srJ[z
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3=1:
^^^^
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1227
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COUNTERPOINT 1\ EIGHT PARTS.
8*
In Ex. 125, at measures 3 and 6, and other places, the student will observe
an unsyncopated half-note at the end of the measure, contrary to what was said
in par. 62. Although it is well to observe this rule as strictly as possible, it is
dirticult to avoid occasional instances such as these in the inner ]iarts of seven
or eight-part counterpoint ; the e.\treme parts should, however, conform to the
rule.
When a part re-enters after a rest it is sometimes possible, and generally
advisable, to introduce it on a point of imitation. This i.s done to a certain
extent in measures 5, 6, and 7 of the previous example, by the second tenor,
second alto, and first tenor, in the latter case hy inversion.
Measure ir contains a sixth (in the second tenor) against a suspended
seventh (see Ex. iiS).
EIGHT-PART. NOTE AGAINST NOTE.
]''.x. 126.
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:3-=^-P-^
3^E
ISSZti^IHC?
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SIMPLE COUNTERPOINT.
Ex. 127
EIGHT-PART. FLORID.
H. Keeton, Mus. D-
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CHAPTER XV.
EIGHT-PART COUNTERPOINT FOR TWO CHOIRS, ETC.
130. In writing eight-part counterpoint we sometimes arrange
for a double choir of four parts each. In this case the harmony
for each choir should be as far as possible complete, and the two
groups should move independently and antiphonally, but, of
course, occasionally combining. When the choirs are thus
divided, and four parts only are moving, the laws of four-part
counterpoint must be observed (see Ex. 128).
EIGHT-PART COUNTERPOINT FOR TWO CHOIRS,
WiraOUT CANTO FERMO.
Ex. 128.
teaz
(The Basses from Chenibini.)
=RP
:W=r;=r:
-i 1=:
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t-
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zear
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(83)
84
SIMPLE COU.N IKKPOINT.
1 ^^-=^^
P
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No. 5.
rezizz
:£2i
p ps:
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No. 6,
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[ ' O I ^H
CANTI FERMI FOR EXERCISES.
87
No. 9.
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No. 10.
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No. 1 1.
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No. i:
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No. 15.
122:
im.
ss:
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'JSSL
f^mm^i
88 SIMPLK COUN lEllPOINT.
BASSES P'OR EIGHT-PART COUNTERPOINT,
(Two Choirs.)
No. I.
m
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:^=l
J.F.B.
P==^
i:$E^E^^
f==t=:
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(From CiiERUKiM.
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Mi
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