A Treatise on Counterpoint Canon and Fugue
March 21, 2017 | Author: Dilip Rajeev | Category: N/A
Short Description
A Treatise on Counterpoint Canon and Fugue...
Description
Chiuubaii
COUNTERPOINT,
^rcs^
CANON,
OUSJELEY
Utiles
AND
FUGUE
ILonbon
HENUY
OXFOHD
FROWDE
UNIVERSITY
PRESS
7
PATEENOSTEli
WAREHOUSE
HOW
Clareniroit IBttSB
Scnts
TREATISE
A
ON
CANON
COUNTERPOINT, AND
FUGUE
BY
Rev.
Sir
F.
A.
PROFESSOR
MUPIC
IN
the
UNIVERSITY
THE
clarendon
M.DCCC.LXXX
\^All ^
OF
Edition
Second
at
Bart.,
OUSELEY,
GORE OF
THE
rights reserved ]
press
M.A., OXFORD
Mus.
Doc.
TO
STAII^ER
JOH"
IN
GIVEN
IN
THE
OF
ACKNOWLEDGMENT
THE
OF
PREPARATION
EVERY
BY
THE
ARE
OLD
AUTHOE.
601373
DEDICATED,
REGARD.
FRIEND
DOC,
AID
FOR
WORK
THIS
AFFECTIONATE
HIS
MUS.
VALUABLE
MUCH
PAGES
FOLLOWING
WITH
M.A.,
ESQ.,
THE
PRESS,
PREFACE.
The "
Treatise
and
is
order be
custom
to
which
studied.
of
seems
for
subject.
author's
then has
But
upon
author's
to
the
to
the
study this
adopting Treatises
been
have
with
written
the
the
recently) in
whereas,
land, Engother
any
whole
the
of
body
this
The
and
work,
this
to
it
matter,
simultaneously.
view
a
method
Aesthetics
before
taught of
in
stated
are
;
Counterpoint
and
course
Harmony
consideration
Harmony
Musical
(till quite
been
always
careful
a
Form,
then
as
and
been
has
Fugue,
Harmony
to
for
reasons
the
sequel
a
countries
Fugue, it
example,
first,
France
reasonable
principal both
Counterpoint,
In
Italy,
different
in
opinion
Harmony,
and
the
more
of
Counterpoint
study
Germany, branch
than
rather
companion
a
as
difference
great
a
in
should
intended
Harmony."
on
There
is
work
present
method
of
treatment.
Many
works
of
our
the
object
of
Elementary
melodies
by way it
with
these
as
what
is
whole the
vanquishing free
making must
be
chiefly ;
useful,
acknowledged
as
technical
giving
facility
be
habits
the
easy
drudgery
For
attain.
of
smooth
which
the
of
a
course
many
part-writing,
ever
afterwards of
combining
in
the
in idea
erroneous
an
to
difficulties
comparatively to
from
of
are
rigour
their
all
intended
engendering
as
various
composition
are
Counterpoint
Simple in
arises
opinion
restrictions
rigorous
harmonious
one
this
But
composers.
followed
never
are
of
rules
restrictive
the
they
as
Counterpoint
into
and
best
which
successively ;
that
inasmuch
value,
great
no
conceive
persons
stand
in
the
1)y contrasting earlier
processes.
viu
PREFACE.
tlu;
By tools
caruful his
of
Let will
stand
The
this
noting the
in
seventeenth
He
he
The
still
of
have
be
can
they
the
at
laws the
into
Harmony,
time
their
also
the
best
find
of
follow
Bach
from
benefit
of
scores
open
the
in and
construction, much the
masters
and
to
Sebastian
arrangement
organ
by
J.
of
analysing will
He
an
recommended
is
for
art.
Counterpoint
of
Organ-Fugues
same
]\Iadrigals,
and
of
present.
may
condensing
said
have
does
work
it
and
sixteenth
the
is
pretend
not
of
hopes its
Form,
his
completed
author
due
for
dimensions
larger be
avoided
and
such
Marc/t,
Instrumentation,
to
he
various
musical
been
originality
able
and
parts,
Com])osition,
studies.
great
any
has
General
and
the
of
The
design.
secure
in
it,
character
of
the
to
consists
in
Examples
illustrated.
is
apology
not
to
arrangement
which
somewhat
learn
to
which
methodical
Some
the
clefs,
elements
the
the
in
progress
the his
under
exercises,
such
on
his
of
period
mastered
out
bestows
he
of
use
well
them
have
never
lahour later
a
the
studying
Anthems,
present
book,
at
carefully setting
process
only advantage
\\ith
stead
carefully
proper
the
will
the
acquires
t\'ro
centuries.
will
before
has
he
drilling
grudg-c
good
time
the
Motetts,
good
could
in
the
Counterpoint
such not
peculiarities
any
opposite
the
him
by
score,
open
then
same
course
Kcstrictcd
without
who
the
at
of
him
student
Fugue, up
and
art;
command.
they
study
a
1869.
the than
size
was
without
sacrificing
sacrifice
the
author
of
the
volume.
originally some
was
of
loth
It
expected the to
best make.
has
or
swelled
indeed
intended.
Examples
this
But at
the
to
end
of
OF
TABLE
CONTENTS.
I.
CHAPTER
Observations.
General
1.
and
Simple
into
divided
Species.
distinguished.
Counterpoint
and
Harmony
Restrictions
3-^5.
Compound
Simple
;
Intervals
to
as
Definition
2.
1 "
Counter^yoint
Simple
against
rules
7.
Thirds
or
Tritone.
Species,
and
in
tJie
First
Sixths.
1 0.
Examples Parts.
Two
8.
12.
1.
Description. Species. to
2
7. "
9.
Peculiar
Species.
Rules,
Two
Exceptions,
Licence
Fifths
"
a
Eules,
Two
Parts.
The
5.
Octaves.
and
Augmented
The
9.
on
Additional
CHAPTER
Second
Hidden
6.
Relations.
False
in
Motion.
of
sorts
Counterpoint
of
11,
Five
1
note,''
against
different
Fifths.
and
Octaves
point Counterinto
Progressions
"note
or
The
4.
and
;
divided
II.
Sjyecies,
allowed.
Consecutive
Consecutive
Fourth
this
Discords
and
Concords
3.
of
Counterpoint
Counterpoint
and
CHAPTER
Of
of
Canto
"
Fei-mo
of
"c
6
III.
notes
and
allowed.
One,
to
Precautions.
10,
One
in
11.
Two
Parts.
8.
Counterpoint
Examples of
Three
of
this
notes
12
b
CONTEXTS.
X
IV.
CHAPTER Third 1
"
General
4.
Rules.
Consecutive Rules.
Examples
or
Fifths.
of
this
avoid
to
Admits
only
of
prepared. this
of
4
Minims.
2.
and
Rules
9.
"
Species.
Definition
Example 10"
defined.
Counterpoint Species.
6, 7.
1, 2. General and
Rules.
3.
2
Explanations.
Rules
and
1.
Ancient 5.
way
Examples
of of
Note
this
Examples
Fifths
of
as
this
note,
1,
2.
Rules
and
Ttvo
Second
and
Third
Species.
Species
Examples 23
time
Two
Parts.
Restrictions.
5.
Examples
of
notes
6.
Triple
3.
Four
Three
in
Parts.
Octaves.
4
8.
"
More
Rules
Species
31
VIII. to
One,
recommended.
not
Species.
Relaxations.
in
Hidden
to
in
Three
2"4.
Parts. and
Rules
Restrictions.
time
CHAPTER Third
13.
Discords
VIT.
against
allowed
Species.
saving
Triple
Rules.
3.
28
CHAPTER Second
in
Parts.
Two
Remarks
Species. Licence
in
Syncopation.
of
Counterpoint,
4.
"
Additional
9.
save
VI.
CHAPTER First
to
8, 9. Additional
Tritone.
Additional
12.
Counterpoint
Florid
Fifth Species, or
this
How
6.
V.
and
Examples.
Syncopated
14.
page
18
CHAPTER
1. Elorid
the
Species. Syncopated Counterpoint,
Fourth
Parts.
Species
CHAPTER
1.
Two
in
recommended.
not
How
7.
Oiie,
to
notes
Licence
Ancient
5.
Octaves
Four
Species.
34
IX.
notes
to
Examples
of
One, in this
Three
Species.
Parts. 4.
Combination
of 38
CONTENTS.
xi
CHAPTER Fourth
1, 2. General
8.
Species. Syncopated Counterpoint, in
Rules.
guard against
Pedal
6.
Additional
To
3.
Dissonances.
X.
Rule.
Bass;
Rule
this
Species.
CHAPTER
Fifth Species, 1.
General at
Remarks.
from
Examples
2.
Relaxation
Fux.
of
Rules.
of
eacb
and
Species.
Rules, Explanations, and
Bass, method.
11.
7.
Example
3
of
in
Parts
Two
new
of
Fifth
Fifth Species,in
Species
;
5.
when
allowed.
Rules. 4.
Examples of
2.
What
of
of of
10.
Parts
at
more
than
Six
in
Six
Parts.
Relaxations;
Species
54
Dissonances the
Pedal
Examples
8.
Examples
of
of
on
;
a
Fourth
Florid
ferent dif-
Palestrina's
Species.
Counterpoint. 66
once
XIV. than
more
is meant
Counterpoint
and
Parts.
Use
6.
combined.
of Rests.
Introduction
Three
Four
allowed.
Of Counter2)ointin of
the
Rules
Resolution
obtained.
Three
in
Parts.
XIII.
Cautions.
and
Diminished Four
and
Four
General
5.
"
Combinations
6.
CHAPTER
6.
Parts.
Counterpoint
Species,in
Notes.
efifects thus
Counterpoint
Florid
1. Relaxation
43
XII.
Third
Doubled
2.
Fourth
9.
Three
Florid
3.
CHAPTER
4.
Remarks
Concluding
51
Examples
"
about
Remarks.
once
First, Second,
1
Rules
5.
4,
XI.
CHAPTER
1.
page
Consequent
7.
10, 11.
in Counter2)oint,
Florid
Parts.
Consecutives.
exemplified.
of
Examples
9.
Hidden
Three
by 5.
b
7.
Peculiar 2
Parts.
Parts."
"Real
Examples
Parts. 8.
Four
of
3,
Certain
Counterpoint
Progression Licence
of
in Five
Parts.
in
Basses
allowed.
Licences
9.
terpoint Coun-
Curious
CONTENTS.
xii
PAGE
Combination
Parts.
Eight
or
Species
found
in
in
Additional
1 1.
Seven
compositions.
old
and
advice,
Explanation
and
of
Examples
Imitation
Irregular
or
retro,"
et
13.
Imitation
16,
17.
witli
Canons
of Imitation
with
Example
in
18,
in
or
Various
Four
Examples
Of
point
and
at
12
Fux 15.
"
from
Octave,
the
at from
Examples.
the
of
and
2.
12.
for
in
Double
kinds.
Various
from from
Counterpoint
2.
"per
by Augmentation.
Canon,
Azopai'di'sBass
with
Example.
Themes;
various 94
3
Fux.
8,
Fux both
Counterpoint
at
Rules
6.
"
9.
the
the
Rules
for
Double
Countex--
Double
point Counter-
Cherubini.
and at
for
Octave
11. and
Twelfth.
16,
at 17.
Example
the
Tenth.
Examples
Observations
117
Of Trijyleand Definition.
Of
"
Canons
CHAPTER
1.
15.
tation Imi-
10.
Imitation
11.
Imitation
kinds.
Free,
5. G
Counterpoint.
Examples
Subject
a
Fifth.
XVI.
Double
Examples
7.
Tenth.
Rules
Fux,
First
Definitions
4.
3,
Sala.
Examples.
Parts; of
and from
Examples
;
and
Other
analysed.
Fourth
Crotch.
Dr.
14.
Three
19.
Rules
by
the
at
CHAPTER
1. Definition
the
Imitation.
Inten'als
Diminution.
of
Examples.
writing
Counterpoint of
XV.
Imitations
other
at
by Contrary Motion, recte
ways of
Seven
in
84
Description ; Examples
Directions;
and
of
Parts
Of 2.
two
Exuniple
CHAPTER
1,
Tlie
10.
Examples
of
each
XVII.
Quadruple
kind.
CHAPTER
3,
4.
Counter2)oint. Other
sorts
of
Counterpoint.
.
.135
XVIII.
Of Fugue. 1,
2.
Explanation of
a
Fugue
and
Definition.
3.
Various
kinds
of
Fugue.
4.
Constituent
parts 251
CONTENTS.
xiii
CHAPTER the
Of 1.
Definition
the
of
Ansiver.
and
Subject
Definition
2.
Counter
the
Rule.
2.
Countersubject
One
than
General
and
subject of
Certain
3 Rules.
The
5.
the
word
Strettos.
the
of
;
.
making
and
thing
Canonical
5.
sometimes as
Second
a
"Codetta"
Subject.
More
4.
Example
"Conduit";
or
times Some-
3,
necessary.
Stretto.
Example.
;
Stretto,
2
Stretto
"
or
Various
4.
"
Rules
Maestrale."
for
Strettos
6.
by Inversion
167
CHAPTER
Of Episodes, \, 2.
Object
and
Use
Episodes.
of
Episodes
Other
4.
Dominant
Pedal.
8.
;
the
of
The
Tonic
Pedal,
Episode. Pedal.
Structure
General
of
Form
the
10,
11.
14.
How
17, 18.
Additional to
How
General
a
The
7.
2.
make
a
Four-Part
Advice
Pedal.
Fugue
Fugue. to
the
5.
Fugues
9.
The
Fugue
a
;
to
.
Imitation.
of
6,
7.
The 170
its Modulations.
19.
Analysis 23.
3
8,
of
"
9.
introduce
Additional
interesting. 2 1
Contrapuntal
Coda
Exposition.
15.
Student.
for
Examples
XXIII.
How
12, 13.
the
Coda.
the 3.
Counter-Exposition.
Rules.
introduce to
of
Arrangement.
Exposition.
of 22.
and
and
constructed.
how
kinds
XXII.
CHAPTER
1. General
163
XXI. the
Of of
Eules
Fugue.
a
Variations
considered
be
must
Countersubject
Definition
3.
XX.
CHAPTER
,1
"Answer."
153
Of
the
the
of
CHAPTER
1. Definition
page
Reicha
from
Examples
"Subject."
XIX.
6.
the
Caution. Instrumental the
Conclusion
Rules
Fugal
and
Examples
Modulation
Subject 16.
; or
Inverted
Fugues.
foregoing Fugue,
Rules.
AnsAver. Pedal. 20.
bar
by
ample Exbar. 179
CONTENTS.
xiv
LIST
EXAMPLES.
THE
OF
PAGE
Twelve
Fermos
Canto
be
to
No.
1."
Eight-Part
Florid
No.
2."
Eight-Part
Anthem
No,
3.
Canonical
No.
4.
No.
5.
"
Xo.
6.
"
No.
7.
Xo.
8.
No.
9.
No.
10.
"
"
"
11.
No,
12.
No,
13.
No,
14.
"
"
Two.
a
Canon
Four
in
One,
of
a
Canon
Eight
of
a
Canon
Nine
Example
of
Example Example
of
an
Infinite
A.
By
G.
0
202
Zimmerman
210
214
Scarlatti
in
By
F. A.
By
One.
226
Purcell
By
228
G. 0
231
Travers
By
which
Canon,
Marcello
Inversion.
by
Four.
in
in
220
ascends
a
236
in
tone
pitch
each
at
i-eturn.
Martini
248
Infinite
of
Example
of
Example
of
Examples
"
A.
197
Zimmerman
By
By
Countei-point
199
F.
By
Scale.
the
Four
a
Examples
"
Choirs. of
of
Perti
By
Canon
of
By No.
Canon.
Example
Example
"
Two
for
Species
every
Counterpoint.
Examples.
of
Examples
"
in
Harmonizations
Miscellaneoiis
"
used
a
a
of
Canons
Various
at
Intervals.
Canon
by Triple Augmentation,
Canon
by Ketrogi-ession, or
Subjects
in
Double,
"Canon
A.
By
By
A.
Andre
Andr6
252
Cancrizans."
Triple, Quadruple,
249
....
and
By
Manifold
A.
Andr6
253
point Counter254
No,
15.
No.
16,
No.
17.
Examples
"
"
"
of
Subjects
and
Example
of
a
Fugue
Example
of
a
Four-Part
for
Answers Three
Fugue.
for
Voices,
By
Fugues and
One
Cherubini
263
Subject,
By
F.
A.
G.
0,
,273
278
CONTENTS.
XV
PAOH
No.
of
Example
18.
Four-Part
a
with
Fugue,
Three
Subjects,
and
an
Answer
by
"
By
Inversion.
No.
Example
19.
of
"
By
No.
L.
of
21. "
22. "
One
with
Fugue
Subject,
containing
Diminution.
Bach
a
325
Choral
with
Fugue
Two
Subjects
and
in
Five
Parts.
By 334
of
Example
Example and
302
Leo
Dr.
No.
Bach
Sebastian
Four-part
a
Sebastian
Example
20. "
No.
J.
J.
a
Five-Part
Choral
containing
Fugue,
Augmentation.
By
Croft
361
of
an
Augmentation.
Eight-Part By
with
Fugue F.
A.
G.
0
Two
Subjects,
containing
Inversion
377
of
whicli
each
another,
part
their
to
consist,
for
singing, and
fitness
the
lontally, along of
the
We
chords
two
and
complementary that
true
to
and
preparation
used
are
same
time,
exist
without
combination
And
it is
be
in
notes
divided
to
one
(5)
Florid
we
will
rules derived
that
older
the
to
from date
ecclesiastical
harmony.
In
the ;
the
called
definition
kinds.
five
Four
and
species: to
notes
Of
the
the
one
;
;
of
harmony melodies
form
thereby
for the
at
chords
in
former.
Note
modern
Double.
and
melodies."
combining
it exists
as
and
Harmony
together.
of
art
the can
purposes
dissonant), which
the
(1)
"
rules
the
Therefore
"
it
with
other
the
contrapuntal
Simple,
order, beginning
it is perfectly
contrapuntally; while, for
of
sight.
of
out
hand,
other
parts, and
vation deri-
perfectly distinct
are
according to
liori-
were
harmonic
kept
intimately connected be
may
is
involves
one
further
times.
These
point Counter-
Simple
against
note
must
(2)
;
Two
(4) Syncopated counterpoint
subdivisions
of
Double
;
Counterpoint
hereafter.
speak
as
the
it
as
tlie
the
on
(consonant
two
into
and
considerations.
correct
(3)
;
But,
melodies
sense,
into
melodies
with
one
adaptabilityto
music
therefore
of
counterpoint.
The
3.
in
one
then
a
divided
considered is
right ;
discords
harmonic
are,
least, is
at
to
harmonized
chords
forming
Counterpoint
Such,
left
concurrently,and
no
Counterpouit
these
progression of
a
their
to
at
extent
of
combinations
look
other.
certain
a
necessarily include
2.
each
to
their
to
jointly produce
may all
of
resolution
necessarilyinvolve which
they
then
aspects
from
paper,
The
OF
should
contrapuntal development.
at
PRI"X'IPLE8
THE
2
writers
Counterpoint imposed
on
employment mcomplete
others melodies modern
had
of
notions
their
had
music,
intervals, many
been of
of
origin in
the
composed course,
most
which
of
harmony
strict
very
which
imperfect before of
these
the
were
scales
and
rigid
rules
were
prevalent in
which
introduction
restrictions
should
of
COUNTERPOINT
be
modified
the
student
some
at
of
have
his
acquired
not
otherwise
laid
down.
No
4.
tliese
of
old
he
will
rules
in
in of
the
exercise
first
the
him
of
the
freer
a
the
habit
to
of
materials
style,he of
art
to
instance,
small
;
will
composition
therefore
question will
of
any
in
give
write
to
valuable
a
most
mechanism
proceed by
may
be
the
making
the
The
attainable.
melody
it
as
afterwards
comes
will
3
subject himself,
and
facilityin
a
to
FUaUE,
still it
rules,
resources,
when
then,
But
counterpoint
least
economizing and
discarded.
or
AND
be
now
vals inter-
followingsuccessive
"
diminished
angmented seeoncb
=1^
-"'
are
in
certain
tolerated
when
cases,
ascending, and
the
the
:ar^=j$d: diminished
augmented
major
third.
seventh.
seventh,
:S^=
1?^
minor
seventh.
major sixth,
fifth^
ife:
-!S"-
diminished
augmented
fifth,
fourth^
-f^-
except
diminislied
aug-mented
fourth,
major
diminished
sixth
and
second, fourth
augmented
seventh
allowed
in
of
style,then,
descending
only. The
g
id: -Gh
-(S"-
minor
these
:32^
*
second, may
melodies
^21
}"-
G"-
-G)-
major
second, and
progressionsin
allowable
all be
minor
third, used
-S'
major third, cither
2
3
are
"
-(Sh-
-G"-
perfect
perfect
fourth,
fifth,
ascending or B
this
-Gh
minor
major
sixth,
octave,
descending.
^
THE
The
in
case
which
the
PRINCIPLES
augmented
OF
fourth
is
tolerated
is
in
this
jjrogression "
No.
1.
ni:
^m
^^^^^^^= !Ir'"''!'"'''* '"
tl,P other tl.o
notes
are
*'
^o^-^ding major .ixth k tolerated is and the harmony remains stationary, unaltered
I
-G"-Gh"y
22: :z2:
i
when ;
all
thus-
AND
COUNTERPOINT
The
in
in
case
the
which
and
mode,
minor
seventh
diminished
the
then
FUGUE.
descending
only
allowed
is
;
when
is
it
is
thus "
-"S"'
122: 'jr^:
3^
V
jC^ s"-
-G^
-"s"-
Z2:
The
5.
in
the
only
this
in
familiar
"
Harmony
It
will
(i.
e.
be
two
;
"
score
is
with
also,
staves, and
treble
in
clefs
as
in
the
and
their
bass) proper
student
the
clefs.
of
explained
are
completely, to
viz,
use,
student
every
They
more
therefore
and
performance,
vocal
point counter-
admitted.
now
them.
that
is,
restrictions
these
for
solely are
treatise,
this
of
severity
meant
vocal
serviceable
very
"
open
four
employed
the
intervals
The
thoroughly on
style
easiest
Note."
freely
for
reason
in
examples
alto,
the
in
ought
out
this
in
"
what
treatise,
of
which
will
be
"
Treatise
our
the
on
called
^Yill
himself
render
to
Treatise
is
bass,
and
chapter
first
admirable
write
tenor,
counterpoint in
Hullah's
to
treble,
"
short
be
Stave."
"
score
given
in
CHAPTEll
Of
simple
This
1.
is
this
to
appears The
only (or
octave
the
The
3.
and
as
a
in
Similar same
the
two
parts.
difficult,
j)lace
for
their
in
strict
recognized
unison),
sixths,
perfect and
admitted
fourth,
which
fifth,
their
of'
uninteresting
concerning in
mitigation
any
the
and
rules
contrapuntal
proper
concords
fifth,
counterpoint these
another
4.
be
diminished
strict
the
in
note,"
against
''note
or
this
most
concords
all and
species,
severe
enunciation.
coimterpoint
the
major
the
are
and
minor
fect per-
thirds,
compounds.
are
the
in
strict
the
second,
the
seventh,
counterpoint
is
always
ninth, treated
discord.
All
on
first species,
without
minor
the
the
as
discords
lastly
The in
and
major
the
rigorous,
most
observ^ed
are
2.
the And
counterpoints. discords
of
counterpoint
11.
discords
There motion
time.
of
species
is
preparation
treated
two
"
of
fourth,
be
only
can
used
discords.
passing
kinds
when
Example
augmented
will
as
motion
parts
by
passing
as
counterpoint),
three
are
the
require wdien
(except
first
as
and
move
:
"
one
concord,
chords, be
similar,
upwards
and
which
fully
more
oblique, or
resolution never
occur
shewn
after. here-
and
downwards
contrary. at
the
THE
Example
Of where
5.
other and
part
one
and
moves
the
FUGUE.
other
is
stationary.
motion
is
when
the
parts proceed
in
opposite
directions.
"
these
the
there
Two in
AND
COUNTERPOINT
"
Contrary
Example
is when
motion
Oblique
OF
PRINCIPLES
is
last a
is
by
choice
far
consecutive
of
the
stringent of all, and
are
admits
same
In
counterpoint. fifths
should
always
be
preferred
left.
perfect concords two-part
best, and
the
name
other
strictlyforbidden. of
no
must
words, This
never
succeed
consecutive rule
relaxation, except that
is
each
octaves
the
most
occasionally
PRINCIPLES
THE
fifths
by contrary
never
may,
shall
we
motion in
except
have
perhaps
may
of
counterpoint
speak
to
OF
hereafter.
tolerated
be
octaves
parts, of which
five
than
more
though
;
Examples. -"2L
-"S'-
:q:
-Gt-
-"s"-
zz:
-"s"'
r^
-"s"-
'JTJl
122:
s"-
"
'JOl
1^21
-Gh-
_"?:"
1^21
"s"-
"
:zz2:
-o-
:^2:
-(S"-
bad.
Very
Lad.
Very
Not
student
The
of
licence
The
It is forbidden
6.
when
except
consecutives
if hidden
will
hearer
"
not
i
produce
the
actuallywritten.
-Gf-
:c2:
For
For
which
notes
effect These
imaginary
happen
that
the
hidden
consecutives
one
hidden would
occasionally,
very
rarely.
himself
this
of
species of
present
it.
ear
by
not
motion, then
even
the
actually sounded,
not
consecutive
similar
imagination of
or
are
of
octaves
octaves
or
or
fifths, even
fifths
called
are
"
-G*-
-"s"-
122:
-Gh-
-^-^
however,
the
semitone, and
a
the
-O-
6
When,
only
moves
example
~rJL
'Gh
in
perfect concord
a
produced.
are
consecutives."
hidden
parts
supply intervening
thus
may
when
of the
one
proceed to
to
hut
availing
disallowed
always
writers
Tolerated
in less
parts.
of
motion
by contrary
old
six
however,
beware,
fifths
using
counterpoint.
and
should
-s*-
allowed
than
~nr
-^Sr
5
of
the
fifth may not
only
parts be
arise
;
a
moves
diminished
thus
"
'
a
semitone, it
fifth, in. which
may case
THE
10
for
allowed
not
lower
regarding
avoidance,
its
the
of
note
forbidden
exist
to
first
The
it.
of
a
the
relation.
false
of
note
upper
example,
It is
and
chord
one
the
following progressionsare
Usually
f"
-"S"-(S?-
-"S^
called
speciesof counterpoint is of
the
"Canto
fermo"
all the
notes
semibreves.
are
"
against note,"
note
(or given melody)
only, of equal length, in
note
one
IJEES
-G"~
S:
'O-
note
every
jDaniedby to
for
-r^-
~j:jl~.
because
the
light
"
'TZi'^
10.
:
the
in
it
between
next
OF
PRINCIPLES
the For
is
accom-
counterpoint added exampile* "
Counterpoint. 22:
Z2:
Canto
1^21
-s^
:q:
5
Canto
*
-"-
:^z:
fermo.
-"s-
with
4f^
Z2:
-s"-
Z2:
^3
or
IZLZ
-"-
'-"
3
n
the
canto
fermo
-"-fE^
:^:
-"s"-
Z2:
-"s-
5
given
;5
in
3
G
the
upper
3
B
6
part, thust
-"""
"
fermo.
From
Fux,
"
Gradus
ad
Parnassum," fol.,Vienna,
1725, p. 47.
t
Ibid. p. 48,
-
AND
COUNTERPOINT
11.
note
the
notes,
12.
given them
also
and
the
The at
;
begin
with
the
the
the
fifth. the
or
always
be
counterpoint should
will
student end
lower, and
according
of then to
the
this in
now
be
a
either
In
The
octave.
whole
always
take
rise
treatise, using each the
rules
part, and
upper laid
down
c
2
in
octave
this
the as
case
last
the
to
to,
in
the
the
above
tone
of
some
an
counterpoint be
if the
or,
unison
should
11
counterpoint must
fermo
fermo
canto
the
canto
either
be
must
the
the
it may
part,
of
first note
with,
unison
of
The
FUGUE.
the
canto
upper
but
one
concluding by
subjects or a
in
conchiding
note
final
or
a
tone. semi-
melodies
fermo, first in
adding counterpoints to chapter.
III.
CHAPTER
In
1.
This
it
there
species
of
up-beat
accented
time,
called
"Thesis"
The
2.
be
shall
and
"Arsis"
If
a
concords, are
called
airainst
unaccented
be
note.
be
and
the
"passing
Two
-s"-
Fux
by
notes
and
The
melody discords."
must
not
from
a
skip.
one.
-"s"-
-"-
-(S"-
m
-"s"H^-
-jzL
or
lowed fol-
Such
Cherubini
-.^""
-s"-
and
"
-"S-
-"s"-
concord
a
preceded
by
which
cases
either
proceed
Examples
or
respectively
certain
be
must
and
contrapuntists.
be
may
with
strong
a
were
in
except
it
ends
them,
older
sists con-
down-beat,
one
They
last.
fermo
canto
name
the
placed,
to
beats,
up-beat
thus
the
the
counter^Doint
time.
concord,
a
if
the
others
than
manage
bar,
two
parts.
two
to
alone
and
hereafter. discord
easier
contains
or
must
explained
by
Note
a
down-beat
discord.
discords
weak
in
one,
each
bar
Cherubini
as
and
in
bar
to
is
last
the
Every
or,
;
notes
minims
two
In
also.
Tivo
counterpoint
be
must
semibreve
one
a
species.
semibreves.
of
a
Second
PRINCIPLES
THE
i^z:
HE^Eg^
1^2:
1221
-^-
'JTU.
Fiix
fifths
and
between
counterpoint to
this
the
the
being
But
only
not
consecutive a
bad
are
fifths one,
interval
a
also and
motion,
Said
equally
octaves are
created
should
be
on
a
allowing
by
third, the
"
and
octaves
so
as
to
come
time"
weak
the
in
"
consecutives.
the
saved
than
greater
thus
;
be
may
by contrary
concord
-"s"-
-^"
consecutive
which
by
times"
concord
also
Faulty
an
rule
a
"strong
skip
to
succeeding
case
give
^2:
3EaEE^^
-cS*-
others
12:2:
-s*-
-(S*-
-s"-
3.
13
-1^-
'TH'.
i^z:
Z2zzi:
-"S-
1
:iz?2:
-^-
FUGUE.
AND
COUNTERPOINT
OF
to
offensive
the
be
saved
rejectedby
the
thus
when
up-beats.
by
This
student.
this
rule.
treated, but rule
is therefore
14
PRINCIPLES
THE
relation
False
Another
case
student
The
5.
is
advised
speciesof counterpoint, as intervals, and It
6.
the
be
can
it is less
is considered
elegant
letting the
first bar,
d-'-i
thus
avoided
thus
to
of
put
of
skip
a
with minim
a
.1
than
two
rest
at
at
the
one.
the
The
when final
in
correct
the
bar
leading
thus
but
a
(sujiposing
whole
one,
to
up
terminating
part
upper
regularly by last
the
of
way
up-beat
thus
;
tone),
followed
the
is
by of
octave
a
the
the
-ts^-
p
by
fifth
a
major final
:^==
this
to
the
on
sixth
; thus
of
fermo
canto
"
"
"f^-
^ counterpoint
a
of
beginning
-T 7.
this
allowed
-^
^
1
to
"
in
other
the
notes
counter23ointcommence
Ml
preceding
sixth
minor
a
sing
to
easy
rid
easilygot
avoided
avoid
to
the
species of counterpoint,thus
this
in
easilyavoided
be
chapter, can
in
tritone, described
the
of
relation
false
The
4.
OF
on
species,
fall
to
down-beat
the of
weak
time,
properly
have
the
"
122:
"CT"
and a
if
fifth
third
on
the on
counterpoint the
the
be
down-beat weak
time
of ;
the
in
thus
the "
lower
last
bar
part, but
it should
one,
followed
by
a
minor
AND
COUNTERPOINT
We
8.
will
give examples
now
of
FUGUE.
this
15
species "
Counterpoint. ^
gEl^^
"
"
,
^_
fS"-
^2:
4t-
(S"
^21
3
4
fermo.
Canto
(S
Z2:
-G"-
122:
I!
_CZ_
Counterpoint.
fermo.
Canto
-"s-
1^2:
-"S"-
icz:
:^2_
^ 3
Counterpoint.
g3g=^=z:g:
:^
e
:^2:
:^
fermo.
Canto
_C2_
-o-
iq:
1^2;
2
3
ZI22:
1
3
3
3
-s*-
Counterpoint. HU"
g
^21
^
-p
"
f^i
"s-
I^I
i"
^211
:^ -(^-
PEINCIPLES
THE
16
bj licence, a
to
secure
be
may
the
course,
thus
;
discord
a
of
case,
order
in
Sometimes,
9.
notes
OF
introduced
the
on
of
connterpoint, such
In
down-beat.
adjoinmg up-beats
the
on
flow
melodious
a
be
must
cords con-
"
'^-
i^z:
iq:
:^
-7z^-
^
zi:
i^iz: :22: -^:jr
licence, however,
This
parts
and
minims,
three
a
kind
of
species,which
next
be
used
with
caution,
and
only
the
when
contrary directions. is
There
10.
the
in
move
should
is
every
counterpoint but note
seldom of
inte mediate
used.
the
In
it
fermo
canto
between bar
every is
this
and
contains
lengthened by
dot.
a
In
11.
this have
which
laws
Examples
one.
variety the been
two
already
last laid
minims in
down
governed by
are
the
of
case
two
the
same
notes
to
"
Counterj)oint. ZijL
:2i= Canto
i^
^
"_
:?2:
Z2.
--^^=^
z:^
(S"-
221
1^=^
O-
'B
^
fermo. -o-
i^
i^
Z2:
hS*-
122:
:^2:
b6
3
8
7
3
C
5
CHAPTER
Third
this
In
1.
last
the
species.
of
species contain
must
Four
IV.
to
notes
counterpoint four
one,
bar
every
crotchets
in
two
parts.
the
against
the
except
first
and
of
semibreve
the
fermo.
canto
2.
greater 3.
Skips than
should
bar
crotchets every
discord
discord may
should
as
much
as
be
attacked
with
commence
be
may must
be
avoided
possible, especially
intervals
fifth.
a
Every
be
alternately
preceded
by
a
and
skip.
a
and
consonant
followed
Examples
The
concord.
by "
a
three
dissonant
concord,
ceeding suc-
;
and
but no
PKINCIPLES
THE
The
4.
of
the
unison
in
this
AND
FUGUE.
species,except
19
first note
the
on
bar.
Zarlmo,
5.
species,when
case
they
second
the
allow
concord
a
or
fourth
follow
to
crotchet
by
of
thus
^i^^
"
'-QT-
-''^3-
-^s*-
-"s"-
122:
-"-
i:=o:
"rr
"C7"
in
passages
florid
point counter-
"
^
simplifiedinto
-Try -
-s"-
-iS*-
demurs
Cherubini
But
thus
write
rather
would
which
in
"CT
explains it by reference to certain it is a simplification, which e. g.
Fux
dissonant,
in
:g:
^^rf
i e^-
licence
a
5
-s*-
"C7"
is
skip ;
a
:?2:
-9-
is f
contrapuntistsallow
old
other
and
Fux,
this
and
allowed
is
COUNTERPOINT
OF
altogether to
the
use
of
this
licence, and
"
i 1221
On and
the
whole, Cherubini's
reasonable.
The the
counterpoints as classical 6.
To
-"-
^^
XT
student
view
seems
is therefore
be
to
the
recommended
above, although they have
the
consistent
more
to
avoid
sanction
of
such
great
composers. save
three, crotchets
consecutive are
fifths
required.
octaves,
or
the
All D
2
more
than
followingexamples
two, are
or
even
faulty.
^^ ^t^^=i i W
^^^.
-"s-
^-"jtJ^zst
-TOr
I
I
^i
L
8
3
5678
3458
8565 -J
M
"^s^.
5
6785
OF
PKINCIPLES
THE
20
8
3
2
2
3
I
:
J
i ^
'^
'^
?
4
3
f
5 8
4
5
8
3
7. must
a
the
tritone,
studiously avoided,
be
fiUing
of
interval
The
it
up of
series
Examples
with
3
2
and
intervening
will
not
be
better it
proceeding diatonically through
notes,
!
fourth, in made
it
6
5
\
excejDt when
notes,
8
I
augmented
or
7
6
5
8
'
I
J
the
melody even
forms and
part
beyond
"
n
S
^eSE
^=at
:^2:
-^s*-
-"s-
Z2:
(S*-
Wrong.
Wrong.
^-g
ii *^
icz
-s*-
Rio'lit.
S
:z2:
:?2: 1^2:
fES
" lliffht.
-s*-
by of
it.
AND
COUNTERPOINT
It
8.
rest, be
in
as
last
the
There
note
should
the
and
next
to
the
commence
The
example.
fall
not
under
be
never
hut
interval
larger
any
does
usual
elegant and
first note
21
first
after
bar
the
with rest
a
crotchet
always
must
concord.
a
9.
or
is
FUGUE.
one
of
a
Still less
Examples
seventh
should
eighth however,
rule.
this
interval
it.
to
the
;
the
between
there
being
a
be
any
ninth,
a
perfect concord,
"
-"-
Wrong.
-^
Right
Rie-ht. In
10.
be
a
the
third.
last If
diatonicallyto
the the
bar
but
Rig-ht.
counterpoint octave
;
thus
best
the
one
is in
plan the
is to
ujDper
let the
first crotchet
part, it will
ascend
"
i
1^2:
--^ ~C5"
And
if
then
rise
the
counterpoint
diatonicallyto
is in the
w^m
the
octave
lower or
part, it will
unison
-"s""s"-
;
thus
"
fall
a
third
and
22
THE
It
11.
should has
12.
be
tried The
P^=?i Canto
is sometimes
never
been
PPJNCIPLES
done in
OF
COUNTERPOINT
allow
to
necessary tHl
other
every
AND
the
mode
FUGUE.
parts
of
to
escape
But
cross.
from
this
difficulty
a
vain.
folloA\ing examples
will
serve
as
models.
--]=
^5Pj
^
^^=^"=^
fermo. ^TT
;3E
-Gh
i?:^:
~r2L
^^n^:^
^3F
3^^^^S -"s"-
:"2_
-o-
Z2
Canto
i
fermo. -"s"-
a
-"s"-
xz:
;e^!3^
r
-^
'Z^iL.
iq:
^-^
Sfe ?*=^-
B^f
J
p
i:2L -""-
t^i^H
a=*:
^
K
"
^
Z2:
f
CHAPTER
1.
This
2.
A
species
is
semibreve
"
i
it
as
is
now
is
parts.
semibreve.
struck bar
next
;
the
on
thus "
-"s"-
-Gt-
3"
:?2:
or,
it
the
5
"
-.
of
down-beat
the
over
tivo
concluding
a
when
syncopated
be
to
and
minims,
of
only
said
continued
and
up-beat,
admits
in
counterpoint,
Syncopated
species.
fourth
the
Of
V.
usually
written
j^i
z:^:
-G"-
"
rj; E!^
In
3.
ever
the
occur
on
provided
they
harmony
which
Chapter
.e"-
last the
up-beat
refer
VIII.
but
were
the
on
down-beat
resolved
and
discords.
no
Nor
they
according See
suspensions.
to
Example
Ji
;
prepared
are
-Gh-
there
example
^-s!=
1?:^:
iQ.
"
Treatise
permitted,
are
the
to
they
must
rules
Harmony,"
on
"
J_Jq^ i^
"
-jzt
i:"
-"-
-
~?2 -"
Z2: "
-G"-
s"-
7
6
of
24
PRINCIPLES
THE
let
Always
4.
chord.
degree
the
to
The
6.
for
This
Always
5.
the
is called
resolve
the
resolution See
clear
;
thus
serve
may
dissonances,
descend
one
the
as
preparation
derivation
the
of
them
will
be
^^-j^z
1^21
i^
this
8
example,
\Z2L
-"S"-
-Gh-
"
9
become
ceding pre-
example.
"
take
in the
letting it
by
note
_
us
concord
a
"
-G"-
Let
as
it.
dissonance
one
i^ "
s
heard
preparing dissonant
the
out
be
note
concord.
of
last
leaving
By
made
dissonant
succeeding
next.
7.
tlie
OF
7
leave
and
out
G
tlie dissonances,
when
it will
"
A
SI 8.
by
-G"-
i^^
If
the
resolve
we
octave,
a
shall
we
series
ZIZL
of
produce
seconds hidden
by
the
unison,
unisons
or
:^
'-^=^
or "s^
will
-"s"-
or
of
ninths
octaves.
-^ z:"
I!
ocJ^^^_^.^:
produce, when
1^21
-"-
-G"-
"O-
analysed^-
A ffi^
or -""
CJCJ
i^
-(S"-
'Tizr
221
G"'
26
THE
The
13.
'(',
PRINCIPLES
following examples"'
-^
-
intended
are
models-
as
^=^
^
:z2:
OF
P^=^^^
3^
fS"-
.^n
Canto
fermo. -"s-
:q:
-s"-
221
i"!
^=1 Qiqzzpzi^
:^=^
12:2:
^2:
(S"-
^Ei
22
.C2^
-^Sh-
in'
1!S"-
22:
-"s-
4r^
-.S"-
22:
Canto
fermo.
fcffi
-"^
22:
-"s"-
2:2:
I 1^=:^
^21
_C2_
C2-
5
3
*
From
I^Z
3
Fux,
-"s"-
g:]T~"r^^^^
22:
"
Gradus
2
ad
3
Parnassuin," p.
=S
:^r^::
^=^^=P
-"s"-
zz:
1^=3?
11
22:
3
.C2_
22:
74.
:?2:
22:
AND
COUNTERPOINT
minims
three the
is
There
14.
placed in
are
Of
fermo.
canto
variety
a
this
example
an
be
will
two
or
which in
semibreve
dotted
bar, against one
every
used, in
species sometimes
this
of
27
FUGUE.
sufficient
a
explanation.
:"
-^
^m
"rJ
"
^2:
^ (S"-
:^
"-
=?:2:
q=f
^~
--^
-^"
fermo.
Canto
rzf
:?2:
ffiEs:
-"s*-
W^ f^-
?2:
:^=^
:^=^ -f-
766
76343a
6
-^=^:
:^:
:^=
tSt-
pzgp"-^|E^^
h
"
_C2-
-S""
122:
V-
-^"
+ai=22=z: 6
B
7
-7^-
;
-
43676
76
Canto
.
:^:
iq:
fermo.
-"^
:^z:
-""-
-
"
221
1^21
W^ (S"-
Z2q~p:
a
:"
"^==^
e;
:^
2
3
-Q.
(S"-
r^=^:z:"z^
-S*"
3
:q:
r
1^2:
-"S"
icz:
T-
fe y--^-
^" |(S^
B: 2
3
(^"
Q
Q
-^
^21
:g
r^
PTP
Z2:
^
i^
i^ 3
2
2
3-23
E
2
3
-
VI.
CHAPTER
the
Of
This
1.
species
combined,
(or
sake
"
of
all
used
elegance,
"
name
imrts.
two
counterpoint
simple
ornamental
certain
added
called),
sometimes
are
the
which
to
of
with
together
they
as
kinds
other
the
alternately,
diminutions,"
in
counterpoint,
florid
or
comprises
rather
or
variations the
Jifth species,
Counterpoint"
Florid
for is
attributable.
The
2.
a
crotchet
rest,
The
3.
last
described
in
Two
4.
minims,
No.
followed
by
but
bar last
I.
case
Simple
by of
one
be
bar, of
way
"
rest,
in
as
Form.
with
together
in
and
tlie
Yuriatiou
^ "
formed
elegance
syncopations,
"
"
minim
a
sometimes
or
concord.
a
should
one
in
admitted
In
with
begin
the
fourth
species,
chapter.
quavers
are
(a)
the
should
bar
first
dotted
variety.
following 1.
manners
"
Variation
ii'S "y^
-^l -"
-Gh-
:^
3.
="
'C7-
i fZjr
-"-
-"s-
2.
iz:^
-^z^
Variation
and
semibreves
II.
No.
Z2:
:2:z
-"s"-
Variation
-e^-
-m,
(/3) Quavers
should of
quarter thus Ko.
^ I
-"s-
tr^-u
-^
Variation
6.
^^
(^_
:^2:
-S^-
admitted
be
never
bar, but
a
22:
5.
1221
-"-
3.
^^^HEEdf^
Z2:
Variation
29
Variation
2,
-Gi-
-s"-
4.
:S2:
Variation
1.
:^-atrf
: =!'i:^_z
^-f^-
a
FUGUE.
AND
COUNTEEPOINT
Variation
Fokm.
Simple
"
OF
PRINCIPLES
THE
only
in
-"s"-
first
the
in
unaccented
the
third
or
portions ;
"
No.
1.
No.
2,
3
122:
^
Z2: -s*
In
the
last
however,
by
(7) Quavers
The serve
may
I
no
in
as
models
S
by
a
a
frequent practice.
skip, but
always
of
florid
counterpoint
altered
from
fS-
5t^
H"=^
^
fermo. xz:
is,
dia-
preceding examples.
^^-
rcz
M
move
as
This
"
"^"
S;
the
following examples
'W=^
Canto
never
introduced.
are
quavers
recommended
means
should
as tonically,
5.
example four
-^-"s"-
-ry
Fux
AND
COUNTERPOINT
FUGUE.
gg^"F=^-t^:"g^j^
T^-
C5:
s
OF
PRIXCIPLES
THE
30
-C2_
-s"-
Z2:
-r^L
-Gh-
1^21
m-
_Q-
-S"-
-TJi
-iS*-
c^
a^^
cz
6.
Before
counterpoints taking treatise.
for
proceeding of his
each
any
further,
species, adhering
subjects
any
of
T2L
T^
those
the
is
student
strictly which
to
are
xz:
^s^
ad\ased all
the
appended
write
to
rules, to
and this
VII.
CHAPTER
equally
apply
i.
Chapter
Harmony," the
If
3.
hidden
descend
may
Canto
is
counterpoint,
two-part otherwise
where
except should
contain
first
inversion.
its
or
in
by
of
one
a
the is
6)
sect.
In
a
3
license the
incomplete
secure
for
parts.
specified.
complete See
harmony, Treatise
"
on
skip
far
so
motion
similar
in
that
relaxed
;
about
rule
the
parts,
upper
bass
the
thus "
Fermo.
this 4.
given
bar
II,
final
the
to
5
But
is
(Chapter
octaves
been
three
III. fermo
canto
iyi
every
triad,
minor
or
note,
kind,
present
possible
as
major
a
e.
far
As
2.
the
to
against
have
whicli
rules
the
All
1.
Note
species.
First
6
should second
;
melodious
but
only and
it
inner
is
be
third
a
case
part,
6
used bar in which
when of
the
which
could
5
absolutely foregoing this not
is
unavoidable. the
example
tolerated
otherwise
in
be
chord
order
obtained.
to
THE
32
In
PRINCIPLES
OF
lutely avoided,unless abso-
be
skipsare alwaysto counterpoint three-part necessary. 5. The
chord ;
or
old if
avoided the contrapuntists generally they used it at all,they always made
major third,if "
introduced
thus
Tierce de Picardie."
modern
fifths,without
and
octaves
To
into the
any
ears
a
minor
third in the fin;J it
major. This
was
called the
mode,
chord composedof concluding
are therefore,the following counterpoints, positions three-part T
Q
Q
In
crude.
and
harsh
third, sounds
Q
""
be
to "-!
^ :',
(thethird being alwaysmade major): 8 i 3 s preferred These are placedin the order of merit. to be doubled,i.e. neither 0. Tlie third and sixth ought never in two parts. This rule may be heard simultaneously them must "
relaxed,however, in 7. In this
interval between
9. Never
fourth
a
the two
last bar but allow
a
or
an
upper one
part to
must
be
of the upper eleventh from the bass
partsmay
be
a
Canto
now
.
'"^'''^
-y
of be
partsmay
be
part. But the
chord. alwayscontain a complete than note for more on one stationary
subjoin examplesto
fermo.
*i
fourtli, e.g. \?^or \o
tliree bars at most. 10. We
i
of emergency.
case
neither of counterpoint species
at the distance of
S. The
i
serve
as
models.
CHAPTER
old
The
1.
notes
laid
contrapuntists
fifths
consecutive
Two
species.
Second
VIIT.
it
introducing
by
to
in
one,
down
that
three
parts.
it
allowable
in
motion
contrary
is
the
to
inner
save
part
thus "
"
22:
-(S"-
--^-
-jTJL fS-
-G"-
iq:
e
But
the
a
2.
student
The
two
but
nothing
3.
advised
strongly
not
avail
to
himself
of
so
able question-
licence.
part
same
is
The
down-beat,
minims
be
must
throughout
a
piece,
and
placed the
in
exclusively other
two
parts
and
one
nuist
the
contain
semibreves.
third
except
be
may in
cases
doubled of
absolute
on
the
up-beat,
necessity.
but
not
on
the
;
THE
The
4.
is
unison
allowed
on
last
and
the
be
should
up-beat.
syncopation
It
is
generally of
allowed
in
the
last
bar
down-beat, but also
in
first
the
but
one,
in
as
"
-"s-
22:
"s"-
Z2:
1^21
"
the
on
35
fermo.
fe^
s
course
FUGUE.
I.
No.
Canto
avoided
allowed
is
species. Examples
fourth
AND
COUNTEEPOINT
bars.
A
5.
OF
PRINCIPLES
-
-s*-
-^=^
:^
(St-
z^Z2:
g:
-f^
22:
Wd"^EE^
'.Z2L -"-
:j!zz_
F
2
the
36
THE
No.
lU-
OF
II.
fS"-
ffi^i Canto
PKIXCIPLES
^i
T^-
^^I=Z^
i^EE^
=^
fermo.
Effi
:z2:
-"s-
-"S'-
i
Z2:
1^2:
^^^
s"-
-"s"-
:?2;
2z:
PE^
^2:
(^
"
--r^
:"
^~
p"
fa
-s"-
J
-o-
^
12:2: :zc2zz
I
-e"-
-"s" -s"-
-"s*-
No.
III.
5E^
Z2:
"^~
i^z:
-"^-
-(S"-
Canto
fermo. :
3!==^-
ry
hS^
-(S"-
1221
-li=t-
ffi^J^
1^5=1 -lS" -/S-(S-
-^ "
O-
X2:
g;
r:^"-
1
AND
COUNTERPOINT
_C2-
FUGUE.
-"S'-
1221
37
1^21
-"S'-
2:2:
^ -ifS"-
-^
-^
1^2:
^2znzip=^:
-(S*-s*-
I^Z
-IS
No.
IV,
-fS*-
"^
-
t^
z:2:
:?:"
-^
Z2:
i-Qz
fermo. rj
"! Z2:
e*-
:^
i^i -^-
-s"-
in
in
will
tripletime.
what
has this-
iS^
--S-
2: :tf^
-"s^
122:
1^21
-Gh-
It
e^
IQ
hSi-
1^21
-s"-
1;
-s"-
b?^2:
I^
#^
6.
"~
-^
Z2:
-s"-
B^i Canto
:^^=
1^21
-^-
:z2:
been
be
unnecessary
The said
chapter.
student about
to
will it in
-"S*-
give be
rules
able
Chapter
examples
understand
III
with
the
H
^1
1^2:
or
to
^^
of it
counterpoint by comparing
rules
contained
CHAPTER
Third
Where
1.
If The
the
only beat,
octaves
or
is
one.
No
fifths,
or
such
But
following
are
commence
be
introduced
the
best
ways
this of
concluding
-"S)-
Canto
-o-
Z2:
general.
bar
last
"
z:2:
'-'^^
fermo.
:i:2r.
hS-
e
discord)
"C7"
fermo.
s
in
=Jf^:
-"S""
i
the
in
-s""
-Gf-
1221
at
consecutive
passing
avoided
species
crotchet.
introduced
produce (or
carefully
third
be
dissonance
chord.
complete
a
fermo.
Cauto
Canto
iKtrts.
the
at
w^ould
be
in
allowed
three
cannot
chord
should
in
witli
chord
transient
a
cases
is
one,
bar
complete
when
to
complete
a
a
syncopation
The
chord
which
when
are
employed.
2.
in
notes
every
complete
cases
either
Four
let
possible,
let
not,
species.
IX.
-o-
I
but
THE
PRINCIPLES
OF
COUNTERPOINT
AND
Canto
U-H"
+
3?
it^
-(S"-
:fi^:
'JTJL
Canto
Canto
39
fermo. -^-
icz:
fermo. -^-
'TTT
FUGUE.
I
1^21
1.^
J-|^
fermo.
%-
122:
"s"
-"s"-
The
3.
No.
following examples
feEg
gEfi
intended
as
models.
I.
^
EE!3:
Canto
are
-"s"-
:JIq:
U:
"
^^"--tfF^
fermo. :z2: 122:
-cs-
-"s"-
z:2:
:q: -o-
-s"-
:^2: :z2:
THE
4Q
PRINCIPLES
OF
II.
No.
w~r
IS
"
S=p:
;s
1221
WM
-"s"-
Cauto
-Gh-
22:
fermo. 1^2:
-"s"-
J!
1^2:
-s^-
-s"-
-"s^
1^2:
-s"-
No.
"1
Canto
fefe^
122:
-"s"-
1^
1^2:
-"s"-
III.
1^2: TT
-iS^
122:
-s"-
fermo. "C2:
IE
^^^=^
I^
'It^~
-S*-(S'-
e
-"s"-
ESSSfES
i^ssg
B^
=12
:?:2:
122:
^
"
1*=^
-"S"-"s"-
"E^
:22:
^"^^
-r-| f
r
r
f*
THE
42
After
4.
will
each
according
the to
their
COUNTEPtPOINT
various
them
treating
combine
next
OF
the
taking
and
volume,
PRINCIPLES
given
according
second
and
to
third rules.
respective
AND
subjects the
An
fe
i^
the
models,
counterpoint, is
example
of
this
student
treating
subjoined
?
-p^"m-^-
-(S^
5p
of
end
the
at
above
species
|E3^fe
FUGUE.
"
-"s"-
:p T^-
-fS"-
-fS"-
z:2:
i^^^~n
-^s"-"s"-
1^2: -"^
12:2: -G"~
X.
CHAPTEE
the
Of
flir
As
1.
rules
same
third
with
regular take
if
counterpoint
the
following
of
parts
parts.
in
two
with
parts.
must
the
are
removed,
the
first
22:
always
resolutions there
species.
will For
--^
-Gh-
-(S"-
fS"-
^-
T^
1^21
fS^
"
-"-
(S"-
^2:
-
:q:
i=^F='-^
If
we
remove
Z2: -"s"-
the
:q:
it
syncopations, G
2
will
stand
thus-
the
part,
"
-G"-
I
and
three
syncopated
semibreves,
of
syncopations
three
the
species
fermo
canto
the
in
fourth
the
consists
which the
Thus,
syncopations.
in
as
part,
both
concords
here
and
fermo
canto
in
counterpoint,
Syncoixded
the
regards
as
apply
The
2.
sjjecies.
fourth
form
of
the
remain
example,
PRINCIPLES
THE
44
-S"-
I
T^
3i
OF
hS"-
;22:
-"s"-
:c2:
-"S'-
m
S
iiz:;z
32:
-o-
1^2:
i!
3.
by
By
a
similar
consecution.
hidden,
and and
are
1221
-iS"-
1^2:
test,
we
i^z:
guard against hidden
can
For, by removing
instantlydetected. analyze
them
in
this
the Let way
fifths
syncopations, they us
;
take the
two
result
or
cease
octaves to
progressionsby will
be
be
copation, syn-
instructive.
COUNTERPOINT
where series
a
the
resolve
we
be
may
counterpoint
tedious, but
1^2:
Siffi
-G)-
I "
a
-fS*-
45
of
sequence
sixths.
-s"-
-(S*-
:c:z
i^z:
~^^^~f3-
^
-"s"-
h^=^
:?:"
(3545
6
2
3
3
i!
z:2z
-"s*-
.5^-^5 8
Such
absolutelyincorrect.
122:
:^
:^::=[^
into
r^-
-s"
:P2: :p:
S-f^
FUGUE.
it is not
-^"
iq:
AND
Analysis "
i
-fS*-
:^2: 1^233 "C?~
-"S"-
F*
122:
" -fti--
-^
in^
"?
where
find
we
the
same
Note. were
last
accustomed
example
severityof and
in
122:
but
hidden,
-"-
of
is recommended
:z:5:
-S*-
Z2:
the
:
122=
-.s-
consecutive
destroyed by
not
utterly
1^21
fifths
duced. pro-
syncopations;
inadmissible.
to
all his
test
syncopated counterpoint
way. All
"
-(S*-
objectionableseries
series is
a
student
The
-(S"-
most
a
were
such
therefore
:q:
-1^-
z:^:
These
in
-^'-
E!
"?""
the
best
writers
occasionallyto ;
this
warning
but
it
seems
and
composers consecutive
save
such
an
styleof composition,that the
student
against
its
fifths
by
means
licence, and
unaccountable
Cherubini
sixteenth
the
of
is
employment.
and
seventeenth
centuries
of
suspension, as
so
inconsistent
in
with
the the
against it, quite justifiedin pi-otesting
THE-
46
In
4.
this
species all
fourth, the
the
should
be
the
of
OF
dissonaDces
and
seventh,
dissonance
i. The
PEINCIPLES
second
can
either
by
accompanied
be
used, viz.
only
be
used
the
second,
ninth.
the
the
may
the
in
bass.
the
the
perfect fifth, or
It
perfect
fourth.
dissonance
ii. The
fifth,and
the
of the
dissonance
the
one
or
6.
and
resolved
cannot
two
notes,
the to
be
the
unless bass
by on
on
one
a
concord.
a
one
seventh
should
only
can
be
sixth.
the
upon
the
of
the
on
should
ninth
It
octave.
bar
possible,every
such
first of
It
in
occur
one
It
accompanied by only
can
in
occur
the one
be
accompanied by only
can
in
occur
the
third, of
one
the
parts.
it is allowable
the
always accompanied by
parts.
dissonance
When
done
resolved
The
Where
when
be
third.
the
on
the
of
upper
upper
5.
should
parts.
third, and of
fourth
the
resolved
ujDper
iii. The
iv.
of
of a
be or
the
resolve
one
this
kind
series
of
is called
discords
concord, and The
that
intermediate
the
degree. Examples
"
"
for
note
for
of
discords
least
at
It
introduced
another, provided only that
be
another.
Pedal.
last
one
on
note a
may
omitted
but for
interposed.
dissonance one
syncopation;
a
syncopation
stationary on
sustains
bass
be
may
remains
bass
the
case,
rest
a
contain
should
on
it a
pedal
series
may
be
are
should
prepared
resolved
A
necessary
should
bars,
should bars.
two
always
the
they
This
several
be
not tionary sta-
that pared pre-
be
resolved
and
resolved
by descending
AND
COUNTERPOINT
No.
FUGUE.
47
I. i^-
7^ fv
r^
^:
-G"-
-B
=^
5=^=^21
IZJ.
(S"-
-^
G
7
^21
T^-
6
7
7
fS*6
fermo.
Canto
-"S"-
Z2:
7
30
5G
5(3
1)
^
^^
7t!-'7 0
-^s*-
^
I
:g2
Z2~::i^^2
-"s"-
Z2:
-"s"-
z:=22:
jr2.
-Gh
Z2:
-Gh-
I
a
-fSt-
-G)-
5
o
.5
4
4
II.
No.
fermo.
Canto
-f^-
-"s-
Tjl-
-"s-
Z2:
-s"-
122:
-(S"-
S 3
2
3
3
2
2
3
-^"
fS*-
3
2
-^TN
:^^p4^
w^
i^:
-(S*-
Z2:
--s"-
1^2:
Eg^
7. the
It
will is
bass
be
observed,
stationary,the
regularcounterjiointto to
usurp
8. of the
the
In
the
office of the
the
last bar
seventh, when
fourth, when
part;
and
the
that
the of the
but
bass,
the canto
the
above
above
uppermost
one
6
next
part
It
one.
fermo
fermo
second,
when
is
is in
the
to
in the
i^:^:
5
-
4
is
-
3
4
always appear,
bass
is in
introduce the
-s"-
:P^
while
examples,tliat
would the
it is desirable
canto
it
far, while
so
6 5
7 6
-
examining
on
:?:2:
:q:
S 7
^-
the
lowest
middle
syncopations
or
are
in as
strictly it were,
chains,
dissonance
jiart; that in in
of
the
upper
the
bass.
THE
48
The
9.
following examples
No.
I
are
OF
given
as
models-
I.
iS"-
"
PRINCIPLES
T2L
fSt-
rz^"zziz^^
-.
Z2;
-rS"-
ZI2_
-"S-
fermo.
Canto
-"s-
Z2: :a:
1^2-
1^21
fe
-"s^
-(S"-
Z2:
:^2:
Pedal.
II.
No.
fe
^o-o-
Z2:
rzic^:
:q: i
^
:p?: -iS'
Canto
S3
-o-
-^^
r^-
J|^
fermo. izz:
-"s-"s"-
-(S"-
THE
50
The
10.
in
11.
species, canto
student
triple
After
subjects down
PRINCIPLES
fermo
as
having at
this
first
will
time,
given in
OF
in
the
the
the
its
require rules
carefully
chapter, with
not
end
the
COUNTERPOINT
are
added of
student
the
of
then
syncopated
point counter-
same.
volume, will
and
parts
examples
of
counterpoints
the
second,
different
any
FUGUE.
AND
according
do
well
with
alternately.
to
the
this
to
combine
third,
species the
iiiles
the
putting
to
the laid
fourth
the
CHAPTER
the,
Of
Little
1.
of
admits
it
need the
have
It
2.
will
four
been
suffice
said
be
others
;
Florid
to
in
described
give
ornaments
Chapter
YI.
from
j^ctrts.
merely
and
examples
some
is
it
as
variations
the
and
sufficiently then
species,
this
of
^V^ thi^ee
counterpoint,
a
of
bination com-
which
Fux.
I.
No.
"!^
Canto
fifth species.
XL
:^:
"
:^3
tffiez
-^si
fermo. -G"-
:q_
-s"-
2:2:
:^2;
i
-jr2L
-"S"-
I!
-jr2L zz: -"S"-
-^-
rcz:
-s"-
-lS"-
221
Z2:
I I
-fS"-
:"^
-yS'-
-"5"-
1221
Z2: -(S"-"S"-"s"-"S"-
-"s"-
II
2
52
THE
No. Canto
PRINCIPLES
OF
II.
fermo. 22:
3"
-^
-"s"-
1^21
"
S^eeS
"
#
a^lt" CJti
-"S"-
:r:zL
22:
-"2-o-
22:
M
-"s"-
m
CJl.
^
1^
-^
=^^:^iir
^""^^
"
Hidden
?2:
fifths.
S^^
Hidden "Sf
-"S"
octaves.
"
-CS"
-"s"-
:z2:
-s"-
KB.
No.
a?: Canto
t* S^
N.B.
III.
;c2i
22:
zz -"s"-
-"s"-
fermo. -"Sh-
~^n
:c2:
^"
EES=
T"^3
-(S"-
-f^
^g N.B.
1
COUNTERPOINT
i
-Gf-
AND
1^21
FUGUE.
53
1^21 32:
-"s"-
12:2:
(S"
the
in
the
"hiding
to
imitate.
After
student
the
second
(or
places
marked
of
will two
N.B,
florid find
notes
it to
where
122:
:^2:
interesting
the
;
to to
fermo
canto
fe^=^^^
the
hcences
this
hereafter, with
species write
placed
not
student
the
subjects given
finally, to is
certain
advise
not
combine
also,
and
of
use
do
we
counterpoints
one)
made
which
TP-
:^=1M
:"
has
;tt^
-Gt-
E
Fux
consecutives,"
adding
counterpoint
florid
g-^
-I
At
3.
T=^-
^
"
"
-"s"-
;
each
part
thus "
^=f^
tj
feffi
msE
Ci-
"iznz=^_l_=g:fa -~*^^
-G"-
122:
-"s"-
"c.
-"s"-
the in
XII.
CHAPTER
the
Of
first, second,
In
1.
four-part
is
rules
intervals, The
2.
the
triad
minor
third
forced
are
be
must
consists be
must
to
use
of
the
We
should
it
foregoing of
doubling
is
octave
that
much
as
is
it
unless
sixth,
we
notes
two
avoided
be
or
If
unison.
evident
the
doubling
the
the
or
writmg
four-part
double
to
should
This
avoid
In
third,
chord,
doubled.
also
better
major
incomplete
an
simultaneously
possible.
fifth, the
the
necessary
sounds.
is
It
j^ctrts.
progressions.
three
only
doubled.
than
of
four
of
some
the
of
account
on
of
severity
awkwardness
consequent
these
of
one
and
the
counterpoint
necessarily relaxed,
in
species of coanterpoint,
third
and
as
lutely abso-
necessary. The
3.
The
parts
but
is
it
Note.
by
generally the
In
case
"
to
until
proceed every
4.
It
to
means
is
an
octave to
however
avoid
similar
far
as
the
be,
may
parts
another,
motion, bass.
is
to
also
difficulty.
a
escape
the
avoided.
be
should
allowable
between
except
and
equidistant;
the
between
allowed
are
It
motion,
as
lower
two
one
cross
the
in
not
concord
perfect
where
between
fifths, hij contrary
parts,
upper
kept,
occasionally
may
Consecutive
a
thirds
successive
many
be
should
parts
to
three
proceed
to
parts,
extreme
forbidden. the
of
by it
two
simihir
has
forbidden
been
last motion
;
tried
to
the
chords
in
but
extreme
parts
licence
this
should
sometimes
never
are
be
forced
admitted
vain.
approach
a
luiison
by
similar
motion.
THE
5.
No
PRINCIPLES
dissonance
Examples
OF
should
COUNTERPOINT
be
ever
FUGUE.
AND
resolved
55
by crossing another
jpart.
"
:^: iS"-
:^ '
"
T^ :t
Q_
t
:^
wrong".
It
6.
is
7.
relation
to
guide
second, models
No. Canto
to
the
and of
cases
tlie
first chord
sometimes
counterpoint in student
third each
in
should
be
where
occur
foregoing observations, together with
The
in
that
tliough
1
wroiif
recommended
chord,
common
(S*
the
species.
and
two
It
will
of
be
now
the
First
enough
Species.
fermo.
*
These
Examples
.ire
modified
from
rules
those
in
Fux.
to
complete
impossible.
already given be
counterpointsof
kind.*
1.
is
parts, will
three
compositions
this
a
give
sufficient the him
first, some
THE
56
No.
II.
No.
III.
PRINCIPLES
OF
THE
58
No.
PRINCIPLES
OF
II.
^
i!
T^
Canto
I I
i^z:
s"-
-G"-G"-
-iS"-
-.rs:
Z2:
-"s"-
^E^
T"
fermo. isz:
i!
e
-(S"-"s*-
122:
Jiz:
i^: -s*-
-(S"-
:^: 22:
COUNTERPOINT
AND
FUGUE.
59
No. III.
-"s^
i"!
-^
22:
-"s"-
ISX
221
-"s"-
ISX
-"s"-
1^21
122:
-""-
"^r?'
Canto fermo.
te3S
-"^-
I^X
X2:
-"s"-
"
-(S-
22:
-(S*-
-(S"-
-G*-
-"s"-
-"s"-
-^"-
122:
-"S'-
:tf^
-o-
iq:
.^2-
Z2:
I
22:
:z2:
22:
-"S"-
22:
22:
221
-(S*-
lifo:
22:
-^-(S-
-g^
^
-OL
-"-
-"-
-cH" I
2
-s'-
s--
-c^
60
THE
No.
PRINCIPLES
OF
IV.
35
-"S"--
~7T
zz:
Z22:
*-
-9-"-
^
:^
-"s"-
i 31^=^ -s"-
:^2:
Canto
22:
^
"^2:
fermo. hs"s"-
:^2:
22:
i "^"s"-
-"s"-
-"s^
:s2: -"s^
:22: -"S'-
^
AND
COUNTERPOINT
Third No.
Species.
I.
W^^
S3^ Canto
61
FUGUE.
ittei
fermo. -G"-
:2z:
fcdi
:q:
g3e
-"s"-
a
-"s"-
:?:2;
1221 1^2:
22:
-s"-
1^21
3!EE^;
it:^
Z2:
=^#-
^i -Ql
321
I
:q:
-(S*-
-O-
-s*-
ff^
:c2:
-G"-
-ZJl.
-0-"s"-
-"s"-
-"s"-"^-
ife
-(S"-o-
221
-s"-
-(S-
:z2:
62
THE
No.
P
PRIXCIPLES
OF
II.
1^2:
22:
-G"-
22:
lf==f-^-ir
S
"S^
-"S"-
-#bJ
#
-(S"-
R
-"^-
f
IC2:
-"sf-G"-
Canto
fermo Z2:
-"s"-
22:
"s"-
i I i @^
221 22:
-(S*-
-"S"-"S-
^==r=it
=5^
-^-
:tfQ:
-^4-^i^"^ir=^^f=F
?
-o-
-(S"-
Z2: "
"s"-
22:
-(S"-
-"s"-"s"-
-"-
i^z:
-"S'-
AND
COUNTERPOINT
No.
63
FUGUE.
III.
122:
-ts-
-"s"-
-s*-
:^2:
Canto
fermo. -"^
fe
icz:
-"S'-
rj-
^
Z2:
e
i
*qt "3:
Z3: 22: -O-
-"S-
-"S'-
:z2:
12:2: 1221
-"s"-
:Jf^
-s"-
THE
64
PRIXCTPLES
OF
IV.
No.
zz
Canto
-1^-
22:
icz:
-"s"-
fermo. -"s"-
122:
i
-"s"-
i^z:
::c2:
-"s"-
2^2:
S^
:?2:
hS"-
"
r^H^r"
_^
22:
-"s^
122!
-C222:
-"s"-
-"S"-
-e*-
^
^
I
H^
-"S"-
^
1t^
-TQ-
-S"-
"
-
^
^
-"s"-
312:
-"s"-
-"si-
J^
:z:2:
:^=P^
"
,
#=^ ^d-^-r-id
-(S*-
^
CHAPTER
and
Fourth
fifth
XIII.
species of
j^oint
counter
in
four
parts.
,
1. the
A
fourth
will
be
2.
the
are
fewer
noticed
The
The
No.
as
1.
remain
is note
and
cautions
in
force,
required
are
four
in
counterpoint
All
parts. in
except
the
certain
in
treating
rules
cases,
for
advised
be
to
consonant
examples
make
which
complete,
the
ways
of
dissonances
employing
Cherubini.
No.
2.
whether
dissonant.
or
of
chord
every
No.
3.
No.
4.
of
this
arise.
they
following from
taken
rules
parts
student
syncopated 3.
of
species
in
species
additional
FEW
THE
No.
m
PRINCIPLES
No.
5.
T^
-(S"-
I
AND
No.
6.
:cz
FUGUE.
67
No.
7.
8.
-G"-
1^21
icz:
-O-
-"s^-
-s"-
~ry
-r^L
HS-
-"S"-r-"S"^
-o-
:^
-(S^
Z2:
-"s"-
-"s"-
and
4
the
4.
that
of
1
and
the
give
2
seventh,
:z2
the
that
6
-f^-
iQ
of the
use
and
5
-r2L
X2:
-(S-
22:
these, Nos,
^
i
-^
Z2z:
Of
-"s*-
^
e
of
COUNTERPOINT
1^21
-S"-
3
OF
of
dissonaDce
of
the
fourth,
the
7
and
8
ninth,
that
second.
If
test
we
recommended chords
5.
breve
in
is
in
resolved obtained.
above
Chapter
X.
examples by omitting the 3,
shall
we
find
in
that
syncopations,as all
of
them
the
complete.
are
It
the
allowed
the on
a
The
sometimes
to
accompanying different annexed
chord
parts, ;
this
by
examples
so
from
are
K
that means
2
instead
minims
two
put
the
dissonance
of
a
semi-
may
great variety of effect Cherubini.
be is
Treatment No.
OF
PRINCIPLES
THE
68
of
Fourth.
the
No.
1.
2.
G
122:
"S"-
T^
-""-
^
g
"-
tS"-
-s"-"s"-
22:
-s'-
:^:
,5
4 -s"-
:q:
-c^-
:P2:
:?:" :^
Treatment No.
No.
1.
of
Seventh.
the
No.
2.
3.
No.
122: "
qzzq;
"^
-"s"-
"
z:^:
-"s"-
-"S"-
1221
-o-
221
^M-^-
1^2:
(S-
4.
1^2:
2I"
H^^-
-cz:
?2:
-^-
?2:
-"S"-"s"-
(S"-
(S^
-"^
:c2:
-"s"-
-G"-
r:z.
^1=^21^ :z2:
iQ
:^2:
-,s"-
1^21
-"S"-
22==^
COUNTERPOINT
AND
-o-
13-
69
No.
6.
No.
No.
FUGUE.
7.
Z2L ""
"
Z2:
-C2-
-""
-(S"-
-"S"-
^21
:^
I
^21
fS"-
"
:-
-,^"
u-""-
fS*-
^21
S:
T^-
-^-
-"s"-
C5:
-"s"-
^21
-"S-
were,
Nos.
5, 6, and
7
i?:^:
dominant
the
accidentallyproduced,
1.
m
of
No. T2L
J^
ordinary
is, as
it
dissonance.
Ninth.
the
No.
2.
3.
iS"-
f^-
W
|S"-
T^
221
-^-
122:
(S*
-(S"-
"s"-
-^s*-
T^
-"^-^-
22:
an
as
-"s"-
-S"-
seventh
fundamental
or
treated
and
Treatment No.
:"
cz
hS*-
ifd:
In
-^ -"^-
~o-
-s"-
e
-TD'
iq:
fS"122:
e
-"s"-
221
z:"=U
THE
70
No.
PRINCIPLES
No.
4.
OF
No.
5.
m=p^
3^E;E^EEg
6.
-Gh-
:^=^
hS-
-"S"-"s-
1^2:
ft
:^2:
:p^
-"s"-
ITjL
-^-
2":
:^
1^2:
No.
1.
zi:
-"s"-
^2zzn
1^21
of
-TTT
Z2:
-lS"-
No.
3.
4.
~j:2l 1^2:
-^-
_C^ 22:
-lS"-
Z2:
-(S*-
-^?-
-(S"-
n
-iS"-
"
r^
:?2:
-"s"-
rj
22: 22:
-is"--i-"s"irZEL-CZ.
-s"-
22:
221
-"^
Z2:
-^
-rr
-(S"-
hS^
3=H
-"s"-
Second.
the
No.
2.
-fst-
"1:
22
Treatment
No.
jrzz.
=P^
iSi-
"J
-"s"-
-^-
22:
-tS^-G-
COUNTERPOINT
No.
No.
5.
AND
71
No.
6.
^21
7.
-"s"-
nrcz:
Z2:
FUGUE.
-o-
_C2_
-"^-
-"S"-
^m
-"s"-
I
:z2:
^-
Nos.
4
and
5
accidentallyproduced, testing the
observable others with as
that
which
The
desirable. of
the
C2:
as
an
of
bear
not
the
the
student
test.
is
seventli
ordinary dissonance.
them
of
dominant
the
the
examples by removing many
rJ
have
last
These
is advised
correctly,there
out
come
not
syncopations, it
are
marked
been
adopt
to
is
them
except
exception.
lare
6.
rJ
inversion
treated
and
although will
third
the
ahove
asterisk, and
an
a
-s"-
I^
1^2
On
221
|S"-
"s"-
f^-
In
-Gh-
Z2:
-^
-"s^
22
use
of
the
pedal, especiallytowards
(See Chapter
fourth
examples
"
without
X.
6.)
Palestrina
preparation
on
a
close, is
a
often
pedal,
the
used as
in
the
often
very
dissonance
following
72
THE
No.
PRINCIPLES
1.
No.
2:z:
i^-
221
-s"-
?=2:
-G"-
8
-fS"-
-"s^
1^2:
-"s^
3.
(S"-
:^2:
-(S"-
OF
ig"
jOl.
122:
_C2_
-"S"-
5
i^
t:^
-"s"-
54.*^
4
r^
4
-"s"-
-s"-
2:2:
-i^-
4
122:
-"Si-
-is"-
3
zz:
i^z:
No.
3.
No.
^21
-""p^
"fS-
:?2: n
4==L
1^21
TTT
-(S"-
-s"-
-e"-Gh
^.
'JU~-
-G"-
-Gf-
-Gh
1^
-G"-
P=^
-"s"-
"?:
-""
4
_cz;
-(S"-
-"s"-
-"z
22:
-(S"-
4.
4
-"
"221
3
3
5
4
S
4
r:?
1221
-"S"-
-"^-
:z2Z
2:2:
:q:
:^2:
^
=1
74
PRINCIPLES
THE
II.
No.
i
:^ rJ
Canto
OF
"
:^=P2:
TTi
'-f^=^
-o "s"-
-'S-
fermo. -o-
22:
Effi
-"S"-
221
32:
#
"
Z2: -"s"-
-^-
-(S"-
-s"-
^
-"s"-
-"s^-
-^Gh-
'TTT
-"S-
i
"iSh-(S"-
rJ
f=^
Z2:
-fS-
zz^"
32_ Z2~
-Gh-
-"S"-
321
-S"-
-s"-
:c2_
-"S"-"^-
@^
g=^
-"S-
^^
-""-"s"-
Z2:
-Gh-
-"s"-
-JTZ.
"
No.
FUGUE.
AND
COUNTERPOINT
III.
-"s"-
-(S*-
I!
"z^
^
-s"-
1221
r2
^
e
122:
-S"-
-ry
I E!^ Canto
32;
-7^"
7^
(S*
T
Q
"It
g
^-
^21
?=:
fermo. Z2:
-G"-
:sz:
-"s"-
L
2
-s"-
76
THE
No.
Canto
fe
m
PRINCIPLES
OF
IV^ fermo. :a:
"
^
TJ-.
-7=1
J!^
-^EB
"S"-
1^21
g
S:
"
-Gt-
r3
"
:^z=i 2^
:^
S
1^2:
ICZ -"s"-o-
-"s"-
-"s"-
:^^,=
^2:
-Q"S"-
T
i
i^z:
m
-"s"-
s^
-f^ '-B
o-
T2:
J^~l^
-f^-
m
22: -s*-
1 "
p^
ti"-
-G^ -^TT
-O-
IL
C^_
1
AND
COUNTERPOINT
No.
77
v..
-"s"-
T2L
-^
22:
icz:
Canto
FUGUE.
-(S"-
fermo. -(S"
L?:z:
S
"*^-
izz:
22:
I
-Gt-"s"-
:T=g ""
"
:^
:rz:
1^2:
-s"-
r^
?=2:
:^==:?:":
-^
-"^
122:
22:
1^21
_C2_
-"S-
1221
Z2:
1221
-S*-
22:
22:
-O-(S"-
-^-"S"-
'^
Z2:
-"-
-"^-
J^
-"S"-
-^
1^21
T2-
^-
-O-
:if^
-e?-
THE
78
9.
The
next
is
example
riUNCIPLES
a
OF
coinbiiiation
of
thn
^^=PS
1^1
:=2"
j^z:
z:"
la:
-(S"-
-"s^
^^^^^^
m -*-"^
W-
PL T^
-iSh-
-^
f
_Q_
-fS"
"
r
-f^"-
22:
T2:
^
COUNTERPOINT
There
10.
should
specialrules
no
examples, therefore,
few
A
are
AND
will
for
FUGUE.
florid
sufiice
to
79
counterpoint shew
the
in
student
four
})arts.
how
he
proceed.* I.
No. Canto
fermo. ~^S-
zz:
-^-
1^21
i
-Z2L
^
|_^^^^ #^
fS"-
-"s"-
-"S'-
-S"-
-"S"-
-^-
icz:
ie:
T^
Z2:
'ZJL
Z2:
I!
-c^_
22: i^z:
-"s"-
:^2:
1^2:
-"s"-
Z2:
-(^ zg^
#
I
=P=1^
^
"
1^21
-"^
-"S"-
-^S"-
-(S*-
-^
-"s"-(S"-
"Z2:
-o-
22:
These
examples
are
slightlyaltered
from
Fux,
=i^
THE
80
PRINCIPLES
OF
II.
No.
-"s"-
iq:
-"S"-
I!
:p^
-"s"
z^
fcffl
-(S*-
122:
e C2_^_j^_
2q-s==^
13^^ Canto
'"^=T^
fermo.
m=^-
i
^21
-"S"-
ITT"
-Gi-
Z2:
-"S"-
221
-^"^-
22:
1^21
-^
4^
-^-
-"S"-
-f^
m -"s^
-"S"-
-iS"-
-Gh
-1!^-
^2:
:z2:
-^s"-
Z2;
-"s"-
-"S"-
@:
^
-G"-
T2L
^
22:
-"s"-
22:
hS^
THE
82
1"
Canto
OF
IV.
No.
a^
PRINCIPLES
rj-
-Tjl.
-Gi-
'TT
t^
-f^-
fermo. -^
22:
-"S"-
jr^.
'^E:
32:
ffiEE
z^:
-S"-
\ZJL 2:5:
-(S"-
ai
:?
=^^=F
^=?s:
Z2:
f^^P^
^^^
-(S"-
1221 :c2:
1221
22:
:i;^:
i?:^
-"^
:c2:
^ -C2_
-s"-
-e"-
^riZJEZZf^
-"s"-
"
^21
g
-"s"-
-(S"-
-"s"-
=1M:
-Gh-
-(S"-
AND
COUNTERPOINT
Florid
11.
species. Of
this
Or
kst
counterpoint it
method
itself
introduced
followingis
the
83
with in
:q
of
any
two "
-^-
T^
three.
in
example""
an
"^-
e
C2.
preceding
the
jjarts, or
-^^^^^
-"s"-
i!
be
may
combined
be
may
FUGUE.
"
I^ 22:
T^
ZC21
-rd
"^^m
:p3:
w^
SffiEE^
1221
-"-
:^2:
tei:
1^^^^
:C2:
_,^_i.
te
:^
-Gf-
-fS^
e
i*:^
hs'--
:p=
icz:
3^
I
:if^
f^i-L
/s"-
2^
-/S"-
z:^2:
-s"-
m
-"s"-
:^:
:?2:i
*z=z^
-hr^
-"s"-
zmzz^^i =C2Z=I"
*
Cherubim.
From
M
2
^^.
"
I
CHAPTER
When
be of
A
the
place
more
than
have
each
four
motion
are
also
may the
latter
4.
If
in
so
to
four,
four,
additional
allowed,
to
three, or
parts
reduce
two,
two
at
which
such
present
proceed
this
music of
it
while
parts,
many
is
not
in
counterpoint and
together,
parts
recommence
the
yet
in
the
come
than
more
of
into their
four
which force
action.
in
rests
parts
in
parts
rules
the
motion,
contrary Two
fifths
provided
fifth.
number
then
similar
in
by
parts.
used
be
may
fifths
extreme
used
rarely,
diminished
a
unisons
five,
Consecutive
between
counterpoint
or
in Of
exceeds
parts
even
be
two
florid
speak
"parts
though
sometimes, the
be
to
consecutively).
also
as
three,
of
not
of
stringency
the
melody."
course
be
of
already hereafter
Avill
which
relaxation
three.
only
i.e.
iKirts,
number
the of
(though
real
different
a
shall
We
treat.
to
rules
the
increases.
even
or
all
parts,
the
appears
four,
parts.
particulars
being
parts
music
of
exceed
not
When
3.
deal
great
of
four
four
the
in
peculiarity
number
than
more
than
more
except
chief the
as
does
really
the
:
rules
2.
in
unaltered,
specified the
write
we
remain
given
in
counterjyoint
Of
1.
XIV.
simultaneous govern
all
their
are
duced, intro-
movement
counterpoints rigour,
until
of the
THE
5.
The
PRINCIPLES
student
subjects given all
the
models,
of
one
No.
In
end
of
species. the
first
Z2:
It
it
a
will
AND
useful
very
this
species,
-"s"-
22:
z:^:
:^:
treatise
be and
in
sufficient the
FUGUE.
exercise
other
_^2^
this
example
and
style.
-s"-
five to
to
give
85
set
the
various
counterpoint
part
two
examples
in as
florid.
:q: 1^21
1^2:
~G-
admitted, severe
the
find
COUNTERPOINT
T.
i^:
ii
will
at
different
OF
it
will
none
be
of
the
relaxations
good practice for
t^-
-o-
-"^-
-^-
-"s-
--s*-s*-
:c2:
"S"-
above the
specified have
student
to
begin
been in
this
86
THE
No.
PRINCIPLES
OF
II.
e
E"
^::z -^-
I!7
r.^'
-h-
i^^^
z:^:
?
2:2:
::iEE
Z2:
iZX
^=i=^
1^^^^ Canto
-s^
-c^
-^-^
fs:^z:
-yS"-
fermo. -"s"-
ei
zz:
-"s-
-o-
iS"-
:s
^x
g^^OQ^^J^
-f^-
-"s"-
1^21 2:2 -"S^
-S^
-""
^
B=P=
^
s
^^
4f^2Zil
JP^:q:
..^
-"s^
Jip:
-(S*-
^-r-!S-^
^
1^21
-fS-
i^J-
~r^
:
-"S'-
hS"-(S"-
icz: -(S"-
:c2:
-"s"-
AND
COUNTERPOINT
In
the
foregoing example
relaxations
6.
We
florid
in
give
now
six
parts.
the
two
will
examples
The
first
note
been
has
advantage student
87
for
detect
from
taken
the
note,
on
and
I.
following example
the
canto
fermo
is
various
himself.
Cherubini,
against
of
counterpoint.
No..
In
rule, which
will
fermo,
canto
in
of
FUGUE.
transposed.
the the
same
second
II.
No.
Canto
OF
PRINCIPLES
THE
f'ermo.
1^
SSE^
tS'-fiS-
i^
:i=p^:
^"
:^
tS"-
^"'^^""
I
^
#is:
s"
s"
"s-
:P?e
13
-et-
fS"-^-^
-o-
In
allowed
are
"
counterpoint to
skip
in
from
seven
the
or
eight parts, the
unison
to
\-r^-i^
^^
-SI
T-"S"
"
^"^1 22za
22:
izz:
7.
thus
fS"-
T^lZ^W
^^]^
f,^-r^TZ^
"
p--pT=EESg
2:2:
:f^
?
^
the
lowest
two
octave,
or
vice
parts versa
;
No.
OF
PRINCIPLES
THE
90
No.
4.
5.
i^^ -^"
i^: 22z:^2:
-"^-
:?2:
-r"
C"
-"s"-
C
1^2
-s*-
Z2^2;
-^-
-O-
^
122:
iq: 1^21
:^::2^2:
-"s"-
-"^-
-"S-
It in a
is
important
different seventli
when
of
resolved This
is
also
in
the
for
the
discord
And
this
combination
fourth
major
composers
and
the It
English is
kind is
of from
David."
mentioned discord an
thus
of
a
the
old
ecclesiastical
here, because ^Iiich
anthem
be
never
allowed
has
by
been
Orlando
it
kind
false
of
madrigaliau music is
more
or
"
relation. and
composers,
the
of
last described. Gibbons"
afterwards
being
fourth a
is
combination
curious
very
producing
among
school
of
distance
the
at
should
third, the
minor
third,
be
placed
be
should
notes
shall
zi
parts.
seven
old
the
discordant
very
that
less than in
a
these
peculiarlyprevalent
specimen of
so
ninth.
a
the on
century.
Son
or
Sometimes
found
to
octaves,
writing
9.
that
"31-
-"s"-
i?:^:
seventeenth
less The Hosanna
analogous following to
the
COUNTEEPOINT
AND
FUGUE.
91
N.B.
T^-
3^
'm.
g=p:
^
c^
^
^is"-
"
T^
-fS"-
^"^
-j^
iSEB
0*
"
"C?"
N.B. -(S*-
12*:
-"s"-
:2
zii:
"o
(!S
"""
g:
ft"
^-^
-e?-
:^:
?; ^
e
22:
1^2:
z:^:
"?2"
j^
:^:
iQ.
z:i:
-s*-
-^-
Z2: -^-
-c:^ 5 4
This intention
a
of
model
is
are
treatingthe
when
writing
order
two
two
by arranging
and
into
which
should
for
the
whole
as
fewer
choirs, each
of
ways
writing
one
four
in
in
score
seven
in
The
second
parts,
"
N
2
and
8
with
the
special
particularperiod.
that
is
eight parts.
or
their
choir, exactly as
parts. of
style of
voices
9
followed, unless
be
not
imitatingcloselythe
There
10.
first
is
03
"
blO
we
order have
of
acutenesa,
hitherto
by dividing the
scoring
for
them
The
in
done
parts this
PRINCIPLES
THE
92
r
^
Soprano
OF
f
Counter
Alto
Coro
Primo
"!
l^Bass
Soprano ~)
f
Alto
y Tenore
unison
all
is
of
in
sing alternatelyand and of
then
In
11.
writing of
harmony
each
distance
some
of
for
of
this
will
voices
distinct.
be
made
be
should
unison
in
are
seven
other,
;
the
for
and
always
are
the
of
some
desirable
two
to now
by
way
sublime.
is often
arrangement
complete
each
eight-part harmony,
or
in
be
generally
basses
choirs
two
choirs, it is
two
choir
from
the other
some
the
case
any
burst
a
effect
The
contrast.
eiglitparts, parts,
seven
will
basses
responsively, in four-part counterpoint, every
in
uniting
J
parts, the
in
Choir.
Second
Y
(^Bass
is
In
basses.
the
Tenor
Tenor
seven
it
If
Occasionally,however, instead
in
only
through.
^
Treble
-{
or
rj
Basso
music
Choir
J
Counter
Coro
the
First Tenor
(^Basso
If
Tenor
"
or
Tcnorc
Secondo
")
Treble
the
make
to
usually placed
at
audience
of
must
,
necessity almost
be
to
accomplish the
chief
volume to
give
so
the
to
near
exclusion
this
some
an
specimens example
of
species
will
be
the
hear
produced
falling into this
to
as
that
of
without
difficultyof
choir
one
danger of
counterpoint
of
the
It
seven
will
consecutives
on
end
the
At
suffice
parts
produces
choii\
other
forbidden
counterpoint.
given. in
by
it
harmony
for a
the
canto
of
To
is the
present fermo.
COUNTERPOINT
will
It
This
do
seven,
the
well and
end
that
observed
be
may
will
at
be
done to
freely
write
this
in
skip
to
treatise.
each
of
FUGUE.
a
writing
for
of
the
counterpoints
eight parts, of
the
AND
of
the
major so
93
sixth
many
first and
is
here The
parts. fifth
subjects given
admitted. student
species, in six,
for
that
purpose
CHAPTER
XV.
Imitation.
Of
1.
Before
a
as
double
the
corollary
to
is
Imitation is
phrase
successively rules,
certain
a
to
subject
double
of
speak of
counterpoint, which
Imitation,
and
counterpoint,
simple
and
counterpoint
2.
to
discuss
to
necessary upon
proceeding
musical
artifice,
introduced
derived
into those
from
which
by the
different
which
in
the
be
s
florid
govern
-"-
^"
:z2
melody
same
coimterpoint.
^=^-^^-^
3 :W=^ :z2
lS"-
^21
^^e^^ES^f^^^ r^dt:
:"
^^ g^
^3^^
"-
"^:7"
iS"
r-
to
1^^
T^^=^
or
according
parts.
two
"s^
E
be
looked
introduction
voice-parts,
-^
"
an
will
fugue.
Example,
-4
may
it
^-^-^r=w:^=^
THE
On
examining part
upper
is
the
counterpoint
this
to
the
rigidly and
the
foregoing specimen the
octave
In
the
next
part
leads
admitted.
COUNTERPOINT
it will
example,
lower
out
at
OF
the
exactly repeated, at
later, by
bar a
PRINCIPLES
example
in
would But
imitation, and
it
the
slight
need upper
bar
in
its
imitation
is called
a
canon
not
always
and
sometimes of
the one
turn,
is carried
Canon.
"
a
in and
octave,
an
an
variations
95
every
becomes,
bar
denominated
imitations
sometimes
of
When case,
FUGUE.
that
seen
each
one.
this be
be
distance
Thus
succeeding
exactly,as below."
the
part.
AND
in
two
be
Thus one
canonical. the
lower
intervals, "c.,
are
THE
96
PRINCIPLES
Example
OF
Cherubini.
from
antecedent
con-
3E^
T^
S
^3=^
-"s"-
TZZ^.
zi:
-(S*-
-"s"-
^-^
'Tzr
i!
i
^2:
^
-Q
-Gf-
ante
-
1 cedent
consequent
antecedent
sequent
i
i^:
rs"-
-^s-
^:
;s
Z2:
-Gh
:^
tj
:f^" p-s^
2^^
'-"=^'-
:i^
z::z:
:5^2zd=^ consequent
3.
the
The
leading part
called
the
the
antecedent,
fullowing part
consequent. 4.
Imitations
examples b}' the
the
notes
the
imitation imitation
fourth.
remain
at
in
the
unison
unchanged be
to
be
attained
interval.
any the
proposed by
is said can
be
may
notes
consequent
the
of
is
or
by
the
strict, or also
In
both
antecedent
are
Thus
octave.
imitation.
regular. when
it
the When
And is
the
repeated exactly intervals such
the
taken
preceding
is
the
case,
strictness
same
at
between
the
fifth,or
No.
OF
PRINCIPLES
THE
98
the
At
IV."
fifth above.
T^-
5^
i3
=p=;^
^^^^L
Z2:
^^iizli
Coda.
i^ r
-r%^
I
E^
"s-
^=="=^
^^L^
In
imitation,
in
not
cadence
in
When
5.
above
imitation
the
render
examples
of these
each
the
below,
or
added
are
Such
key.
the
or
at
all
required to major
into
to
intervals
make
be
a
Free,
as
to
at
the
is
any or
at
fourteenth,
proposed,
tolerable
consequent or
the
as
harmony. in
Irregvlar.
minor the
same
order
is called
too
many
We into
are
order
few
make
a
notes, proper
Coda,
seventh,
or
intervals, such
impossible then
The
at so
follow
to
libertyto as
the
as
would
accidentals
major,
key.
in
a
third, sixth,
these
becomes
it
to
the
second, of
mtroduced
sometimes
;
in
end,
Z2:
been
have
intervals
compounds
intervals, and
minor and
antecedent
said
the
accidentals
ending
an
imitation
ninth, tenth, thirteenth
exactly
strict
2^
-"s*
:r2.
to
-"^-
e=^
to
imitation
be
alter
keep is
the then
AND
COUNTERPOINT
Examples No.
I.
-:^=n^^
ir.;
c^.
No.
II.
the
At
"
:^"
ii
-"s"-
q:
"r^
-C2
-7"=^-
above.
-"P
r^ZQi
fS"- '^~-
-e"-
:E!
second
the
99
Sala.*
prom
At
"
FUGUE.
(^
:f^
C2:
-Gh-
1]^ft
:Qzzp2:
below.
seventh
f^2iQzzps:
^-^
(S"-
:^:
I
122:
:?2=^
:^2=rr^z^zi=?zzc"^=Z2ZZ[:r2: |S"-
No.
i
III.
"
At
the
third
l(S"- :^2:
=w=
above.
-(S"-
gE
-^-
iq:
"y
S^^^^
^1
-s*
-s"-
:g:2 -"S"-
Z2
"^^
*
Eegole
e
Contrappunto
"
nj
s"-
"
J'
T-'^'
"
-s"-
-S"-
f
del
c^:
'^
rj
Z2:
^"Sti-
-y^-
:q:
pratico,
di
Nicola
Sala.
O
2
-^
Napolitano.
(S*-
15 vols.
-tt^ fol.
^
h"SH-
-s*-"s"-
i
"
|^"^H-
Naples, 1794.
PRINCIPLES
THE
100
No.
^^"
1^21
The
third, the
fallen
major
a
V^
^P=^
fall
WEJ^'
risen
the
hy
every a
minor
antecedent
has
major second,
a
and
inverted,
is
melody
If rise
must
reverses
has
third.
is that
us
exactly
antecedent
the minor
a
before
comes
consequent
consequent
whole
the
which
If
antecedent. must
t^v:
~^=?2T :q:
speciesthe
second, the
Thus
order
In
to
the
notes
what
know
treated, it is usual
in which
and
great variety
of
of
to
each
construct
antecedent
a
and
scale
the
of
note
will
table, after the consequent
are
become
when
followingfashion, placed
under
each
"
1
Here
"s"
:c2:
introduced.
7.
other
^2j
:"-2-p^
imitation
this
consequent
forth.
thus
In the
of
movement
-P^ -"S"-
of
kind
next
motion.
contrary
effect
above
-O-
221
^-
i^
?2z;
;:?iffiz^
so
sixth
Z2:
Iti-
6.
the
At
"
T2i
f^
ffi
IV.
OF
2
the
3
figuresabove
those
between
notes.
The
the
semitones
and
staves are
4
5
give
below
give marlvcd
the
G
the
degrees
intervals
with
a
slur.
between
7
of
the the
M
scale, wliile two
sets
of
COUNTERPOINT
For
if this
example,
AND
the
were
FUGUE.
proposed
would
consequent
antecedent
"
'-^^
W^^^ the
101
be
as
follows
"
1
^^^e;
*=^=s^= 8. on
the
The above
No.
next
two
in
examples,
system,
from
are
the
major
and
minor
modes,
formed
Cherubini.
I.
m^^^=^^-
i^^-^.^-^-f^=f,^^p=J^^
r^
rj.
^
Coda.
^cJr^
No.
"-^"
"
^"
-Gh
-"
"CT
II. -s"-
^
VF=W^i^=;^
CJ"
'
^
*T=Cif
-^s"-
iiz:
Coda.
9.
Sometimes
contrary movement,
it
is
with
^3
^
22.
desirable a
view
to
to
atitici:
=i^
employ varietv
the
Q-ri^ i^
following
of eJBfect "
table
rj
for
3
-l"
"r^
a~
-Q_
"
-/S"-
:^
the
i
^E^^
fS-
C2:
^
'^J
^
-Zjr
-^j-
and
OF
PRINCIPLES
THE
102
followingexample
^-
from
122
-^
Clierubini
g"
-^
is constructed
in this
-o-
izz^z: -"S'-
2^=^=^Gh
221
E
It^f^
-G^-
=5=
^
manner-
D^G
-O-
Coda.
It an
hardly
lower
octave
The
10.
semitones
than
strictest so
consequent.
observe
the
above
difference
no
are
T^
to
necessary
makes
used
:z2:
S:
is
and
ggPr^-Ftef
221
#f!
kind
placed To
to
obtain
this
is
consequent
indicates, but
that
here
placed
this
by contrary
correspond result
the
motion
exactly two
in
is wdien the
following
'C?"
-"s"-
I. "
For
:z2:
the
major
-"^-
schemes
mode.
12^
-"-
Z2:
122: 221
-"S"-
Z2:
-s"-
221
the
antecedent
"
No.
position trans-
counterpoint.
imitation
as
the
scheme the
to
of
that
I
W
-"S"-
are
COUNTERPOINT
No.
i
II.
AND
For
"
103
mode.
minor
-G^-
1^21
-"s"-
122:
-G"-
Z2:
the
FUGUE.
hS"-
-"s"-
The
1^:2:
-"S'
"
1221
-"S-
-"s"-
will
Clierubini
from
following examples
Z2:
221
illustrate
these
two
systems. No.
i
I.
mode.
Major
"
^:
id"^"^
-Gh-
"CT
1^-
^tz:^
1^2: -s*-
"s-
:^=
^:
^21
:gzi['^=fg^" H=^
:z2:
lS"-
Coda.
(S"-
i Z2;
"^
'
d-
No.
=$^#=P^=^
II.
at^
^-
:^
Minor
"
mode.
-fS"-
::i(^2: hs'
"
#"-
^J_*:
-|S"-
T^ X2:
g:
e;
-fS"-"S"-
^ -(^
"
^-
PRINCIPLES
THE
104
C^I
^^^E^
OF
:"
r::"
izd:
^
"
1^21
Coda.
^n=:^ I
produced
by
Dr.
by
will
be
also
may
reading
Crotch
No.
I
I
Imitation
11.
-"^-
q-^zztf^
--^-
the
retrograde,
antecederii
illustrate
this
i.e. the
bachmrds.
consequent The
be
may
following
chant
method.
1.
No.
2.
J: -"s"-
Si
s:
-"s"-
fr
"O"
"^^
^
.Q.Q^_
ig
s;
-S"-
"
r": -^S*-
-S"-
No.
3.
No.
^ EEES
-^-
4.
iS:
!:"
P^^-P-"
.^2.
-^^
-^-
:^ -"s"-
-"s"-"s"-
-"s"
division the a
it of
fourtli
piece
will tlie
be chant
division,
is said
to
be
that
seen
in
imitates in "
per
the
the same
recte
each
first way,
et
retro."
"C?"
of
the
"
"s"-"s"-
:^ :^:
-"s^
Here
-"s-
_C2L
r^o.
m^
-"S"-
-f5"-
-(S"-
ff j;::^-
:^
'JOl.
"s"-
" "
voice-parts the
by retrograde motion, imitates
\X\q
second.
-"s"-
third while
Such
rRINCIPLES
THE
lOG
OF
m
K
-I
i^-
t^=t
^
-""
-fS"-
j:^:
S
"
(S"-
:^
m
P^
*-
\
"
i?P= zz:
-c2: 1^21
:q:
-^""-f^
-"s"-
IZZ.
P^i^=F
'G"-
Coda. -?^-
f^f^r^
14.
Tliere
are
met
witli
be
mav
they
thought
note,
called
Circular. in
"two
chapter. canon
"
i)roduced, wliich rigidly.
one" Tlie
never
We
have in
the
If
it
to
come
is
If
is
a
below,
octave
following
is
an
to
regular close,
already given
an
at
example
example the of
as
been
not
than
is concluded
canon
But
by
of
called a
infinite
the
ginning, be-
lujinife,
finite
canon
of or
coda,
a
to
recur
it is
imitation
commencement an
for
note strictly,
more
continually
made to
nothing
the
which
work.
antecedent
the
has
it
purposes,
this
in
repeats
-s^
others.
and
Reicha,
fugal
them
on
consequent
Fitiite. as
for
22:
imitation, specimens of
(jf
Marpurg,
useless
enlarge
strictlyand
on
so
or
is
Canon
a
is
the
AVlien
carried it
to
necessary
kinds
Cherubini,
in
comparatively
are
15.
other
many
-(S"-
this
circular
AND
COUNTERPOINT
jeS^
107
S
-"s"-
T^
-(S"-
:^z
-"S"-
^21
l=i
FUGUE.
(S^-
T^~
-/s*-
"'^'
^:
:s
122111,
:^:
_fQ.
t^:
and
our
in are
No.
three
But
and
all based
of
imitation
it is time
four on
^-#-
-
^-+-
parts.
these
two
and to
now
The
have
canon
give examples taken
followingare
themes
been
hitherto
of imitation from
in and
Azopardi,*
"
1.
1^2;
No.
-"
-"S"-
examples
parts only.
canon
^
-9
H
All
IG. two
P
:E=E
Z2:
-(S"-
:z2:
-(S"-
"
,
s"-
:s2: ~C2:
2.
s=^il
rjz2z
-CZi
-i^^
-G"-G"-
Z2:
:z2: :z2:
*
"II
musico
pratico,"Francesco P
2
Azopardi, 1760.
-"s"-
I
108
THE
In
I.
Example
three
"
PRINCIPLES
parts.
OF
Imitation
in
.Q_ rj
^ -
"
:^:
SEEf
the
two
uj3|jer
J^-I
^m^ \
-"S"-
:;^. i
zz:
I
Z2
s
parts.
-M"SH-
4]^:
-|-"S"H-
^"
-^q
AND
COUNTERPOINT
Example treble
part contains
bass
II. is
In
"
in
not
the
four
second
parts.
Imitation
imitation, but canto
FUGUE.
fermo
as
of
at
it
is
109
the called
Azopardi,
5
!"!
above.
second
as
"
ad
libitum," the
given
above.
^:
-"Sf-
^i=^t^
ii^ -"-
^s"-v-
:qi=^2:
=$=-^ -HiS'H-
SEE?
M-
The
:p==^
-H"S"H-
THE
no
PKIXCIPLE8
OF
s"-
2^23
fSf"
Z2:
~f^
-^-
E"
-s"-
-^
_Q_
W-^"(^
^=^=P=^
^
iSW-
H""W-
:i|^:
-H*s^:-
^2:
^=^2
221
E -^-
.^_
"S"H-
-HSH-
fc2^:
=ij^
Coda, -(S"-
-HSHrtS+1-
41^
41^
1^21
-H"S"H-
*^ HS^
D
AND
FUGUE.
upper
parts
COUNTERPOINT
Example there
is
III.
the
Here
"
three
antecedent, and
an
seventh, and
other
the
the
at
-o-
liz^zE
two
consequents
fiftli below
-j^jr. -"Sf
Ill
in
are
;
imitation,
of
one
these
is
at
the
antecedent.
the
-"^-
C2:
r^^
1^
"
*-F-H
\
F-^-
-"s"-
y-
-H"S^
|S"-
:^i:^
Z2_
^
that
so
_.:i.
-N
Coda. fS"-
:q:
#=--
^21
-"S"-
" ^"s"H
.^hF
HS^f
:^
fS"-
FPhpR^
17.
student
(either imitation
Nothing, by of in
way
counterpoint breves
lie
can
or
of than
practice, can to
take
semibreves), and
devise, in two,
these weave
be two
upon
three, four, and
beneficial
more
basses them five
of
Azopardi's sort
every
parts.
the
to
The
of
canto
THE
112
ferino, for or
of
one
in
sake
the
inner
also
Cheriibioi kind
the
recommends
as
excellent
better
no
will
We
give
"three
in
between
called
is called
one,'' two
parts,
"
a
If
canon
four
in
in
"two
two
canons
making in
First Three
the
one,
transposed
of the on
of
the
is
one;" are
of
examples
of
be
can
produced
when carried
between
treble,
that
new
form.
advice
at
the
from
unison,
together,
Cherubini. and
every most
and
between
four two
three, it is called
two."
Example,
is
anywhere.
tlnee
simply
of
simultaneously, each
on
four-part harmony
the
found in
canons
into
imitation
his
subject :
examples
canon
in
repeated
examples
some
when
be
process
work
collection
now
parts, premising that
voice-parts,it
the
study
a
OF
also
variety, may
parts, and
Marpurg's
excellent, 18.
of
PRINCIPLES
octave
below.
the
piece
is
THK
114
^^EE^ J
"
-P^
^^
i
loL
I^I
x:2_
23^
C^ ^i::^
:"
:^
zd:
-"S"-
-"S"-
I
4f=
'"^^^^E^
-^-^
:^2:
^P^=^
1^21 :?2:
"^^
o-
IC2L
-"s-
:W^:
OF
T^-
1^31
.^_
"
rRIXClPLl-:S
HS"H
HSJH
HZZL
l^Zt
--^.
-Gi-
-G"'
-G-
^^
COUNTERPOINT
Example,
Third
Four
in
the
at
one,
AND
from
Mass
a
i
Turini.*
and
fourth,
-"
115
Francesco
by
and
octave
upper
FLTGUE.
I
1"
the
at
fifth below.
Izzzizzzzr:
:
\
"
"
Ky 4tl-
u--
:r"iT3^:
Ky
-
ri
-
^
--^^z:^-
^^.-^r^-f,.
:?2=:
"==t: le
e
-
son,
-
-
-^=1 ^
_
^.
[
Ky 7^
ziz^-
C^
le
^ -
e
-
w:
-(^-=-
-i"5"-
-=^=P^
e
son,
-
0-
12:
e
-
-
-
-
rs*-(^-^
"si-
#:
-^"
Ic -fE^-
^^
e
-
son.
-G"-
": e
"
le
-
f-^-^-
Ky -(S"
e
son,
-
-^-
:^
g
le
-
:t=
-
^
"
le
-
e
e
son,
-
^
=^2
e
son,
le
-
c
son,
saggio
the
fondamentale
-
-rS*- z^:
"
1^'J^
-?S""
g^
'
-f^"
^-(S""
le
le
From
e
-
-
1^21
*
le
-
Introduction di
to
the
Second
Part
contrappunto." Quarto,
of
Padre
Bologna, Q
2
Martini's 1775.
-
e
celebrated
-
son,
work,
"
1= e
-
le
-
"Esemi"lare
e
osia
OF
PRINCIPLES
THE
116
COUNTERPOINT
FUGUE.
AND
"^ --^-
-"-^jq:
.^_^_^
-^-
Z2: -H"S'r4-
-H'SH
le
sou
-"^-
^C2:
!3Z^I^
H^
|S"-
=?2:
icz:
-
le
son,
le
son,
-"s^-
l-v"h
C2:
'j::ir.
W
^"
le
e
-
-
r:^
son,
^J"
"
Ic
e
son.
-
:q:
=^-P-"
S"
-iS"
^2:
^^
:^
-1^-
^
4^
le
19.
of
the
At
of
canons
compose
possible.
at
of
various If
attention.
end
he least
this
kinds, wishes
one
to
canon
treatise which become
every
some
the
a
really
is
day.
good There
will
examples
more
student
son.
advised
to
contrapuntist is
no
better
be
given
study he
with
should
practice
XVL
CHAPTER
Of
Double
1.
combined, and
in
in
any
is
counterpoint either
which,
of
by
relative
them
Counterpoint
Double
that be
may
transposition,
order
of
in
placed
the
a
as
bass
others, be
may the
infringing
without
being
the
to
melodies
various
acuteness,
melodies
several
which,
placed laws
of
harmony.
I.
Example
No.
1.
g_g:r"g^ HS"H
g^^
9J
No.
2. -C2-i-
i
1
st-
gE
\m
No.
2. -^-
fqf=f^K*.-sqK"
121
s: ir2i WZ^\
No.
1.
** -HSW
?Ete
^^^ ^_^__-:
THE
118
PKINCIPLE.S
Example No.
II.
1.
~-^'-
5;ffi^ No.
OF
-fS"~
^-("S*-
hS"-
1^
4"S*+
2.
-JTD^ZZITI^
^=pr^-
'^-
-G
-f^-
:2":
-HS^
-G-
No.
^:
2. 2^:
-"s"-
-f^-
-fS"-
-^
-r^-
1^2:
-HSH-
-(S"-
No.
1. -(S"-
;3i:
X^I
-P=^ -
EXAMPLE No.
-"s"-
H
g"
1.
Mozart. :c2:
-(S"-
l3?:EI
-^-
2.
-#-^j^
No.
-H"S"H-
III.
-(S"-
No.
r"
-s*-
2.
Both
parts
are
here
-s)-
transposed.
'^,m^r^'^f=^
Z2:
TP*-* No.
1. 22: -""-
-iS"-
^:
-^s-
AND
COUNTERPOINT
In a
eacli
of
bass
correct
foregoing specimens
the
either
119
melodies
the
of
will
make
of
double
idea
general
This, then, is the
other.
the
to
FUGUE.
counterpoint. Double
2.
ninth, the
the of
counterpoint
kinds
these
but
are
to
double
viz.
counterpoint
at
be
fourteenth
the
or
and
used,
sufficient
results, it will kinds,
seldom
twelfth, the
octave, the
the
at
thirteenth,
the
eleventh,
be
may
give the
some
quate ade-
first
three
and
the
tenth,
the
octave,
the
for
rules
the
as
without
difficulties
offer
but
;
tenth,
twelfth. Double
3.
counterpoint
that, either
(so as be
to
part
be
at
the
being transposed
inverted
in
pitch
composition
a
upwards
octave,
an
the
to
as
is
octave
downwards
or
part), the
other
contrived
so
shall
harmony
correct.
In
4.
order
to
accomplish this,
principal rules
three
be
must
served ob-
"
i. Treat
the
ii. Never
go
iii. Do 5.
the
To
not
make
folio win
Of
fifth
the
to
exceed
a
as
by
octave
the rules
these
dissonance
limits
or
passing
an
octave.
will
student
the intelligible,
more
interval,
skip,
a
of
a
examine
fiQ-ures "
1
8
They scale an
and
intended
are
becomes
octave, so
when
the
forth.
second
to
shew,
inverted
becomes
at
a
the
in a
glance, octave.
seventh, the
each
what
Thus
the
third
of
note
unison
becomes
the
becomes a
sixth,
The
6,
that
is
PRINCIPLES
THE
120
inversion
by
allowed
not
becomes to
skip
to
the
limits
not
be
it
fifth
becomes
skip
to
it
unison, except
a
of
inverted
all, which
at
Examples
against
It
otherwise
they
must
as
by
is
strict to
necessary of
some
be
always
the
inversion
of
student
the
keep
double
in
octave
counterpoint
intervals
the
is
concord
a
why
reason
rules
the
close.
a
because
octave,
an
at
The
is because
octave
is
treated
be
cannot
fourth.
a
the
to
and
unison,
a
the
why
reason
OF
within
would point. counter-
"
-G"-
becomes
S
:cz
-o-
-Gh-
4
i.e.
but
unprepared fourth; stand
it may
note,
i
and
resolved,
only
or
a
passing
iizir -fS*-
becomes
^F
6
5
is allowable
;
so
3
also
becomes
'JOZ.
'6
which
prepared
thus
:
1^21
whicli
if
5
3
IC5
is correct.
-"s"-
-"=
1
8
whicli tlie
is
not
allowed, except
following melody,
No,
at
1, which
a
close, in exceeds
the
strict
counterpoint;
limits
of
the
octave
and "
PRINCIPLES
THE
122
No.
OF
IT.
fermo.
Canto
-""-
1^21
-"S'-
22:
J!
'JZZ.
m
i 3^
-s^ S* 8
' "
'
^-
6
3
eounterpoiut in
Double
3pg=3t
ip^:
Jjjs
-^
3til^
Gh
"
5
the
6
6
6
3
"
below
octave
-s"-
32:
-T2L
-"S"-
ICZ
% -f^
^^
P G
5
No.
2
3
-fS"-
"
3
1
G-
T^
"
g:"-
2:2:
:f^
7
6
5
e
6
3
nr
xz
e^^
-i(^-
xz:
U: 6
^^
2!i:
;g
X2:
-"s-
x:^
-R
i
3
-2
122:
^i
-"s"-
xz
2
^
Z2:
T^
III.
xz
i;r^;
3
-i3-
Z2:
-"s"-
COUNTERPOINT No.
AND
FUGUE.
123
IV. -P^
^-
il
T^
-(S"-
fe
-tS"
^2:
f^
^2:
:g 7
-^2_
i
-!^
/S"
221
I
Double is
parts
Z3:
-(S^
amounts
to
the
The
become,
the
tenth, the
a
thing, tlie
same
direction, while 9.
the
counterpointat
transposed
other
is
treated
so
"
in
other
remaining part
will
is
what
shew
eitlier
unmoved
;
transposed a
octave
-"s"-
i?:^:
which
is that
one
-^-
i^
tenth
transposedan
following numbers
when
G
icz:
:^
8.
3
-fS"-
^#
"S"-
"
"
6
in the
the
or,
third
du^ection.
various
intervals
"
1
10
figuresthe
i. Consecutive
tenths consecutive
become ii. Consecutive
become iii. Fourths
they
sixths
consecutive
by become
one
other
1
these
the
which in
10
From
of
followingrules and
thirds
must
must
and
unisons
are
be
octaves
avoided,
be
deduced
"
"
avoided, because
by
because
they
inversion,
by
inversion
they
fifths,
disallowed,
syncopation are sevenths
wrongly R
2
resolved
because into
by
inversion
eighths.
*
THE
121
limits
iv. The reason
as
kind
10,
The
of
Canto
in
the
tenth
must
case
of
exceeded,
be
not
the
is from
the
in
octave
(S-
the
same
last-mentioned
Fux.
"s"
=?2:
22:
f^
fermo. -"s"-
22:
-G"-
:q:
6
6
34t-
^
"
6
5
8
"s-
gE^^-^EEgEEfl JT^
^89
Z2:
5685
^-^*-^
-S)-
122:
5687
10
122:
5
0
8
-"S'-
Z2:
3
fermo. -S"-
3!2:
-"S-
1^21
I
t 3!
C2:
87
5
counterpoint
221
3
:^
3
Double
the
at
5
tenth
_C2_
6536
below.
-r2L
-"s"-
i
zi 2
1
3
4
6
3
-"S"-
'JZ2L
T^
E
-"^"-
1^21
3
for
^
^
-
5
Canto
OF
counterpoint.
o
"
I
a
following example
Counterpoint.
i
of
PRINCIPLES
4
G
.3
S
ICZ
-"-
J2^
And a
niiglitbe
it
third, and
the
also
12;
FUGUE.
AND
COUNTERPOINT
the
produced by transposing
counterpoint down
octave
an
thus
;
canto
fcrmo
up
"
"c. 8
Example
7
from
6
5
3
6
3
Cherubini.
Counterpoint.
^!"
-"^
=p=^"^2
Subject. iZZ
1=-^
-"s"-
22:
-fS"-
~j:2L '^^
-^
^-
11^^=0^ 1^21
T2L
1^=^
-S"-
-fS"-s*-
-^
"
r"
-s"-
I
126
This
THE
be
may
inverted
at
PEINCIPLES
the
tenth
First
in
OF
several
ways.
Way.
Subject unaltered.
^-^=^
22:
-(Sh
Counterpoint
the
in
22;
below.
tenth
W^^EEE^ -0
Second
Subject
in the
third
'^^^
^
Way.
above. -CL.
"S^
3!
Z2:
-^
Counterpoint
in
the
"C.
oetave
below,
3
:^^
1^=^
m-
"c. -s*-
Tiiir"i) Way.
Counterpoint
"!^
M-.
student
third
below,
g
2?
Subject an
The
a
oetave
below. .c2:
hS"-
1221
can
"C.
finish
each
of
these
counterpointsfor
himself.
Sometimes
11.
the
at
a
and
octave
subject will
tenth,
at
the
of
admit
the
coimterpoint,both
same
time.
same
Example
12;
FUGUE.
AND
COUNTERPOINT
Fux,
from
"
-s"-
-"s-
5
f^~\^-^
i!
r^l
"
"s"-
-"^-
i s
1221
'U
-"S"-
^n-
"
te-:
-
^2:
-fS*
":
::c2:
5
:i;e
-l^-
Z2
_Ql
-(S"-
Z2:
^-y-r"
?EE^
?2:
P-
Z2:
|!S-
:JfP==
-(S"-
22:
:p2: -S'" -s*-
The
same,
in
another
way
"
-i"-
^
TITE
128
Double
12,
The
scheme
counterpoint at of
figuresfor
OF
PRTXCIPLES
tliis
the
twelfth
must
counterjoointis
follows
as
be
now
1
considered.
:
"
10
11
12
2
1
12
13.
which
The can
unresolved
only
awkward
hardly sevenths
ever
which
interval be
used, are
in on
this account
])roduced by
counterpoint of
the
its inversion
is
the
unprepared ;
thus
"
sixth, and
PRINCIPLES
THE
130
14.
of
the limits 15.
need
It
that
it is
to
necessary
be
taken
avoid
to
this close
^
^^
"
tJ
inverted
because, when
keep
within
twelfth.
a
should
Care
stated
be
hardly
OF
the
at
twelfth, it becomes
^^^~~~|j 1
3
"
-"-
'JTJl.
-Gt-
5
3
which
is
insufferablyharsh
counterpoint) by relation 16.
of
the
The
the
tritone
modern
to
although
ears,
older
contrapuntists. It
B
F.
to
followingexamples
will
Example
as
serve
I.
From
"
also
models
allowed
involves
(in this the
false
"
Fux.
Counterpoint.
fS"-
^
9 u
t
T^
T^
~G"-
f
-^
*
This
harsh
close
is not
to
be
imitated
i^z:
1
-"s"-
^^-
3"
ZI2
1221
by
the
student
-^Sh-
on
any
account.
rj
AND
COUNTERPOINT
131
fermo.
Canto
-^-
'JTJL
I
FUGUE.
-G"-
5zi::^q:
JC^.
ts"-
irj~:\
l3
"
-G^
"
Counterpoint
at
the
:^=fe
3t^:"9-
twelfth
below.
-^-
12:2:
:Z2:
-(S-
Canto
3
in the
fermo
221
^
Counterpoint the
twelfth
-(S-
Z2~
\"cjl
r? hS^-
in is
the
"-
z:2
below.
octave
this
By
double
transpositioncounterpoint at
produced.
:^2:
-"s"-
:rz:
^=p=F
:tf^
-"S"-
Z2:
fa"-
-Si*-
-"S^
i:jl
fifth above.
'g2:
z-
0-
^
"s"-
:2:z
iS"-
C2:
s
2
^
s
-"s"-
"
-""
njjaz:
icz:
THE
132
II.
Example
"
ITJNCIPLES
From
OF
Fux,
slightly modified.
Counterpoint.
m-
^J'
-
Canto
izzpz
W=^
:i^^
-"5h
-cz:
Counterpoint
at
the
^^2_:
G"
^
" -
Canto
~JOdL
tenth, transposed upward
ZIZ
an
octave.
te
'^^-
C2z::
-"s^
-G"-
fermo. lur.
fczti
Counterpoint
at
the
j^i:
Z2
-s^
#
"
twelfth
below.
?s=-^
^^-f-
p
:z2:
-(S"""
s"-
-,
-"s^
ii:
g
^i*
U
"
-"s"
Z2_
?E3
1
-""
"
fermo.
I!
w,
^:
-(S"-
"^
-fS^-
NEg irjL
i^^
-"s-
hS"-
1?:^:
#^ ijC: ^
-1^^
^
^^EEBi
fS"-
=^^
:c2:
COUNTEEPOINT
In
this
combined
given
with at
example
last
the
of
end
the
EXA.MPLE
i
-GfVS*-
Other
examples
133
tenth
the
of this
and
twelfth
combination
will
volume.
III.
;c2:
FUGUE.
counterpoiiitsat
the
effect.
good
AND
For
four
voices, from
-S"-
Fux.
-t
:pq
-"s"-
fS*-
'^^
-s"-
m-^
Counterpoints
at
the
tenth
and
twelfth, transposed. ^-^
-(S"-
-G"-
^^=^^
i^ -"S"-Gh
"
^
irzuL 2iz:
-s*-
1^:2:
5
?="
:?:2:
-.s"-
:^zzf?L-zt=1^^=^
icz:
:q:
-fS"-
z:^:
are
be
THE
134
PRINCIPLES
OF
COUNTERPOINT
AND
FUGUE.
izz:
C2:
F"
J^
r}
-H"S"H-
3
?2: la:
ttSff-
icz ^
rJ
22: -(S"-
-"s"-
-iS"-
Eg;
:F=^
#:
:^=*
4?=!!:
S
Q
"t
.
1^--
:^=^;
Cherubim
17.
tenth,
octave,
counterpoint we
compare
;
such
regards and
but
such
counterpoint
twelfth, this
"^
as
seems
given
so
the
of
species
many
next
of
counterpoints triple
classification,
faulty w^ith
in
:^^z=^
combinations
a
combinations
-r^^-p-
g^
the
examples
chapter.
as
of
and will
triple
at
the
quadruple be
and
if
seen
ruple quad-
CHAPTER
Of
1.
Triple
of
three
become
2.
at
the
and
It
bass
been
has tenth
counterpoint
or
at
and
quadruple four
or
correct
a
Trii^le
found twelfth.
the
so
the
I.
Counterpoint.
interwoven
as
tlieir that
import,
names
of
any
them
sist con-
may
others.
impracticable We
octave.
Quadni/ple
counterpoints,
melodies to
XVIL
must
Examples
Triple
to
therefore
"
Counterpoint.
produce confine
such
counterpoints our
attention
to
PRINCIPLES
THE
136
No.
2.
^
5^ No.
-"s"
^ "
tii
3
:"=*:
1.
:S3: Canto
^=^
s
r^E^Ef
ICZ
t3t
fermo. 33:
-s"-
5^i
No.
OF
-""-
:z2:
1.
:-^( ^
r
J
J-^ -(S^
Canto
fermo. -eS--
Z2:
^
la:
-"s"-
z:z
H No.
2.
-f^-
P^?
:t*
::^t
::*?=*:
-"-
No.
OF
PRINCIPLES
THE
138
1.
_^.
=^"^=^
-"s"-
m No.
Z2:
3.
?aEFEa^35
^S
^
:^2:
-"5"-
-Gi-
No.
2.
TB=".
^21
#"
-"S"-
^
--^
1^21
^l
No.
4. ts"-
W^ :a
No.
1.
1.
^
=i^=F-
^:
No.
-fs"-
3
?^Bz
^
:q:
-(S"-^-
No.
i
4. .Q_
*
:ffi
No.
^te^
-G"-
;e"
2.
e
:^
S
hS"-
n
AND
COUNTEliruiNT
No,
No.
139
1,
'-^--
^
FUGUE,
-"-^^W-
-(S"-
iSfS"-
T^'-
4. _Q_
1^
:^-=^
W4^ No.
3
:tf^^^
S3
-si-
^:
_p5_
No.
2.
#13
No.
ts"-
?:
^:
-"si-
1.
7E"
-"s-
3ee No.
ICZ
^
?:
C5:
^"
^
is-s*-
4. -S"-
:*3 No.
^
zz
"^
2. 221
^I^
:^:
-s"-
1'?=F
g No.
3.
i^3^^^
:^
i^
T
2
-"s"-
Z2:
140
THE
No.
PRINCIPLES
OF
1.
g^fk
(S"g
-fS*"s"-
E^ No.
1
2.
:^:
-E$ Xo.
zztzz::
l^^l^^l^e^
4.
-^-
"^
1=^ Xo.
=^
3.
fe.^^^^^
No.
(S*-
:22
2:"
3.
:^2~ -"S"
X'o.
I
F
1.
"E^:
S
1^2:
:p^ :a
-(S*-
No.
2.
=i^ "
,"s
"
q=^; -H
No.
"
?=
4.
E$EE
^-^^^^
-"s/-
AND
COUNTERPOINT
No.
i
^"b
-rjL
-iS'-
-fs-
2
C2:
s No.
lil
3.
fe5=fe5 No.
FUGUE.
1^-
S
|S"-
:q:
1.
-i
m
No.
"^-
^=^i^
-"-
-fS*-
:r"
4.
Siis
(S-
^^=*^ :z2
No.
3.
"7^Tt"rg No.
-.1^-
1
F^JfEE No.
^^
X2:
1^
53?
ICZ
:^:
-(S"-
4.
i^: No.
221
fS"-
^te
-fS"-
"
zd:
g
2.
:3
-^ -(S"-
?i
Z2:
THE
142
No.
OF
3.
^.^
'^=",
No,
PiaXCIPLES
r
^
f^
Lg
:z2:
-iSh"s-
4.
" -*"
No.
i
#-
^t=^
S
1.
1=
|=S-i! No.
-"S"-(S"-
g
SE5
E
:^z
-f^
2.
^.12
No.
=cz:
-S*-
-"S^
icz:
3
lE^EE^^g
Z2:
-"s"-(S"-
No.
t
4 Z2:
15 No.
:e
-(^-
@^f
^
hS^
2.
^S No.
^
221
"Ef;
1
-"S"-
1
^^=f^zz^^j^:J=[^ -/s-
-""-
-(S"-
AXD
COUNTERPOINT
No.
FUGUE.
143
3.
3
i^:
:?2:
-""
No.
:g"
2.
==:^:
^^^
f^
-."^-
"
:s
-o
i-^^ No.
Z2:
4.
1B=:". M
___^__^
g^^=^
t^
-s*-
No.
1.
JJl
5^S
No.
-(S-
2.
^-
:^:
No.
^
^S=
:^
S igE
:c2:
S
:p=
3.
:^:
No.
"
4.
t~^. No.
:^:
:^^--^
C2:
-s'-
1.
-?^-
-^-zzz.^.
i^^
THE
144
No.
:r=^:
-^
7^-^
221
3.
l^EE^^^ !=i^iJ: No.
OF
2.
5EE No.
PRIXCIPLES
-"S-
3E^:
4.
:^-"
yS"-
3:
:Ee=SE3: zi
No.
1.
fe*"=5
No.
:^:
-"s"-
-"s"-
SEJ
f^w 221
4.
J.
^^
"3
^^
:^= No.
-fS"-
3.
1^ No.
:^:^==r=f
-"E^
1.
*l-
ntm-No.
-G^-
E^
^^
z^:
:^:
3.
S3^^g
-Si*
22:
1
THE
146
No.
PRINCIPLES
2.
"=".
^^"0-
"^-
Z2:
"-
S!
No.
CE
^E^
:z2:
i3J
^
fS
:^i
3.
fe^^^^ No.
IIIH
1.
wt,
No.
OF
ife^^^
-"s"-
4.
^3
^
0
^^E
s-
i^
No.
4. -fSi-
:(^=^
No.
3.
^EFES^:^^ No.
-^^
"5
@%S
1^2:
2.
ty--*.
No.
^
2"
fS"-
^
1^21
1.
-G"-
""^3^S
-rS"-
AND
COUNTERPOINT
No.
^^
2^
H*"
(S"-
1^2:
:c2:
3.
fe^E^E^
-G"-
:?d:
-^-
1.
^fes
No.
#^
^-
13!!
No.
iS*-
^
2.
fB="
No.
147
4.
a No.
FUGUE,
*^-
"e^
-(S-
"^
fS"-
^
4.
J
I
"s"-
a No.
i?:^
1. Z2: Z2:
No.
3.
5^35
feg^ No.
HecI
:C2:
=^=F=
*;it
-G"-
-1^ :jr"
3.
-^-
f=^
g
:^2:
U
2
-(S"-
PRINCIPLES
THE
148
No.
OF
4.
1.
iS"-
U No.
3
3.
4 :^:
1^2:
-"s^
No.
1.
tFff
No.
1^
-"^
2.
^Ei
No.
:^
"^^'
s
-iS"-
??=iK
^^^^
":
-iS"-
4.
:S
a No.
=E 2.
Jr^jTT^ B
No.
wt.
^^
:?3:
^*"
1^-
^
fS"-
irz:
1.
i?:^:
Hi
No.
B i^:
"
!-^-*-q
liE^
T^ Z2:
-f^-
3.
LZZ"_^Q
:cJ.
-"S"-
AND
COUNTERPOINT
No.
FUGUE.
119
4. -is"-
^^^r^
No.
-"-
f-
2.
I ES
3
-^"
ZI2:
^
Z2
No.
fU"
-"S-
3.
" ,
IPS
In one
last
this
of
the
one
the
Counterpoints
of
Or the
with
the
case
cumbrous
4.
the
and a
parts,
have and
constructed but
not
parts may
be
so
as
to
be
Counterpoints
also
arranged
in
will
be
that
with
is in
frequent
be
may
diminution,
seen
more
or
one
forming in
double
connected
four
than
sextuple counterpoint for
it
been
contrapuntal arrangement.
harmony
even
or
be
harmony,
extra
whole
structure
augmentation
the
the
other
the
when
quintuple
melodies
every
the
each.
also
may
fill in
to
scheme.
only
four
equally perfect in
parts,added of
the
example
^:
twenty-four possible ways,
is
harmony
3.
-/'^-
:?i"
j"
is
free
more
or
integralportion
an
counterpoint not partially,
This
is
parts;
for
possible, yet
with pletely, com-
generally although it
is
too
use.
devised
by
by contrary
retrogression. The
motion, student
or
by will
probably
by
advised
by at
various
will
of
the kinds
also
this
find
treatise.
OF
PKINCIPLES
THE
150
this
all
of
some
tenth, imitation,
good
the
and will
examples,
AND
elaborate
to
make
to
means
octave,
able
be
time
COUNTERPOINT
these
amply to
assist
for his
for
rules
with
joined suffice
himself,
for
The
attempt.
twelfth,
FUGUE.
his
endeavours,
and
point counter-
for
those
the He
guidance. at
is
the
end
CHAPTER
XVIII.
Of
Ol*
1. the
as
of
art
said
The
treatise
be
is
perhaps
none
all
point lead
to
artifices
fugues
;
then
again
particular
"c., will us
fugue
to
that
has
is
It
up.
important
so
hitherto
now
of
not
been
time
to
and
it
be
enquire,
fixed
enter
duodecima,"
which necessary
rather,
to
in
on
from
given
involving and
the structed con-
first
the
these
place,
their
or
fugue
varieties
of
e.
"
what
of in
divided sub-
fugues. from
names
built
are
Eeal
be
Mixed
augmentation of
(IL)
may
(3)
take
they
varieties
these
and
which
by
all
fugues; of
;
which
fugues
discuss the
each
fugues
merely
are
not
description
counterpoint,
Tonal
(I.)
And
counterpoint
is
plan."
Instrumental
certain
rules,
double
kinds:
(2)
best
developed
music,
and
canon,
%
the
contrapuntal
imitation. ;
are
of
"alia
consists,
Vocal
fugue
a
Perhaps
of
piece
various
is
reply.
"
there
all
What
strict
certain
a
of
sorts
decima,"
regular
imitation,
(1)
"
in
certain
(III.) Fugues :
A
"
are
into
"alia
:
of
Fugues
3.
definition
to
according
a
this
asked,
often
"
according
various
Let
To
intended
is
concise
a
will
fugue
a
subjects
It
is
question
give
to
easy
the
composition,
it.
2.
And
musical
of
fugue- writing.
this
in
upon
of
all kinds
Fugue.
g.
by
fugues nution, dimi-
imitation. this
priucij)al
place. parts
152
THE
The
4.
To
PRINCIPLES
necessary
of
parts
i.
The
ii.
The
iii.
The
counter-subject.
iv.
The
stretto.
codetta,
vi.
The
episode.
vii.
The
pedal.
viii.
The
coda.
ix.
The
in
canon
its
xi.
are
"
added
conduct,
(or
copula.
maestrale).
stretto
the
or
fugue
demands
special
care
as
to
exposition.
The
these
fugue
"
or
structure
The
X.
be
generally
The
Lastly,
a
FUGUE.
AND
answer,
may
V.
COUNTERPOINT
subject.
which
All
OF
counter-exposition.
different
constituents
will
have
now
to
be
separately
.
The
subject
and
answer
will
require
a
chapter
to
themselves.
sidered. con-
THE
PRINCIPLES
degree
is called
154
That
0)
the
(7) That from
iii. The
"
Traite
harmo7iic
a
be
to
point
rules
will
Haute
(a) When
of
the
into
key
of
by transposing
the the
from
melodic,
a
its correct
to
as
the
student
to
and
not
formation.
form
slightlycurtailed
are
vol.
subject begins
dominant.
view,
enable
Composition,"
the
the
regarded
given subject. They
any
de
is
answer
following
to
answer
fifth
the
OF
correct
a
from
Keicha's
ii. the
on
dominant,
tonic, the
fifth
subject a
and
does
not
is
answer
upwards,
or
modulate
simply a
fourth
formed wards. down-
Examples. 1.
Subject
C5: q:
i
Answer
-"s"-
tS)-
1.
^
ffi
Subject
-""
-G)-
-^-
2.
"^E
^=:p^
3
Answer
i
-^^^*-^-
^^-*
rJ
^
j^.
:"^
i
^:
:^:
1^2
i -"
2.
SUu^
;bee
(/?)The at
dominant the
the
answers
beginning
and
end
1
tonic, and of
the
the answer.
tonic
the
This
dominant, rule
is invariable.
AND
COUNTERPOINT
155
FUGUE.
Examples. Answer
Subject 3.
3.
dB
:^:
1221
Z2:
.^2.
m
:q: '^'-
-"-
Subject
Answer
4.
4.
_Q-
ie:
Subject
Answer
5.
iziQZi=:
-^
-zzt.
"
-"
5.
4=^ T^ 3=f^^
G-
'1:2
-"s"-
:^2:
-"S"-
Answer
Subject 6.
Ef
P
"
:
-"s
"
6.
^^--
z:?:i
-"s"-
-s*-
In the
of
the
except
fifth
a
The
one
and
3
of
should
thus
is
answer
fourth.
a
of
Nos,
its
the
interval
simple transposition
a
has 4
6
of
the
In
introduced
is
converse as
is here
transposition,
what
of
the
over
melody
intervals
exigencies thus
extend
to
and
slightchange vary
compelled by variation
answer
In
a
never
longer
no
the
5
necessityfor
answ^er
when
the
Nos.
the
tonality." The
exceeds
In
instead
Hence
case.
shewn.
examples
subject. of
rano;e
"
these
is
called
hardly
ever
degree. the
(7) Whenever that
the last
of
the
dominant
subject modulates dominant, Into
that
the of
the
rule. X
2
from answer
tonic.
the
key
of the
This
Is
a
into
that
of
corollaryof
the
from
modulates
tonic
OF
PRINCIPLES
THE
156
Examples.
Subject
7.
S e^TZ"
:i
'
H^-S
^
5^3=^
S -IS)-
into
Modulation Answer
B:7.
7. ^2:
"
.Q
=;^=^
1
":" into
Modulation
Subject
8.
P2:
-^2=^
^-"
(S"-
Z2:
tlie last
is answered
and
note,
specimen
Sometimes
only
position,or
perhaps
the
Bb.
into
Modulation
-"s"-
iJi^
4:
In
Eb.
modulation
in
realitybegins
at
tlie second
accordingly. the the
last last
need
note two
or
be
altered
from
strict
three.
Examples.
Subject
9.
feHEE^
i^ffzz:^:
E^Answer
"
"y
S
-iSh
9.
"
/s"
"
-
"
^
-o-
trans-
COUNTEUPOINT
i5
^ z"
FUGUE.
^-
--^-^
4f^
-^
Answer
-(S*"
-c;i-
-
-f^jr
10.
z^^l^^g^^
If the to
157
10.
Subject
-rn-
AND
from
subject goes tonic
involving tiuo
and
hack,
altered
m
-"""-,-
tonic
the
to
dominant must
answer
intervals
instead
of
and
hack,
reverse
or
the
from
nant domithus
process,
one.
Example.
Subject
11.
fa
i
-C2_
-fS*-
-f^-"
Answer
11. O-
^^^
"
And
this
tonic,
or
by
longer
a
:"p:
-"s"-
^-4=^ must
dominant note
be
especialtyattended
(as
the
than
the
case
be),
may
rest,
or
W^
-"s-
by
to, when is
any
m the
emphasized other
to
in
subject
the
peculiarityin
melody. Examples.
Subject
12.
'"^
S Answer
-f^-
gBv^^*^
-f-
12.
i t E3; W
-"s"-
i=i
the
change
the
PRINCIPLES
THE
158
Subject
OF
Answer
13.
^M W^
-^"sr^
-fS*-
Gh-
13.
-G"-
^^
~J^l
-7^'-\-"
-G"-
-(S"-
Subject
14.
Answer
14.
-^^
ESE^^^^E^^^ SuLjeet
:i:
3^^^E^ Answer
15.
3^
-^-
15.
-Q-
fe
K5S
-(^-
X
tiz^
((^)It
is not
of the
allowed, of
notes
in
the
making
the
change
to
answer,
the
value
subject. EXAMPLES.
Subject
Answer
16.
16
"
If^IZ T^
5
-.^"z.
-"s"-
-[--f^-
Wrono-.
Right. Subjeet "
Answer
17.
^S
fS"-
#
"
17.
"s"-
.
Z2
^-"^H-'^
-.s"-
-^
"
^^ Wrouo-.
Rig-ht. Subject
18.
Answer
18. Ci-
ie:
-"^
p^
55^
-"^^-
X,"
;i
-s*-
Rio-lit.
The which
only exception may
sometimes
be
is when
answered
the
by
-G"-
W
subjectbegins a
minim.
rono-.
witli
a
semibreve,
AND
COUNTERPOINT
FUGUE.
159
Examples.
=.i9Et?==
-t=
1^21 ^
19.
Answer
Subject 19.
hS"-
^-
"
Subject
20.
Answer
20.
C2__
i
r:?" -(^-
which
does
be
may
(e) The
curtailed of
interval
a
apply
not
prolonged
or
z":
-G"'
Pt
rule, however,
This
"^
1221
"
i
in
last
the
to
the
the
subject,
answer.
is
seventh
diminished
of
note
never
altered.
Examples. Answer
21.
Subject
21.
(S":q:
"
=f^
Z2:
:?x
-"s"-
-"^
r-^"
3 J=a
?^
(?) Chromatic
the
diatonic
thus
answer
found
^a
is first
answer
and
to
find
then
can
difficulties.
some
the
be
to
turn
proper
easilyturned
The the
into
Example. 23
(i.).
ES V
-"s"
"
a^-
22
:i?^
best
to
-G"-
a
to
way
subject
answer
one.
Subject "1
:^2:
-g^
correct
melody,
^"
"S"-
subjects present
discover a
22.
Answer
22.
Subject
into
it. The
chromatic
THE
IGO
This, if made
PRINCIPLES
diatonic, becomes Subject
OF
"
(ii.).
23
'^
=5^ The
correct
When
changed
back
Answer
into 23
is the
a
to
answer
it becomes
23
(i.) Examples.
Chuomatic
I^
"TO"
:22:
25.
24.
rH"^"^"
Answer
to
"
^_E
Answer
i?:^-^-^Ti^r^-^
E$
No.
-(SI-
24.
53
Subject
"
answer,
-^-=^^
Other
Subject
chromatic
"
correct
subject is
(i.).
fZJ
which
diatonic
this
to
answer
-"s"-
zz:
-o-
-iS"r~?:p:
S^Eir^r|S"-
"
s^
Z2ZZD
25.
1^2:
22
-s*
1^-
3 Cafe
Z2:
-^
CJ
u
"7
Subject
^^
26.
221
26.
Answer "iS"-
-ft^
CLj 122:
T^i
iS^
:S=
-s"-"s"-
(j/)Sometimes,
but
rarely,the
constitutinga "fugue by
answer
is made
inversion."
by contrary motion,
Subject
would
29.
Answer
called
be
Subject
real
a
while
fugue,
FUGTJE.
AND
COUNTERPOINT
OF
PRINCIPLES
THE
1G2
one
on
29.
the
following
"
30.
X2:
fc^
-:^z
-"s"-
-Gh-
'^". "O
Answer
30. "Q-
^_^.
icz:
-"s*-
ffi; -'S'-
would
be
{k)
styled
tonal
a
additional
An
those
rule
who
(It
answer.
be
have introduce
is
taken
always
made
the
from
in
The
1873.)
quitting
or
on
the in
exact
tonal
a
little
excellent
very
alteration
approaching
of
guidance
modulation
Banister's
Mr.
the
deciding
necessary
London,
for
given
difficultyin
a
to
"Music,"
on
be
here
may
may
]plctcewhere
manual
fugue.
the
"should tonic
or
dominant." iv. At of extracted
the all
end
kinds,
from
of
this
with
volume the
will
correct
Fdtis, Eeicha,
"
and
be
found
answers,
other
f"Ae*^'2:a^St,fc"s--
works.
a
large
selection
partly original, and
of
jects sub-
partly
CHAPTER
the
Of
1.
The
the
this
As
sometimes and in
subject
a
accompany
at
sometimes
Cases
the
is
or
absolutely
be
contrived
the
octave.
in
rendered
subject
be
sometimes
it
arise are
Fugue.
a
supplementary
a
must
part,
counterpoint
of
intended
melody,
to
answer.
should
countersubject
the
and
lower
countersubject
2.
is
accompaniment in
double
Countersuhject
countersubject
accompany
XX.
ansiver
variations
in
according
in
fugue.
tonal
an
the
the as
and
upper,
counterpoint,
necessary, a
in
that
necessary
do^ible
in
which
placed
subject generally
intervals it
is
of
used
Example.
Subject.
;r
^2:
:^=-";^1^21
^
^dPffig -^"
(S"-
^-^
-G""r
-"
:^:
"
I"TZ
-"^^
Countersubject. Y
2
g=g
to
Answer
OF
PEINCIPLES
THE
16 i
countersubjeet
to
-^
^
-(""
the
in
intervals
majority
of
commencement
opening
the
of
subject,and
countersubject
There all
of
three
to
be
as
the
in
varied
they "
treated
it is not
4.
treated
is
be
may
the
countersubject
In
four
or
the
subjects,"as
the
various
concurrent
always
first
the
be
fugue
been
has
should
given
such
are
written
countersubjectsare need
in
a
fugue
correct
double
is
so
be
make
not
by itself, be
said
venient. con-
and to
ought
subject
and
if be not
its
counterpoint.
introduced be
first to
fugue,
there
The
not
the
treatment
But
as
upon
slightlyaltered
parts.
only
example
said
is
out
be
may
riiay be.
there
as
countersubject does
subject, the
case
subjects,we
looked
countersubjectin
one
last
way
the
case
the
fugue,
the
the
same
rigour,but
same
than with
a
subject
countersubjects as
many
as
when
the
more
such
the
the
simultaneously at
enter
in
exactly
the
of
begin together
If, however, not
with
course
countersubjectsshould and
of
countersubject is
the
one), then
till after
its first appearance
and
*.
fugue (as if, for instance,
a
subject throughout the piece. a fugue "of two subjects."But then
a
alterations
such
cases
subject and
the
When
second
of
witli
marked
are
required.
be
not
were
a
varied
the
But
very
-s"
subject.
to
Here
3.
r-
:zz=^d
Answer
will
i-fS"
"^
strict
successively, in
having
AND
COUNTERPOINT
all
them
twelfth, as
that
It
is
indeed
or
very
equally
such
at
in
countersubjects
Sometimes
5,
do
they
melodiously called
a
opening
subject, and
a
the
tenth,
octave, useful
most
heard
well
as
the
octave.
countersubject which
a
of
double
or
will
counterpoint
;
but
subjoined
are
essential
an
The
part Such
to
of
the
it,
the
order
interposed
an
following is
fugue, including
subject, though in
an
is
passage
example
subject, answer,
lead
to
of
the
counter-
codetta.
Subject
m
the
all
counterpoint at
kinds
"conduct."
two-part
but
;
double
countersubject.
or
at
be
never
easily found.
notes
form
the
into
"codettn," of
few
be
choose
to more
or
not
are
a
really
not
two
need
may
is
employed
165
tliey
interval
other
any
advantageous
well
as
counterpomt
commonly
most
often
work
double
The
together.
counterpoint,
double
in
FUGUE.
in
I)
icitz:
is"-
S
^-^
I
^^=^
;fe Answer
Codetta
t
-"?5"-
ft
countersubject.
'rj
i~-
Z2: "
to
"s"
"
Answer
-Sg*
PRINCIPLES
THE
16G
AND
COUNTERPOINT
OF
FUGUE.
Codetta
^
s"-
-^-
C2:
^
_c2:
"
^
-^-
i^
-\0^
Codettn.
in
Subject
G
:^ :^=it
-"s"-
^
"SE^
S*^=2==5,
"
*
"^
e:
;g
f^-
jK
Coim-
1r
f^l 1
SE3
I
i^ t
f^-C^-^tFtt; IE
j:
r^
-1^-
mtersubject
in
G
-f3-
"c.
CHAPTER
Of
1.
is
"Stretto"
XXI.
Italian
an
Stretto.
the
from
derived
word,
"
stringere,"
"to
together."
bind
In
fugue
a
as
are,
answer
the it
is
stretto
hound
were,
artifice
an
closer
by
the
which
together,
by
subject
being
made
and to
overlap. will
example
An
best
shew
how
this
is
done.
(i-) Subject.
Counterpoint.
ii^^^^^^^
a -""-
1221
-"S*-
122:
"c.
S^:
-""-
1221
1^
Answer.
(ii.) Subject.
S
^ :q:
-Gf-
:q
:it
3
I .A
"c.
"m--
-"s"-
Answer.
^^-
'-Z2i
PRINCIPLES
THE
168
OF
(iii.) Subject
transposed.
Answer, At
have
(i.)we
subject,and At bars
before
the
It
degrees
is not of
first the
the
that
always
Nothing
well-considered
when
the
its
subject,counter-
out.
the
in
let the
adds
best
with
answer
so
of
to strettos
lend
which
the
stretto
much
is
distance
subject
that
arrangement
the
subjects are
fugue
stretto, which
a
as
to
a
in
comes
two
subject.
subject at
is desirable
recurrence.
of
stretto,
second
the
closeness, such
possible,it
will
of
still closer, for
yield
last
bar
one
get closer the ;
different
when
closer
and of
therefore
themselves
of
but
;
interest and
only.
strettos
example
it is each
at
fugue
a
those
as
fugue-
naturally
most
here
this
to
of treatment.
mode
3.
If, however,
ordinary the
answer,
4.
There
produce
a
fugue-subject will
it is sometimes
way, and
then
always allowable,
not
of
have
follows
answer
the
end
we (iii.)
2.
a
have
the
opening
regularly set
answer,
(ii.)we
At
the
are, a
no
otlier
even
in
produce
method
this
can
it in
be
made
unmanageable last-named
in
stretto
a
by commencing
one
subject follow
certain
moreover,
stretto
possibleto get
letting the
when
not
way.
is
answer.
subjects In
with
This
stretto. to
the
which
such
will
extreme
XXII.
CHAPTER
1.
In the
tliat relief
from
contrived but
;
of
relief
number
of after
ear,
the
bars
it
of
interest
which
the
time
it
is
resumed,
scribed pre-
usual
is
time,
to
very is
recurrence
variety,
from
subject
certain
true,
continual
intervene
to
is
without
and
contmually
are,
such
desirable
indeed
nor
heard
be
which in
Coda.
necessary
There
in
and
rule,
a
the
to
end.
to
fugues
as
certain
a
sliould
the
and
Pedal,
neither
is
answer
beginning
rigorously
allow
and
subject
it
fugues
ordinary
the
Episodes,
Of
to
by
way in
generally
stretto.
2.
The either
may
afford
be
strong
a
which
is
far
and
taste
3. take in
or
In the
contrast
and
ingenuity
of
order
we
XX, can
sect.
make
in
5, out
follows of
of
fragments
possible
every
so
them
;
imitations the
according
way,
else,
or
and
subject,
to
as
other counterto
the
composer.
much
how
may
countersubject,
answer,
and
These
episodes.
fugue-subject,
composed
of
out
the
shew
to
be
varied
the
precedes
may
formed
codetta,
subject,
Chapter
they
called
are
with
what
to
better,
introduced
thus
unconnected
totally
artifices,
contrapuntul
subject,
bars
intervening
and of
see
them,
how
many
by
way
be
in
done codettas
and such of
this of
imitations,
episode.
way, the
or
let
us
example ments, develop-
THE
i. From
m
OF
PRINCIPLES
the
COUNTERPOINT
AND
171
subject.
^^^^z^r^i^
-r"_
(a)
From
the
first two
-"S-
bars. -/S"
lifEffi
"
=P^
-"-
rn..
^I?gZEti EE
FUGUE,
-s"-
""
?
1^21
S*
"
_C2_
^
"
i kS
-(S*-
1^21
-e^-
-"^-
"-=" :q:
Here
there
are
imitations, both
direct z
2
and
by
inversion.
and
third
the
(/3)From
OF
PRINCIPLES
THE
172
fourth
bars.
:$=fc:=
^=r^
:-^
^^?^
^=^
g
H^^s^i
i^s
Jfc2-
:^
45;
-"-
s
'^
IQ
T^
i^^^^: fe"i
?:
-^"
^
t^
I^Z
-"s"-
?^
:q=
COUNTERPOINT
(7)
From
the
AND
fourth
FUGUE.
fifth
and
ifc
17;
bars.
:q:
m
"f"
^
f
-Q-
fcrt.
-^
"
It
-^
"
^
"
9-
St
"=,
m-
W^-
l?S!
-("-
if"
X2:
-f^-
)ri
-^Si-
sg:^
:c5:
-s"-
-^* ^
"
"
:^:
(S-/S"-
-,*-
:P2: :t:
,^^=^"
"7
:fc="
_^
|S5._
-S"-
-tii^
-^
^.C^^
M -C2 -s"-
J
it I
"^
PKIXCirLES
THE
171
ii. From
fiist codetta.
the
SE" 2
^^=^ "
y
(a) Ordinary
-3.
*"
^l^^EE
OF
imitation.
-iSi-
"
^
^'^-0^
M:"^~zti
%
-^-
-r^i
?
H
'"s-
-f^-
tai
=p=
-(S--"s"-
^"
^
;^^
P
1^=31
^^=:r-f:
.-"2_
-(^-
Z2:
^-^
nJ"
r"
^
:s
COUNTERPOINT
AND
((3)Inverted
s
FUGUE.
17:
imitation.
-"^-
:5^
1^21
rj-
1
U^.
3EE:
ii
3J
s -"s-
J
^'
-(^-
'iM "^"
122:
-ge"-
\"-
-"-
wt.
-Gi
rS*
-^
'W^
@5
(7) Augmented 1^=0^
lE^EEE P^
""
-fS"-
-G"-
@^
tw^
m^"^
g^^
imitation.
j^i
-r^-
ICZ la:
i^^E^
-"^-
Z2:
-^
-"s
"
I
PRINCIPLES
THE
17G
^
-"s-
-".
OF
Q_
^"^
^""
M-%
\"^
^
w
"
z^zzfm^zz^
-O-
Wi
-iS^
t:2l
-f^-
1^2:
-S*-
-^v^-
-Gh-
iii. From
s
"
the
countersubject.
-"
^^
\
(a)
:?ffi^
-r^-iS"-
q:
From
L3-. the
:^
first two
=^=^
~j:2^'~rj
bars.
:^2=ZT
^tt^
lo:
^/U^
-(S"-
m
^^^
W^
-"S'-
-"s"-(S"-
1^-
#%(i Here
^
the
imitation
^^^^ is first
direct, and
-"^-
:^2:
then
inverted.
r-^
^=fii
3sr
--w^
178
combined there
and
If
fugue
subject and
bass
sustained
could obvious
that
the
the
that
usual
it
Treatise
"
but
;
of
view,
dominant
a
which
discords
in
two
three
is
it
parts
of
one
is
")
Harmony
many
in
kind
a
occurrence.
on
fugue
a
point
place
to
built
In
almost
sometimes
such
is
stretto
it
is
introduced
closest
the
pedal
Indeed
in.
brought
be
can
scientific
a
frequent
be
can
introduced.
considered
be
the
On
7.
which
on
regular severity
the
of
the
in
fragmentary materials,
with
from
it
fugue
a
tliat
so
;
''fugue of imitation,"
a
cases
explained
be
pedal
no
it should
parts
note,
otherwise
not
of
been
has
(as
in
kinds
various
such
treated
vahie
inferior
adoption
end
the
This
pedal.
in
for
of
called
it is
FUGUE.
fugal development.
up
not
are
of
though
Tow^ards
for
chieflymade
is
fugue,
convenient
very
counterpoint of
materials
of
answer
tonal
or
fugue which,
6.
a
the
real
a
lack
any
double
in
AND
COUNTERPOINT
OF
or
canon,
never
the
of
is
in
is
5.
of
PRINCIPLES
THE
or
more
essential.
strettos
and
happens
that
only
can
be
should
imitations the
involved
harmony with
available
be
the
aid
of
pedal. The
8.
this
is
pedal
often
fugue
terminates
occasionallyintroduced should
be
admitted
the
dominant
with on
unless
a
a
tonic
lengthened plagal cadence, pedal ;
the
dominant
the
final
fugue,
this
tonic
generally no
but
pedal has
been
and
previously
heard After
9.
Of
all
the
and
imitation, final the
the
impression fugue.
reserved much
episodes
for
on
Very the
recommended.
in
most
the often
pedal the
effective ear.
the
coda, and
It
in
leads
ought
the
stretto
directly to
"
be
be
the
closest
will
leave
to
it
coda," (or the
introduced.
should
style, because
is called
canonical
episode
"
or
stretto
close.
in the
of tail-joiece,"
maestrale)
is
This
is
plan
CHAPTER
General
of
structure
XXIII.
it
remains
the
of
described
fugue octave
in
The
of
heard
in
order
that
in
the
bass
and
answer,
XIX
subject had
the the the
;
may
and
tonic
treble answer,
the
simply
that
indeed,
(supposing
arrangement.
"the
exposition" first
the
meant
according
in
exposition
descended
which
is
and
called
consists,
fugue
a
the
to
entry system
XX.
and
rule,
a
this
form
is
what
countersubject,
open
ivhicli
of
which
its
to
as
with
By
of
parts
rules
commence
answer.
Chapters
writers
various
general
must
and
subject,
the
some
fugue
subject
the
3.
give
to
Every
2.
of
described
Having
modulations
the
admits.
it
1.
and
fugue,
a
to
the
end
thus "
'P
a
2
the
subject began
dominant,
the
of
number
would
A
if
on
The
part.
any
the
with
should
it
be
parts
to
tonic,
might
older
be
the
first
even), be
heard
in
used
the
first
be
to
in
placed
be
tonic, might
OF
from
subject ascended
the
If, however, it
PRINCIPLES
THE
180
in
heard
bass,
the
so
treble
the
the
tonic
that
the
thus
;
ending
answer,
-ri
izli
Z2: 1^2:
:^
^
-^
this
although
application,and
is
custom
hable
so
exceptions, that
to
it
unreasonable,
not
is
be
it may
such
of
limited
disregarded
in
practice.
modern
all
In
4.
reply laid
^ -2:"
1^=^
But
-^-
"c.
-J
r^U^
m
rJ
rrr-^-
n
on
"
s
the
dominant,
the
to
subject,in
the
to
below,
fourth
in
down
intervals
real
regular
case
the
in
fifth
or
"
above, rules
the
to
free fugue
a
fifth
the
at
always
must
answer
be, according
may But
fourth
the
fugues
exposition,either
XIX.
Chapter
than
the
the
as
tonal
or
at
or
already
imitation," other
of
though rarely,be occasionally,
may
permitted. For
5.
referred
The
6.
but
to
it
end
of this
use
and
place
remains
lengthen, it to
is
by
next no
the
of
means
the
feature a
the
of
the
sorts
that
hearer
as
from
necessary
the
almost
to
last
is
student
ah'eady explained; of
entry
introduce
to
being
too
soon
answer
codetta, but
a
it
convert
the
into
weary
of
a
the
short petual per-
answer.
fugue part
the
only
not
subject and of
after
been
has
codetta
desirable
little, so
a
prevent
recurrence
The
out
is
various
of
volume,
observed
exposition,it
to
It
be
to
the
episode,
expositions
the
in
7.
of
examples
of
is the
called
the
piece,but
counter-exposition. it
may
always
be
COUNTERPOINT
introduced
when
and
convenient,
counter-expositionis merely the
by allowing it
only implies that 8.
After
related of
keys
the
into
generally be i. When
of
which
181
a
reflex
of
the
by
the
lead, followed
to
subject and
considerable
care
should
modulations
take
place.
be
taken
The
the
is in
fugue
major key,
a
into
fact
other
the
to
as
choice
following rules
should
we
(13)Into
the
sixth
Into
the
subdominant
the
supertonic (minor mode)
;
the
mediant
or,
((5)Into Into
(major mode)
(minor mode,
should
lead
to
to
stretto,
a
the
a
fugue
is in
mediant
(/3)Into
the
dominant
(7)
Into
the
sixth
(S)
Into
the
subdominant
(c) Into
the
minor
(f) Into
the
major
the
minor
a
the
if
in
;
mode the
on
pause
Into
conclude,
minor
coda,
or
the
(major mode)
the
modulate"
;
i.e,
(minor mode)
(f) Transiently into
(a)
subject. In
observed.
dominant
ii. When
The
exposition, produced
modulate
should
the
(e)
effect.
change places.
answer
(a) Into
(7)
good
produces
counter-expositionthe fugue But
keys.
often
kind
a
answer
the
FUGUE.
AND
of
relative ;
lastly, the
key,
dominant
tonic
(minor mode)
but
this
only
major, leading
to
major.
key,
(major mode,
minor) ;
we
should
i.e. the
modulate
relative
"
major);
;
(major mode); (minor mode)
seventh
we
mode
;
(major mode) of
the
please.
;
or,
tonic, in which
lastly, we
may
always
PRINCIPLES
THE
182
9.
modulations
These
rule
general
10.
this
often,
will
order
found
be
of
order
laid
down.
convenient
most
recommended
keys
as
a
effective,
and
this
in
they
But
modulate
to
not
remote
need
obligation,nor
just
the
extremely
into
or
strictly the
in
strongly
is
student
The too
exactly
followed
always
be
not
are
OF
too
style
of
denly, sudposition. com-
"
"
,
Modulations
11.
take
often in
the
Italy, and
Examples
of
form may
of
best
are
be
introduced
of
any
of
andamenti,"
"
or
sequences,
episodes
by
convenient
as
imitation
they
; are
length.
Andamenti.
1.
h=P^=^^^5 1
m
Hr
^
^
-^
g^^^^
ifp:
^21
^-
.535
%=^
-o-
^
1^
fe: z^l
Q-
^
these called
COUNTERPOINT
AND
FUGUE.
183
^z^S^
^=d=f^^^pJ -^m.
J^
E^^"^^^
^
"c. _"2-
tS"-
X2:
#^
3.
i
^
-/S"-
_Ci_.^
i^^^EEL^
'-(S"-
4==F=^
f
J.^^
J.
J_J: ^=F^
#f3=P:
e
^-^^-^=4-
-""5'-
gJ^=4
:=jfeil
5"^ ^
Jz:
i J
g^^ J-
^21
:^
:^==^
ab:
:^zi=^
4^ "c.
^
-^-
-p
gT"
PRINCIPLES
THE
184
OF
3.
(^
^
*
r
/'j^=itJ:^
^
-h
^E^
f^=^
1
^
J-
^
ipz
^^^=p=t ^
^11
-i
J
J
^
^^ ^^
i-L^-i: ?
li^
*:
"
i jj.1 "
:p^
e^
1^
_pz;
U
J=d:
i^
ife:
^
J
^
:S(^
^-
:^
J
"C.
-^ "
f^1^21
122: -^s=
12. a
It
is
part which
in
the
after
case
a
13.
pause The
always has
of
dominant
interval
an
stretto,
all
closest
already observed, tlie
had
the in
advisable
the
pedal.
of
silence.
always
subject
This
comes
is
in
answer
especiallydesirable
with
in
or
the
best
effect
parts.
stretto
and
which
the
introduce
to
should
be
especiallyif
reserved it
be
for
the
introduced
end, in
as
canon,
has
been or
on
is allowed
rules
be
to
As
20,
in
than
bearing
liave
of
PRINCIPLES
THE
186
considerably relaxed example
is
four-part fugue,
a
analyse
it bar
Future the
student
for
himself.
In
the
reference,
voices
by bar,
will
after
annexed and
to
with for
not
this
Example
benefit
the
every
of
been
will
and
one
a
the
would
in
be
bar
is
Fugue.
"
a
a
specimen
countersubject, and
analysis on
condition
follows
four
to
for
numbered,
In
give
now
student.
careful
analysis which
of
of
many
already given,
we
the
such
specimen
specimen make
subject
need
therefore
that
modified.
precept,
one
the
and have
and
than
better
will
examples
;
points, which
these
on
for
writing
OF
more
our
part,
work
that
do
as
convenience
of
intelligible.
parts. F.
A.
G.
O.
COUNTERPOINT
AND
FUGUE.
187
a
j^^-f"F=l=^"=^
-(^-
^" -9
^
'W
'-
-f3
tf---
^
#"
^-
fe=
^
-F"
11,
10.
9.
F=
'JT^i
y
-"s"-
s
gyif
J
J^3b
12.
I
'^_^^4^
-C2_
;g
-fS"-
m
B
b
2
I "
-"^-
"r:r
:^-_^
""J
"
^=i=: 4"
^ I*'
:=:q=:
THE
188
PRINCIPLES
OF
14.
13.
15.
g
16.
j^=l^" p=
f"
JjfJ-fS*
:^
-CD..
-"^".
""" rv
fti--
:^
g=i=
-Q_
s"-
^^^=P=
f^-
-^
r
r
f^
~r^-
"
^=^
^
-,^
;cz:
,vo
/^'
18.
17.
19.
"0
-(S-"^-Gi-
:tf^
~i"
-s*-
ir^
th-ffiEEi^
^^-W"
m
'"
rJ
-s"-
J"
-(S"-
JQ_
^
y'r~^
^:
:fe!J^ #"
!*-
S=fe:
^
^
AND
COUNTERPOINT
FUGUE.
189
"^24.
23.
22.
21.
^ue
tt=^=^
1=^
^
^,
m^^E^^^-
"
-fS"-
-F-:
^
:?::
ii
-j^z
d^"t gEJF=P=3E^E^
:c2:
:^:
1
sf-
-"s-
g
28.
:tf^
^^^^E^^E^l
:^=lzi:^'z=z=^ iq:
-s*-
9=P^
:":
:p2 1
QJ "
iSi
S3
^
-^"
^J -s*-
i^-3^
:^-5^^^ icz:
-(SJ-
i?:^:
100
THE
PRINCIPLES
OF
31.
30.
29.
32.
:^E^
1^
1^
hS*-
:3te=g^
-#
i-i
y
-^-
-"s"-
:i?^
^
-fs*-f^-
^ipEILftl^-
5^
:^=^
#:g:
iis: 'jc^
33.
34.
5
^^
36.
35.
=^
i^
:^=jt
If*^
-^-
-I^H^-
EiE^ gF
:"J:
:?2:
3t^=^
1^21
^i^
a;
COUNTERPOINT
AND
38.
37.
=t?:
:r"
-"s^
^=^-J^*
-e.*-
T**"
191
39.
-"""-
tff*
FUGUE.
40.
jiJ
'^,
zzd:
;^=Si^ii
-/S"-
^
h
S1E!^^3E?
-(S*-
^
^SW=^:
^=^
@"
43.
42.
41.
44.
-^-
^^^^^^^^eS^
^^-A
;^^^ 3E3E5
fe-rr=^=^ Z2L
gF
3cqc
wW^^^-^^
^
THE
192
PRINCIPLES
OF
46.
45.
47.
If^ icz
^^
"=*i=*=zW
^^--
-n-^^ "
I
,^
"
"
^"
^
--\
^
J-
i^
U-ti"=t
-iJ"
I
I
^"^
JS^^=g
J~~^-
sj
::
48.
3^
;4 1^31
S^feE^^
51.
50.
49.
'pi^
is-
lff:t
?===?:
52.
S"e"
"
"I
tl--
(r^?=
-a^
"
^
-e^
-"^-
@^
:^^=r=f:
H*
-Fh
:?2:
\
^P--
61.
OF
PRIXCIPLES
THE
194
?
-iS"-
1^5
64.
63.
C2.
-^
i^z:
-"s"-
rallentando.
wi-
-"^
-G"-
1^2:
(S"-
:^
^2:
ft rallentando. /Ov
fe
-7S"-
?
Z2
-s"-
-"s"-
:c2:
E
rallentando.
3
22
-(S-
-"s"-
ralleniando.
Analysis
21.
(i.)The (ii.)The
second This
gives of
remainder
bar
5th
treble
the
treble
note
of
being
the
has
the
in
both of
and
11,
(vi.)In In (vii.)
in and
bars 11.
a
13, The
few bar
13th
the
subject in
real
a
D.
to
be
may
bar
the
tenor,
14, and treble
9th
the
while
15,
the
8th
The
the
given
alto those
has
completes
the
answer.
the
the
cussion reperin
appears bars
the
last
three
leading to
the
9, 10,
harmony.
"
treble
and
tenor.
bass, and
the
counter-
in the
accompanying
the
the
merely
the
treble, in
some
in
bar
subject
in the
the
"
the
on
is
complete
to
reappears
imitating
meanwhile
answer
alto.
In (iii.)
"
gives
the
the
note.
one
commences
time
bar
and
codetta.
which
codetta
a
notes
is
answer
as
bars a
same
fugue,
regarded
first codetta the
three
(iv.)In
"
accompanying the
in
the
at
countersubjectin
12th
the
G
fugue.
is filled with
alto
"
adds
the
The
from
above
countersubject,
subject. (v.) In
the
and
tenor,
the
the
subject
bar
expositionof
parts
the
4th
bar.
subject transposed notes
the
out
the
of
treble
harmony
of
by
bars a
"
notes
9, series
10, of
AND
COUNTERPOINT
dissonances
of
takes as
into
the
a
is
ninth
third
bar
imitation
The
by
stretto
bar's
bars
tlie
of
45, and D.
stretto
by coming
in
is silent
the
bar in
stretto
the the
at next
four
half
close
The (xviii.)
perfect
53rd
and
latter
and on
five
cadence
D,
at
54th
half
of
the
the
to
to
has
bars.
be
the
32nd
the
c
2
occurs
close
a
followed
at
the
bar of
treble
the
the
In
bars bar the
are
of
bar
tenor,
and
and
alto
the
50th
the
treble
bar,
completes
the
subject,accompanied
the
by
alto
join
and
this
in close
through
pursuing the
final
pedal
on
by
tenor.
followed
dominant goes
and
the
and
a
close
mences com-
the tation, imi-
subject,leading
pedal, in
the
simple prolonged
piece. c
counter-
the
with
of
the
of
an
stretto
third
a
leads
bass, and
the
the
treble
bar
42nd
(xvii.) The
are
of
exposition,mostly
inverted, in
termination
there
this
other
the
bar
as
accompanies
54th
the
regarded
in
46th
"
completed
canon,
(xv.)
"
panying accom-
bar, in imitation,
may
bar
the
strict
and
three
finish
20tli
with
three
or
alto
answer
in
(xvi.) The
concluding bars G,
the
it
upon
alto, almost
and
bars.
"
two
the
33rd
inversion
inverted, of
in
the
treble
the
bass.
bars, while
direct a
the
by
the
the
imitation, is led
direct
by
of
by
The
five
has
22nd
subject,led
bar, direct
for
alto
fugue
the
tenor
with
the
the
(xiii.)In
(xiv.) In
"
its third
stretto,
next
the
looked
has
lation modu-
a
be
accompanies
the
the
bars
may
(x.) Before
point
17th
parts, entirelycomposed
"
the
46.
subject in
closest
silent.
is
counter
bass
treble
fragments
in three
by
The
The
"
distance
of
bass
In subject. (xii.)
inversion
imitations
the
(xi.) From of
and
This
bar
subject,at
this
"
up
bass
43, 44,
minor.
"
the
begins
andamento
or
subject.
tenor
imitation."
of
rests.
From
episode,made
an
one
the
above.
of
fugue
"
key.
195
16tli
18th
the
while
same
treble
the
answer,
the
B
of
key
minor,
B
and
notes,
at
the
"
ubject in
counters
the
into
episode. (ix.) In
transposed
the
"
place
short
a
In suspension. (viii.)
FUGUE.
and
59th
bar.
to "
suspended
THE
196
The
22,
of
going
student
which
fugue
examples
has
done
J.
S.
Clavier,"
that
of
fugues
his
become
given
a
or
But
whatever
a
diligent
to
be
able
be
to
into
the
he
all
or
of
Wohltemperirte clefs
proper
and
correct
compose
the
When
any "
the
foi'e-
all
parts
take
to
in
score,
the
stave.
celebrated
the
open
yet
requires
and
and
remarked
contrapuntist
genius out
in
ought
must
good
That
brought as
it
indicated,
composer.
in
alto
lower
beneficial
examples
condense
to
and
the
the
taking
well
do
into
very
fugues, out
he
it
volume,
treble
parts
of
one
for
each
original
own.
Finally,
23.
to
set
After
part.
find
the
also the
FUGUE.
every
of
will
bass
will
them
end
putting
forty-eight
and
He
and
he
the
at
score,
tenor
this,
Bach's
find
AND
analyse
to
model.
short
the
COUNTERPOINT
advised
will
his
as
into
and
is
he
analysis
upper,
OF
PKINCIPLES
may made
patient
this
what
be
the
study
that
by
diligent
a
alone
will
no
teaching
latent
in
of
most
of
the
quite
possible
materials
to
make
natural
supply
here
a
good
genius.
"
mind
no
is
suffice
can
the
Harmony
of
use
never
by
it
although
of
other
and
the
student
means
Counterpoint.
will
so
effectual
be
EXAMPLES.
Canto
No.
1.
No.
2.
Fermos
to
he
used
in
every
species
of counterpoint.
i! -G^
22; -"-
No.
3.
No.
4.
-7^-
-S"-
-"S"-
"^^
-"s"-
2!2:
I! 2ZIC2:
::c2:
-"s"-
-(S*-
Z2:
J2:
-s"-
:q:
No.
5.
1 -G-
"=$=^-
Z2:
3Z22:
-G"-
-"s"-
'(ZJr
'O-
zz:
-"s"-
zcz: -"s"-
-/S*-
PRINCIPLES
THE
198
No.
OF
G.
ffi:
-"s"-
hS"-
:q:
22:
-"s"-
No.
-"s"-
7. -"s"-(S"-
i^a:
z^t:
::^2 22:
hS"-
No.
22:
-"s^
-"s-
22n
-"S"-
1221
-(S"-
Z2:
-"S"-
-1^
Z2:
-"s^
;jf^: -I
No.
10.
No.
11.
lez
-i^*-
Z22Z
No.
izs:
-"s^
tj^
-"s"-
-G"-
2:2:
Z2:
L
-"S"-
-"S"-
K
1^2:
9.
-"s"-
m
H^^-
8.
zEt^
No.
22:
:?!2:
hS^
12:2:
--Gt-
^
-"^
Z22~
-"S"-
12.
Bi
-^s*-
HS"-
^ -o-
i^-
i^^
_j_^^_i
Z2:
-(S*-
'IZIi
m
1.
No.
Exarnjjle of eight-part
"
From
=P2_^
I!
ad
te
Et
-"s"-
sua
ad
sus
Giacomo
-^
Antonio
Perti.
(^
"
-e"-
tes
ran
-
,
J^
.rz:
-(S-
^'
te
~
199
counterpoint. by
'r^
pi
fS
"S"
122:
Motett
a
^
4 Et
T^-
pzi "
:q:
FUGUE.
AND
COUNTERPOINT
^21
pi
-
tes .
.
-^
-^2_
^-
:c2:
(S"-
"!
if^
-^t^-^
Et
ad
-"
pi
-
tes
ran
-
J^-
-p-s^
te
sus
pi
-
-^"-a
ig
"
ad
Et
sus
-^-
^~-
feEffi
ti"!
te
_C2_
V
ran
-
-R-
-"S"-
?^
-"s"-
-"s"-
22:
-iS"-
_l": v_
Et
ad
pi
sus-
?=:
tes
ran
te
sus
pi
-
tes
ran
-
lO-
#2:
-s"-
ad
ad
te,
"^
-r^-
ffi
"
.
^^iS
i! Et
.
^z^^EE^
-fS"-
-(^
.
"s"-
:"
ad
Et
-
r-
^^^\
-^
EE!
te
te
sus
f^-"
-
7^'
]ii
i^
"^2"
:r2
Et
ad
tc
sus
-
pi
-
ran
tes .
.
PRINCIPLES
THE
200
z^. :z2:
-^
te
-G"-
la
per
-
seni
-
a"
^W^^
.
la
per
-
P=f-P=^
.
i
-s^
chry
-
-P^ -"s"-
in
tes
man
^
-^.
22:
'^^
chry
-
221
te
-"S'-
1^21
-(S"-
^-
sem
i::"
OF
j;2_
"s^
-"s"
-"^-
::^2:
te
sem
la
per
-
cL
chry
man
-
tes
-
-^
l-^if^-T Ph
-"s-
"
4^
"s"-
"
-"s"--
:?2
tes
te
I
sem
^
^
"S2: te
^
fe
la-chry
per
-
?=:
:z2:
-
tes
man
-
12:2:
-"s""
la
per
-
chry
i
?2: r"
y
man
-
sem
-
per
rs""
:jf^:
tes
te
la
r-"^
sem
-
chry
"
Z3r2 -s*-
man
te
-"-
in
tes
-
vo
-
"p:
la
chry -man
Z2: 2:2:
xi:
:jf^:
1^
per
Z2:
tes
-
z" te
in
-S"-
Z2
sem
-(S"-
32:
-
-"S"-
-tes
:C^
:z:2:
la
chrv
-
man
t"^a
PRINCIPLES
THE
202
No.
2.
of eight j^cirts in
Example
"
OF
Full
Anthem.
F.
1:2:
^
P^:
(S/
U-T^
O.
^
rr"":P=^
ZimZZL
-(S.*-
Sa-viour
of
"S-
-/S-
7'==^a-"S'"
m^t
G.
A.
"
-^-
O
Choirs.
Two
the
world,
O
Sa
o
viour.
-
^21
-(S"-""
(S*-
"
O
u-^
Sa-viour
of
the
world,
O
Sa
-
-
O
viour,
i^:
i2k
S?5^?
p^zzc^zzpz
z:2iz?:2:
O
^:="7rr^H
Sa-viour
9-
of
the
O
world,
Sa
iEEg
1^2:
O
viour.
I
"
"
T
O
-"s"-
z:2:
Sa
-
viour
pz=^
:^^^: of
-|^
the
world,
O
2:2:
0
Sa
-9-
^i! -"s"-
-P^
:^
:?=2: :c2:
-"S'-
"^_!-^
o
Sa-viour
of
the
world,
O
Sa
-
viour,
-
li^
^^^E^^
f^"-
:ciz"_zz:2:
u
o
Sa-viour
i^;
fS"-
-s*-
of
the
world.
-"s"-
:^= O
Sa
-
viour,
^nk-"^^ 4f6r
:?:i:
^
?^
o
^m.
^
Sa-viour
of
-(S'-
the
-fE^
T^Z^UOiL. z:2:
world.
O
Sa
-
-
viour,
^ lizzp^z
1^2:
=5^21=.^
^'-5-^-"^^-
o
Sa-viour
of
the
world,
O
Sa
-
(S
203
FUGUE.
AND
COUNTERPOINT
ores.
-Gt
m Sa
viour
-
=^2=^:
Sa
O
world
the
of
-iSt-
1^
'^^-
"-^ T^
ipzzrzi^
viour
-
the
of
.
.
cres.
:p=jg=lfe=
w^r^-izr^^^
m
3EE Sa
viour
-
Sa
o
Avorld
the
of
viour
-
of
the
.
cres.
^"
\U~r^ $=m
1^=^=:^
t^-
'Z^-
i^
Sa
viour
-
of
Sa
O
world
the
-
viour
of
the
cres.
iS"
h:\r=m"
Z^l
1
iS"-
-f^=^-
-r^-
m Sa
-
viour
the
of
O
world
Sa
viour
-
-"S"-
:t=
of
the
^2:
^
of
the
cr^i'.
iS-
5^
-(S*-
-"S"-
?^2:
j:zz: -s*-
viour,
Sa
o
O
Sa
viour
-
cre^.
_C2_
:^=f^l
izr
m
Sa
o
viour,
O
Sa
viour
-
of
the
cr^*.
^
Z2:
^E=i
-iS"-
z:^: O
Sa
o
g
-SI-
^Z=I^ Sa
viour
-
of
the
cres.
^
^
t^-
}"'
^-
^-^
"^mii
1^-
O
Sa
D
viour,
-
d
2
O
Sa
-
viour
of
the
THE
201
PRINCIPLES
OF
-^?-
'H~f^
icz:
^world,
AVlio
-fS*-" -^
Cross
Thy
by
P r"
g:^
:P2:
world,
t
Who
by
--jX
q:
rs"
Who
world,
G"
fs^-
"
1^2:
Cross
Thy
by
:"
:q:
S"-(S""
Wlio
Avorld,
^'
])y
-"5*-
Cross
Thy
-p-
T^-
t^-
i=t=4
22;
-iS"-
world.
Who
m
I^^eSe?^ world,
Who
Who
Cross
rj
Thy
by
5^^
5^
world,
Thy
-jzJ:
221
:"
:to^
zd:
by
ibF="
"^
Cross
Thy
Thy
by
-s*
^
s*"
"
and
pre
-
rd"
Cross
and
:g^
^:
Cross
and
cious
:?:2:
pre
-
-"-
cious
"j::;l
pro
-
cious
_C2_
i^ -"-
^
-s!"
e"
"
-s*
S"-
"
-"^"-
world,
Who
by
Thy
Cross
and
pre
-
cious
COUNTERPOINT
AND
FUGUE.
205
f ^2:
-hr"
r
J
and
o
:^:
Z2:
^jr
'
-+HOh-
pre
cious
-
hast
Blood
re
deem
-
/
"^ 7^1"
i*:
-f^-
and
g"
n
pre
cious
-
-H(S"-
ed
-"S'
Blood
"
f3-
"
f
hast
re
deem
-
-
.^
i^^^EEgESEE and
pre -cious
"
-S"-
Blood
hast
.
:?2:
re
deem
-
-
-"^-
:M
3
:r:?
'r:?; "^"5
and
pre
ed
dim.
/
*"
ed
dim
cious
-
Blood
hast
re
^
deem
-
-
' "
ed
dim. -JZ2'.
'jr:i. -G)
-f5t
f^-
"
f^-e^-
v Blood
hast
re
deem
-
-
ed
hast
us,
re
/ -G"
w^
#
T^-
-o
i*:
"
-f5"-
"-
hast
re
deem
-
"
3 ed
hast
us,
-^^-r:i
rr
:2:2_.
-r^-
hast
Blood
re
re
-
deem
^1:3:
ed
-^
:z^2
hast
us,
re
dim.
/ "
-f^ :q:
"TT7:
IJEII-^"" Blood
-
dim.
/
1^
(^
-^-
:t: Blood
-
dim.
-C5"-
r^'
q:
hast
re
i?:^
"
hast
re
-
deem
ed
us,
-
rEINCIPLES
THE
206
OF
PP 221 icj:
-Wt-
1^2:
hast
re .
P
m
^r^'
^
^^
\P
nr^f*
Who
us,
deem
-
ed
-
us,
.
PP
^
^
-r^
-(S"-
TIT
^^
hast .
re
.
-
deem
-^
f
'
ed
-
us,
PP
U-^
-G"-
n^ Who
US,
T^-
hast
-Gh
re
-t:^ deem
-
ed
-
us,
PP r^
m
-"s"-
^b
rj
rj-
^
'
^s"-
"
hast
us.
re
-
deem
-
ed
us,
PP y~p~^ cj
deem
-rj
"
ed
-
Save
us.
rJ-
rj
and
us
pp^ ^ "
"S"
y-T^
"s"
"
1
fS"-
P?^ deem
ed
-
Save
us,
us
.
.
PP
I^
"s"-
deem
ed
-
us,
-""-
-
M
us,
Save
e;
and
Save
iiejn" d'v^ra
:P2:
hS* us
"S"-
and
AND
COUNTERPOINT
FUGUE.
207
mf
P
::"
-iS"-
1:21
22:
(S"-
hS"-
us
and
help
(S"
(Sh
(S"
Save
zz:
Save
us,
.
.
mf
P -(S"
-"s"-
=^
(S*-
-G"-
ifc
#
Save
and
us
help
us,
-o
.s"-
Save
P
fc^T-^
-"s"-
1^21
%^
and
Save
help
Save
us.
mf
9 ^
rp
f^
rj
\-rj
-"s
"s"-
help
us,
^^ Save
cres.
and
us .
.
mf
poco.
tm
Save
^
q=:tzz:"z:c2
-"S"-
-^s*-
#
r^
9
^.
:c2:
d2i and cres,
C2ZI
and
Save
help
y.
fS-
-fl^SiH-
-H(SH-
mi
help
and
Save
us,
mf
2^oco.
y-T-^ -""-
iQi
;g^=3^]^^
1221
cres.
and
Save
help tin
poco.
@-^ ^=^
:c2: "
"
V"G^\
help
r:r~
H(S"H
Save
and
PRINCIPLES
THE
208
-"-e^-
^
OF
.C^_
-HSH
1^21
aiid
US
help -H"SH
fci-r?
anJ
-*^-
1=1:^2:
aud
help
us,
HiSH
and
"^-
-HSH-
ffSH
help
US,
:^"=P^
iQzzc^:
us,
4^
^F^
help
-""-
"
-H"Si-l-
help
U--^ n to"^3^:
}^0
H^
-.s"-
iq:
g:fe*:
KSH
and
^
-"s"-
JL^i".
^hkSH
help -H"SH-
-H-Ean-
^T^
fc^: help
us,
fe=
and
-(S"'
help
^
=?i^:
^:
n:!
help
1^
r,
"-
help
us,
2:2:
and
help
us
-c^^
S^-
'ZDZ
help
W1 '^^
us,
and
help
THE
210
No.
3.
Examples
"
of
PRINCIPLES
OF
Harmonizatio7is
Sequences
and
the
of
Scale
Canons. Selected
No.
I.
"
Ascending scale,
without
imitative
in
inverted
from
Zimmerman.*
chords.
ie
y=1=J=
-"s"-
-^
E 122:
^
*""
"
"o
-"-
E
;e
#:
E
:c2:
-(S"-
122:
-(SI-
Z2:
-^
?z:
?
^
^
hS*-
^3^
-"S^
1^2:
-^
g
-(S*-
is
a
iq:
_^2_
-"s"-
122:
This
canon
^
three
*
Traits
in
one,
d'Harmonie,
on
the
"c.,
imr
scale.
J.
Zimmerman.
-e^
COUNTEEPOINT
No.
I
II.
"
Descending
scale, witLout
E
inverted
FUGUE.
211
chords.
_cz:
-(S"-
iS
I
AND
^^
-"s^
Z2:
Bi -^-
^1.
^
s
-^-
Z2:
#E
6=^
-"2-
-s"-
i
-"s"-
:^2:
-(S*-
2
1^21
-^-
-"S"-
Canon
three
in one,
i?:::^;
on
the
scale. E
e
2
iq:
THE
212
No.
III.
In "
seven
parts,
PRINCIPLES
containing
OF
canonical
imitations.
E
1Z".
-(^
"e"
s -"-
-fs"-
iS-
s
-F
0-
'ZZt
IZH
^^
3^2:
Z2:
:e -^-
-e^
feza: -^"
|g""=2=^
1^-
"-
-ri
-^S"V
"5: iq:
feE 1221
-"s^
-S"-
Z2:
:z2:
^
-"s"-
-"^-
AND
COUNTERPOINT
FUGUE.
213
^^
e=f W:
:z2:
E2:
-"s-
|S"-"s^
-iSf-
^^ -rjr_
=^*^=^
-1^.
Q-
_"2
g
,
-S*-^?-
"^
I
-(S"-
^2:
TIZ.
-1^
e
^21
-"S-
-"s"-
122:
-"s"-
122:
.C22:^
-e"-
-"^-
No.
4.
OF
PRINCIPLES
THE
214
Miscellaneous
"
Examples. Selected
i
Canon,
"
four
in
from.
Zimmerman.
.
_.
I,
No.
one.
-rS"-
s
-iS"-
ty
-^
Q-
l^^-r^
:q:
K^
fe
jtZZ^
-""
#-
-"S)-
122:
?
~~y
"s"-
_C2_
-"s"-
g -^"
-/^
?^
^
."2_
-"^-
-"^-
_^:2-
@^
#
"
^
1
AND
COUNTERPOINT
II.
No.
In
"
eight parts.
Close
imitation
^
FUGUE.
the
at
215
octave.
-t^"-
1^2:
fS-^
s:
-G"-
1^21
S
i
"ff-
-f^-Gh-
-S"-
E^^
"
;?^=sr
2:" :^2
hS"-
:2"
:^
^-^ -(Si-
iq:
-(S"-s"-
:^
E
221
Z2:
.Q-(S^
-fti-
:-eE3
Q
eff
^g|EE^
r^"^^^
#
-"s-
-Gi-0-
w-
z:2:
"T^
I
^
Is m
-"S"-
-,"s"-
tf^
'JTJL
wf^
-"s"-
-s"-
N
.'^
-(S"-
r^-m
Z2:
^5^
-O
'ZJL
h^:.
Q "
d -o-
22 -^zj-
:c2:
"
n
THE
216
No.
III.
In
"
nine
parts,
in
PRINCIPLES
sequence.
^=^
^
i w
OF
-s"-
:^2:
IZIi
-G"-
IQ.
22
-""-
S
-Gf-
22
-"s"-
I^X
s
22:
-(S"-
-iS"-
E!E^
-(S.'-s*-
r
l^:=r"
-f^
"
r-^
=R==P2z:=^
1^
""i^
^-^
i^
^^ "^
ffi
hS-
22~
Z2: ^"^
s;
-"s"-
-s"-
-"^^,"
i^E^^E^
Z2;
22:
22: v^
THE
218
No.
IV.
"
First
In
eleven
parts,
on
PRINCIPLES
Azopardi's
OF
Canto
in
FermO;
canonical
imitation.
subject. 22:
"
r^
_
:c2:
fzi
"it=t: of the
Imitation
i
-^
"-
JEE Imitation
of
the
first
subject
at
the
first
subject
in
the
of
the
32:
second
above.
?2:
3! J
Imitation
I 3!
:zsz:
is:^
^ Imitation
tSccond
of
the
fermo
canto
subject. -ii2_
3E
m Imitation
I \\
of
the
canto
fermo
at
fourth
above.
^=^ Imitation
m. Canto
S:
the
fermo.
4J2*:
*2t
of
the
second
subject
AND
COUNTERPOINT
FUGUE.
219
m] 2"
unisou.
i
:z2:
:^
1221
5 =!Wt:
S first
subject at
the
second
above.
U^[
_i=2^
/*-
-iS"
^ Imitation
of the
first
subject at
fourth
the
below.
*2t
1221
122:
-C;^
at
the
octave
above. T^-
122:
i
^t^ Imitation
I
of
the
second
sul)jectat
the
octave
jizzzzizsz:
rues:
=]^r=
below.
l=2t
H-ISiH-
**
ft at
the
octave
below.
4l2:it:
m
*4t:
^=^
*:* r
f
2
^
THE
220
No.
From
a
Mass
5.
"
PrUNCIPLES
Examples
entirelycomposed
^ "1^^
OF
various
of in
Canon
by
Canons.
Scahlatti.
Alessandeo
-j^.
:q: -i^-
Ky
Z2:
-"s"-
le
-"^-
122:
"y~~r^
-o-
Z2:
Ky
le
u
te^:
feffi
-fS"-
Kv
g
i^ii
:iH:
""s^
le
?S:
;?2:
:c3="
le
son,
S
2:2:
-(S*-
-"s-
i
son,
^
T^
c
son,
:?2:
Z2:
-
le
Z2: 1^21
Ky
le
-"s"-"S'-
:c2_
le
-"s"-
son,
AND
COUNTERPOINT
FUGUE.
:=i:
f"^"^ -
le
-
-
-(S"-
'-^
^
"s
-^
-
-iS""
fU-
:^:
-G"-
122:
"-
"
221
"
"s"-
'-^
-"s" -s"-
:c2:
:^^2:
rii-
1221
-"s"-
-"^
Ky
son,
-"S"-
221
321 :^2:
Ky
:c2:
Q
22:
f-l^'-V-d^:
-(S"-
-"s"-
fff^
?ES
-(S
"
^-
^
fr""
-tf
iz:^:
:i^
(S*-
Z2:
=^
fU-"s-
1^21
-(S*-"^-
le
1221
S*-
-(S"
le
son,
7^21
m=^
:c2:
le
son,
-1^
22:
le
-s^
222
THE
Chris
PRINCIPLES
OF
te
son,
COUNTERPOINT
:^
3^
FUGUE.
AND
:^^zzzzf:iz=at H^
223
:c2:
Chris
s)-
r:"^
i
:^P2=:
V :^f=^-
-"s"-^~
Cbris
son,
^2:
Z2^
-"S-
Chris
-
-iS"-
Z^-
zz^2z:
:q:
-
le
te
Chris
:3=1
i^z:
"
^
te
e
-
le
Chris
son,
^
^i:=, "
-s*
"
e
-(SI
=il^
-G"-
:z2:
le
-
H""H-
e
^=^ i^z:^.
H'SH
-S^
le
:?2:
'.Z2L
Q
-
fS^
WS^
Ky
m-=A^=^"-^-
e
Ky
e
g::^-ai^
e
te
-(S"
le
te
-
it^
Z2: -^
e
-"s^-
:^
Chris
te
le
te
-
-1^-
;q
n
-
e
THE
224
^
PRINCIPLES
OF
^"^^ -"^-
1^=5^ n
-
e
:iM
e
"^
'^'-
fe
"^
J
rJ:
i^-
:q:
ziz:
p=^^
Ic
son,
t^
^21
hS*
S^-
Ky
-"^-
Ky
z^zzzc^
-s*"
I-
THE
226
No.
6.
"
Example
PRINCIPLES
of
a
From
i
OF
Canon
a
Mass
Four
by
in
Two. Marcello.
Benedetto
(S"-
Z2:
-"s"-
Mi -
se
re
-S""
a
Mi
no
bis.
.-
-
'-^
se
"-
-
re
T^-
s
=^^
:p
ta
n"
-G"""-
p-F=^
-"^-
2d=^
-
se
^
P=^
/s"-
ta
--------------
-"S"=
re
"
^"
cH,
mun
=p:
mi
-
se
1^2;
-"S"-
:c2:
-
Q-
^ "
:q:
mi
di,
mun
-"-
ziz:
J27
-.(S"-
-H*-*-^-"^
-ca
FUGUE.
AND
COUNTERPOINT
De
-S"
41^:
1
Ac
TZT-
-o-
~7r"'
De
nus
/CN
-*H*-*-
W=^
^ZLUZl.
-G"-
re,
mi
se
-
g^:
iQ
bis.
re
re
-
H'SI-r
/On
-^
::""
r^
^-
r^
-1^
r^
1^^
"
^21
r:r
=IW
H^^H-
# mi
re,
i
se
-
H^"
G"-
-(^
-
^I^ZZ^
re
-
bis.
re
-iSi-
^m-"9-^-
-H^H-
bis.
"
-H"SH
-"s"-
:^^d
mi
:fi^ DQ3
-
se
bis.
re
-
G
S
-
2
PRINCIPLES
THE
228
No.
7.
"
of
Examiole
Canon
a
Glo
be
ry
rs"-
~W
atzf^ the
in
Four
Puecell^s
Henry
From
OF
One
the
Fa
:
-
-
and
B
flat.
to
?^
Ho
the
to
in
ther, and
-.s"-
W
Son
-"^
Misereatur
"Deus
to
hy Inversion.
ly
.
Ghost,
and
y=^=^ li
^
I^I
S
-s"-
-
ther,
and
the
to
Son
:
and
the
to
-^i^
-^ -"S"-
^ESL Son
:
and
the
to
Ho
Ho
-
-
ly
-
"
?^2=l
^ Ghost,
lit
and
S
Son
:
and
to
the
Ho
the
to
-"s"-
22
tho
ly
S -O-
-
ly
Ghost,
and
to
COUNTERPOINT
FUGUE.
AND
229
^
"
ly
Ho
the
-F-
the
in
was
be
-
is
gin-ning,
in
was
the
be
-
and
now,
P is
gin ning, -
^ -
le
nmg,
m^ ^
and
now,
-F
the
be
-
gin ning, -
e
-
"(S"-
is
now,
e
-
ver
shall
ver
S
:":2:
and
now,
?^2:
(S"-
gm
in
was
-(S"-
atzat it
it
22.
th-^fc
As
As
Ghost.
-F
shall
-F
e
"
e
-
ver
world
be
shall
ver
F-
Z2
and
-
be
PRINCIPLES
THE
230
OF
P=^
-f^-
^=zi=F="
t^
^
^
re* end
without
world
be
men
-d.
^9"^
i
T^
z:"
W
with-
world
:
0-'
~^^m-
"11
-S"-
-"S^
shall
world
be
without
end.
men
world
:
Z2:
12:
":^Ei^E^EE3
t^ss=*-
-^
A
end
without
^-
T^
-^f-
men
-
:
-
with
world
-
out
end.
g;
i^iz:
.
-^S*-
?lf3S
"yT^"-^
-""
z:" world
without
:c2:
-"s"-
"-^"
^ "
out
end.
rj
^
-^-
--
-s-
-rd
A
EFT^ l2
A
end.
"
^
:^
^-
A
men.
3
world
men:
1^2:
-
-^s^h
men.
-"S"-
3:2
with
L2:2t
:r2 ^^
with
I r~r^
-
out
end.
p-
Z2:
A
men.
men.
3;
^-i""-
-s^
HOH
"^
-^
v_
A
A
men
men.
3^^=^
idr
^IT
^^d=^
Z3:
-js*
ICJil
"C^
cnd.
A
--------
-
men.
A
men.
out
No.
8.
"
of
Example
a
FUGUE.
AND
COUNTERPOINT
Eight
Two
Choirs.
for
From
Eour,
in
Canon
231
Service
Cathedral
a
at
by
the
F.
unison,
A.
G.
O.
p. 1^2:
M
Glo
ry
-
tS"
-(S"
--^
-"s"-
^EES
C2_
-""-
be
"S"
to
"
^
Fa
the ^
-
-
-"S"
G"-
"S"
I
and
ther,
the
to
(S"-
G"
#= Glo
ry
-
be
to
^
^
Fa
the
ther,
-iS"-
-iS"-
W^ Glo
-
ry
be
to
#
the
g
"(S"-
to
the
and
to
the
and
to
the
Z2:
ther,
Fa
and
:z2_
gEffi
icz
Glo
M
-
ry
be
to
ther,
Fa
the
-^f^
Glo
^
izz:
-(S"-
-/^-
"
ry
-
be
to
the
Fa
ther,
the
Fa
ther,
if
#Effi Glo
-
ry
^
W^ Glo
ry
-
be
to
-G"-
T2~^~aL
be
to
the
iq;
ther,
Fa
ZC2Z
?2:
^ Glo
-
ry
be
to
the
Fa
ther,
THE
232
and
to
the
PRINCIPLES
Sou
:
OF
and
to
the
11
o
-
ly
PRINCIPLES
THE
234
rj
r-^
T^
-^
OF
-"^
T2i
T^
Z2:
-Gh-
-"S^
and
now,
^"^
^2"=^
and
now,
-"s-
e
-
f^
(S"
e
-
shall
ver
1
r^
S*
\
world
"S"
shall
ver
TZZ.
be
^ world
be
o
Avith
out
-
"S"-
with
iS"-
out
-
^ end.
xV
tS*-
A
."^
t"
r^
end.
i^i:
^
-fs^
out
end.
q:
22:
and
now,
e
-
ver
shall
be
world
:
with
-
A
Ct.
=P=P^
#
22:
?
-TT^"r-ir
and
now,
e
-
ver
shall
world
be
with
-
out
end.
A
r^_
f^
22: 22:
;in
ly
-
nnitr,
r^
-^?-
is
now,
and
=^=^
r^-^"s-
gni
-
ning,
is
now,
and
-Gt-
^
G^
-G^
:^
-Gh-
2^==B
"
'-^
r
Q
2"
e
ver
-
"S"
e
shall
be
"S"-
ver
-
T^22:
-i^"-
shall
-fS"
be
-
nine.
now,
2"
and
q:
^
e
ver
-
sha'l
and
e
Avorld
fj. 2"
now,
be
-^^
eL/
-J!Z^=i::t mng,
world
"s"-
2" cui
world
-
ver
shall
1ZL
be
world
-
AND
COUNTERPOINT
FUGUE.
23;
-H(SH
T^
A
i^
A
men.
"
A
men.
-
-HOH
C2:
I U
-^^
122:
f^-
A
men.
-
^ -Vi^Yr
-^
-^" A
men.
'JOl.
men.
men.
-
ITS
^
z:^:
-(S*-
]^-
1^2:
A
men.
rrs
?^=P=?=P^^-
"1 ^::"
:?:2: 1^21
with
-
-(^
Avith
-
out
end.
A
f^
(S"
^-r
out
end.
A
#
with
-
out
"
Gj-
end.
A
men.
-
"
^"
rz
A
men.
-
men.
-G"
T^
men.
-------
(S^T -"-
A
A
"t: men.
^2:
#
i?-i^ffyT
-TT
-""
with
-
out
end.
A
iwr -
men.
H
h
2
THE
236
No.
9.
Example,
"
of
PRINCIPLES
a
OF
Canon
Nine
in
One,
at
By
I
3!
-
nu3
John
unison. Travers.
g
-^^-
AjT
the
De
Qui
3E
r^
^^-
fz?-
V Ag
-
-
nus
De
ii r-^
s
"S Ag
I
E
s
fe f
;s
i s
ii ^
-
-
nus
"ft^H^
^
De
^
AND
COUNTERPOINT
\i^^h-^^-^.
I
r^-
r^
FUGUE.
237
g
^ lis
tol -
pec
-
ca
-
ta, pec
I
-
ca
ta
-
mun
-
-
^~f\
''
r"fr~r
Do
di,
''
^'
^'
w
-^-
Qui
m
na
-
tol
lis -
pec
-
ca
-
ta, pec
ta
ca
-
mun
-
di,
-
^^4^^_r=^"EgES
^m
lis
tol
Qui
-
pec
ca
-
-
=^2=
^^ =^=
^
ta, pec-
1
221
Qui
De -
5
m
'-
-^ "
"
^-
^ Ag
De
s Ag
De -
Ag
nus
PPtlNCIPLES
THE
238
OF
S
g no
-
bis
Ag
pa
iI"
?=;
-^
5
Do
r^-
r?
na
no
bis
-
pa
ccm.
-221
^
e^:
:t=i=t ca
-
-
ta
mun
-
Do
di,
32=^ d=z=t
W:. tol
-
lis
pec
-
ca
-
ta, pec
ca
-
-
ta
=^
:p=
no
mun
-
bis
-
pa
di,
Do
^^JL"
Qui
3^
na
3
r^
"
-
22=^2=^2:
'Z31
w
-
tol
-
lis
pec
-
ca
r^
-
ta, pec
P
-^-
Qui
-
r^
ca
-
1^-
tol
ta
lis
-
mun
pec
r^
\' -
ca
di,
-
-
ta, pec-
:?2:
^
:c2:
De
Qui
i Ag
-
-
-
nu3
p
123:
3
s*=^
De
ffi
3^ r.
Dc
na
r^
f=r -
-
3
i
FUGUE.
AND
COUNTERPOINT
239
e 'Tzr
w
Qui
Do
atz*:
^
^3^ De
A-
1^ -"s"-
De
Ag
m
S
T^
^
rJ -"s"-
no
-
1)13
Ag
pa
=p=;5=
m Do
-
-
na
uo
-
bis
cem.
pa
Qui
tol
-
lis pec
-
ca
-
ta, pec-
PRINCIPLES
THE
240
^^=r tol
r
r lis
-
pec
-
ca
OF
f^H^"^=fg ta,
-
pec
ca
-
-
ta
mun
Z^21
P
Mi
di,
-
r:?^=?s:
f^
^
? tol
Qui
K
lis
-
pec
ca
-
-
ta^ pec
ca
-
?=2=
=?=2-
^^
s
^i
mun
-
lis
-
di,
~W~W
^^
tol
Qui
I
t
-
pec
-
ca
-
ta,
P
22: :r22i
De
Qui
^
d
22:
^
"
"^
-g^-
tr De
I
22:
Ag
i
IS
^
1^2:
-?-::;"-
ff no
De
nus
-
bis
-
1^
-
nus
^
S=E^ Do
Ag
cem.
pa
-
na
no
-
bis
pa
1^
ca
-
ta
mun
-
di,
Do
J
r^
a na
no
-
bis
pa
j^ec-
PRINCIPLES
THE
242
I
OF
^.
^m
^
-"Sh-
Pe
2:2:
^ ^^^
se
-
^
i
^
^
-
?2:
De
A-
^
s
^^ De
Air
bis.
^ re
-
bis.
re
?=:
At
nu3
isi:
E
-s"-
bis.
nil
i g^ ca
-
irt
ta
mua
-
lis
I
-
di,
#-i"
^-^
rr
f tol
pec
-
ca
-
ta, pec
:?2:
Qui
^
1^2:
3^
r-^
-
:?2:
^
ca
-
ta
^^^
mun
-
di,
se
r^^f=r
tol
-
lis
pec
-
ca
-
r^
ta, pec
-
r-"
r-^ I
I
ca
-
ta
mun
:^2:
e
di.
-
r^
^
w-
22:
Qui
tol
-
lis pec
-
ca
-
ta, pec-
-
AND
COUNTERPOINT
FUGUE.
243
c^
re
Do
bis,
no
re
-
r-^
r^
na
no
bis
-
:?2:
^^ re
Do
bis,
re
-
:2"
-^Jrnr
J se
mi
1,
-
-
re
re
-
S
122:
se
De
i
E^ icz:
9
^1^-
^3^ A-
De
nus
i
=^
f
i
De
Ag
bis.
1
'-B^E^
re
:c"
S= se
i
Asr
bis.
re
-
re
bis.
re
-
r^~-
r-"
^
f
ca
-
ta
mun
-
di,
mi
I
i
2
se
re
^_
-
je
no
PRINCIPLES
THE
244
Ii^
P
-jzt:
OF
P
5
pa
bis,
cem,
-
1=21
:?2=
:?2:
P^^P
3i:
cT na
no
-
I
bis
^
"
])a
cem,
-
mi
bis,
-
re
re
-
S^
Do
na
no
-
bis
1=^-
^
-
:?2zzz:z22:
i=t:
5 -
se
pa
cem,
-
mi
:?=:
=3=^ -
re
-
bis.
re
^
Do
-
na
no
bis
-
1
g=f=g=^^
f
mi
1,
re
-
bis.
re
Do
m
:?:^
1^ se
3^
irzEL
:?2:
re
-
-iS-
re
no
"
-
2^:
De
se
:?=:
321
m
^1= Ag
De
=1= ~g^
bis.
Ag
De
COUNTERPOINT
AND
mi
I
-
32:
se
-
re
-
-
no
re
-
bis,
-
r^ "
bis,
-
se
re
-
3
o-
V
"
-
bis.
no
S
1^21
no
245
t^'
MS-
F-
FUGUE.
-
re
no
-
=^=
l^g
bis,
-
a
C7 -
-
se
-
-
1-e
-
bis,
re
1=^
f^
pa
i
-I
se
cem.
-
-
re
se
-
re
-
:?:2=z:^z=?2:
1221
bis.
mi
-i
1
~-Ml -
se
-
-
:22:
32:
:^ziz22zz:s2=?2:
S
-c"
-
:r2i
re
-
no
re
-
I
I
"
-
122:
::^=^2=^:
^
"^3:
mi
h
I
5 no
-
big
pa
Do
bis.
-
-
-
na
-
re
-
re
re
-
no
-
bis
pa
:?2~-f^
-
mi
-
se
-
-
f=^h
"
1
-
re
-
-
-
na
-
no
-
bis
pa
fLi. I
r-"
mi
cem,
-
fs
re
=?2=q
S=3eE:
Do
bis,
re
f=-
"
i
cem,
-
bis.
no
^^^^
^
"
(=^
?
S
i,
-
^
w
se
-
-
E=i^^
FS^= -
-
:?2=?2Z=^:
e
-
TOi
cem.
-
mi
T^
-
-
G-
se
-
re
-
re
no
-
-
2^
Do
bis,
-
S ~s
1,
mi
se
-
re
-
re
"
-
na
no
-
bis
^-
n0
bis.
Do
-
PRINCIPLES
THE
246
OF
iIE bis.
M -
bis,
m
bis.
r^
^-
re
no
3i:
s re
-
-
bis.
big,
-
5 mi
iWi
-
ee
-
re
-
-
-f^
G^
re
no
-r"
-
bis,
-
321
5
bis.
:?2:
:v::":
:^
S
mi
bis,
^r-f^-f^r
-
se
-
-
re
-
no
re
-
bis.
-
:z2:
S
5 sc
I
re
r
bis.
no
re
-
^^
:?2:
pa
I
-
I
r^
f^
r-^
-
mi
com,
^'
y
na
no
-
-
se
-
:?z
z^
S -
bis
pa
-
com,
r-^
^
i^:
-
re
mi
I
-
se
-
-
re
-
re
no
-
g""22:
-
re
r? f-fr^
mi
no
bis,
-
-
-
re
se
I
I
-
-
22:
r-^=g^
r^
se
mi
-
re
no
-
-
bis,
-
247
FUGUE.
AND
COUNTERPOINT
^ bis.
bis.
bis,
^
^e
!i^-i re
-
no
re
-
bis,
-
-
r-^
bis.
i
^-
-^ mi
-
-
sc
-
re
-
re
no
-
-
bis,
bis.
THE
248
No.
10.
Example
"
of
PRINCIPLES
OF
IiifiniteCanon,
an
pitch
at
each
ivhivh
ascends
in
tone
a
return.
By
MaRTINI.
GlAlILATTISTA
ill A
^^
-fs^
I
r^
-^
in
D -"s"-
~j^
1!
-iS"-
^3i*l"p
-/s"-
rj^
#21
ii
I ffi: in
D :p
feS
-c5"-
^##^
^
2^
=3^
Q
in -i-s-
j^^
22:
-('5'-
in y
"
E
"^
B
=p=
sq _^_JiC^.
-"s"-
-^
e^n
"^
in
A
T^
^^P~^~T
-."5"-
i?:^
^
221
E
w
-^-
^B^
Z2:
g^^gig^^
-"s"-
THE
250
No.
PRINCIPLES
OF
II.
the
From
same.
"s-
:
i!i
iQ
kti At
the
sixth
"
i "
\
I "
"
above.
i=?i
m
M At
^^^^^ '-^
I
I
I
the
third
above.
rf-rr^j^^
22:
-""-
Subject.
Mffl
lO-
At
'-f^=^
I
^f^^'^ffig
the
fourth
below.
:^ iS^
I
^B^:
^=0^
:^2:
i*-^#^
-""
^ -s'-
t^ss
-1^'
1
^
-f-f#
J-mUJ: -s^
I
1
1
AND
COUNTERPOINT
-^-r
i w
W=^-
FUGUE.
251
^^^g:^
E="Ea
-f^-
-jzL
^J-^^
3tz Z2:
P=^^^-
U-^
5
T^-
g^
^-s-
2:3:
?
:p2:
^
-s"-
"
"
^^^?^^sS
-"
-"S^-
:^
leiat
-iS"-
ziz:
^^^^^^^^^
?2:
K
k
2
"
^
THE
252
No.
12.
"
Example
PRINCIPLES
of
a
OF
Cano7i
hy Triple Augmentation. From
t^^s^^
^
same.
m"F-
t^ii^i^
-^
fe?
the
"
0-
m
^EE
"t"
fS?-
ir\
I^ -"
Id
"t: -Gh
AND
COUNTERPOINT
No.
13.
"
of
Example
a
Cation
FUGUE.
by
253
Retrogression,
"
or
Canon
Cancrizans"
the
From
(^)
W
same.
(8)
(y) #-^
^
S
SEE
m
(l)
(0
(")
EBEE
i
J.J,IJ^^--^^^
-1^"
5^
^
(^)
"^
S^
^S
f^
(^)
(y)
T^
(^)
(a)
THE
254
No.
14-.
Examijles
"
PRINCIPLES
of subjects in
OF
double,
triple,quadruple,
and
manifold Counterpoint. No.
I."
the
At
F.
octave.
A.
G.
O.
1.
P53zo:
"0"^
fes
^
"
-/S"-
3
?2zzi:
S
:c2:
iS"-
Ut
No.
II.
"
the
At
F.
octave.
A.
G.
O.
1.
"
-^^
:^ I
I
I
ti=d
:^=f':^
^
-^-
2.
i^^ 2.
i
fa
2: -^:^
-i^-*
1.
m^^^^^
i^
5^
I
AND
COUNTERPOINT
III.
No.
"
the
At
FUGUE.
255
Handel.
octave.
1.
ip:S
-(S^
1221
:q:
i^
=1^
22
2.
:"f=^
-"s"-
aa ^
2.
"^
S^
ITJi
1.
^
2:2:
-S"-
-""-
:flQ:
No.
IV.
"
the
At
"
(C^
"S-^?-
R
octave.
G.
A.
O.
1.
^^
-JT^
U-T^
22
^
22:
-"S'-
22:
-fS"
pL
-(S)-
-C2-
-"s"-
1=="
Q-p" -i-^fg^ r^
1?P2=
Q
fS"-
iJ^
2:2:
Z2:
-o-
f^-
T^-
2i 1.
g^^^^
22:
-"S
!-
"^2_
^
-^
THE
256
No.
y.
At
"
the
PRINCIPLES
OF
Haydn.
octave.
1. -o-
zz:
t^e
-7
"
No.
g5n^r-rrf ^^^=^ig^-^ cj ~m
-(S*-
rr
VI.
At
"
the
iSt-
^^
?
:q:
F.
octave.
A.
G.
O.
1. q;
1^^
^^S
:^
:it=^
:j?:"
-"Sh-
-^^
2.
q?^
2.
^=^
f=^
Z2:
q:
f^
_*-yS"-
-/S"-
^0
s
-O-
-^)-"^-
Id
PRINCIPLES
THE
258
No.
IX."
At
the
OF
tenth.
Keicha.
1. -^Hr-
S
22:
E
-"S^
^3^
-fS*-
-*S"-
1^2
2.
g.-^TTT-.^^fPPI^^ifrl^'^P^a^ t^
Z2IT :^2:
!:!5^
2. ?:2:
EB^
-^
^2:
^-
^2Zt ^z
1.
fel
-^'
?
^^
-"s"-
:P5:
aj^_
No.
^#-
:^:S^^^?
T^
-f^-
-iS"-
-s"-
t":
X."
Triple.
Reicha.
1.
^s:
q: :"z:z:
-^ "
^
-(S"
"
2i:
.^^
3
:y:
2.
EB3
^e^
:?2zz:
i^^
'-^-
.c^
5S
-(S"-
-."s"-
AND
COUNTERPOINT
No.
XI."
FUGUE.
259
Reicha.
Triple.
1.
-jOT.
I^
Z2
zi
-(S"-
^^^=^=0^
^
PgE"J""EgEg No.
-iS"-
::^z:
1^
e"
-^-
XII."
-."s"-fs"-
'jrJL
J.
Triple.
Keieger.
1. -^*
S3;
^^
J*=ft^
1^^"
^5
S^
^
-s"-
Ll
THE
260
No.
XIII."
b^'RlF^
PKINCIPLES
OF
F.
Triple.
A.
G.
O.
^=g=^^:^
^
2.
ife^?^^
-^
^^
3. -Q_ Z2: -^"-
i!
XIV."
No.
r.
Triple.
A.
G.
o.
1. jLi.
brjlS*"
~lSL
=-
-ish-
^^
-lS"-
1^
-fs-
2.
ig"^j3agS^9^
tfeiffi
H"
f -(S"-
;?
:?2: iq:
-^-
Z2t
^
-"s^-
:nL
s -is"-
COUNTERPOINT
XV."
No.
AND
FUGUE.
261
X.
r.
Triple.
RiCHTER.
1.
i^:
3
w-^-
:f^
i-"g^"^~t^a^ffJ:
'G"
tti ff^
-o-
-"s"-
^^=^
-(S--
gs:
^ 3.
;^
No.
r^"
1^21
Ss
XVI."
r
G.
Triple.
^
i"=e:
Jf:
Bac.
Mus.
Drummond,
Oxon.
1.
-^^
S
-^
"
-
"
"
III
"
"
I
^
3.
^
:r=^ -(S*-
-^
"
^
-iS"
r-
THE
262
XVII."
No.
PRINCIPLES
OF
Zimmerman,
Quadruple.
1.
XYIII."
No.
AXDIl^.
Quadruple.
1. -^
S=^^^^
(S*-
s
r^
.Q.
^\
i*=#=p^2=;^
:?2:
^\
_^.^
^F^Frr-rfffffc
-I
(^
k-zls:
Et
1^
-f5"-
X2:
5!^
-C2.
4ftQ-:|g:-
zzijg^ifiif:
0^
-^"-
:P2:
r^ t"i?_
-*^-
l=^=fl
bo. -s"-
1^2:
1^3=:
r^
e:
1^2:
r" :a:
^3:
AND
COUNTERPOINT
XIX.
No.
"
263
FUGUE.
MOZAET.
Quintuple.
1.
/r
-G'^
^=^
=F^
5!
^ f!=^
-^-
-^-
"
zg-"^:
-"2-
-^
g^^
M:.Tfci:^
(^^-
" f=f^
i
-"s"-
0^
^
"E
"!
icz:
-"s^-
^^
1221
-fS"j^'
No.
15.
"
Examples
of Subjects
and
Ansivers
for Fugues.
I.
No.
Subject.
:03
85^
3EE2 stf
^^^s
v-f^^-
1t^
Answer.
S^^^^g^^^^
"
F-^-
PRINCIPLES
THE
264
No.
OF
II.
Subject.
-mJ^-0L.
^
-M-
g-^-^
i^^
^
-0
9-
'^-
^"~^-rF-r
m
No.
III.
Subject
^:z^=P~--f=^ s
"E^^^
14^"
e
#
-P^-^"
""^^^}-
:rzi3
^it=f*=^
^
-"s"
iipa^ "
Answer.
i^^^^S
s^^^s;
F^E^ a^=j=a^
iia:
-s^-
"
THE
266
No.
PRINCIPLES
OF
VI. Handel.
Subject.
r=F
^^^^m
E^
}^-
Answer.
Ui^
/"
^
No.
J
^
f-^-
^^-
I
I
^F
I
^
"
I
VII. O.
Gibbons.
Subject.
Or
Answer.
thus" "
^^"=i
No.
^
^
^2=;^^
g3
T^'^
rj
"
z:^:
il5" heig
p-v
VIII.
Subject.
3i
T^-
-^--^
iN=ii
^"
iT
Answer, -iS)'-"
z::^:
^gEP:
-G-
-t^^-^^ J 1221
-(S"-
AND
COUNTERPOINT
No.
FUGUE.
267
IX.
Reicha.
Subject.
-"S"-
*E3E
:^
:^=^
Z2
^-
icz:
22
First
answer.
-"s""
p
S^^
Second
f^-
1^
^^^=:Pg=g^
-(S"-
answer.
-"^-
^21
^3
Third
"S"
which
r-
73?
the
-e"-
l^=gg^
answer.
5^E
of
-"s*-
1M
third
answer
P-
72:
:^
is considered
M
m
2
by
-ffr:^
Reicha
to
-"s^
r:^-
be
the
best.
THE
2G8
PRINCIPLES
X.
No,
Subject. (In
B
minor.)
Reicha.
T^-
I
E!^
:^:
First
"
5^
1f^2zrr:^
:^=P^
f"
TiT
^-
#:5z=z^
:^
-
Second
-g^-
:^
answer.
^2_
^^=^F^
:P2
?=:
i^
i^
^.Eee^eS
53 both
No.
^2=^
answer.
OL
here
OF
answers
are
good.
XL
Subject.
Reicha.
-lS"22:
jLj__d^.
3tiJ:
2211=^
:^ -C;'-
AND
COUNTERPOINT
First
269
answer.
rj
Z2L \
FUGUE.
^,
\f^|S"-
(S"-
a
'"
:^ ""(S*-
Second
answer.
n
,
22-T
^^
Q-
:^ "^-
iS^-
3 zi
here
again
No.
both
answers
are
-"s"
good.
XII.
F^TIS,
Subject.
q:
a=^^"
^-
^
:?:2zr:^
^E=r^
:^g=^~y^
"S"
"
it
Answer.
No.
XIII.
Subject,
^^
Fetis.
f=^
T^
Answer.
-^-0^"
S^^^"
e:-
:e=^
?2: '^-
3z"
i^
" "
THE
270
PRINCIPLES
OF
XIV.
No.
Subject.
Fetis.
0
:"
^"
itjzjt
:^
ict
^
"
:f^=:pE
S
^=^
:^
Answer.
here
alterations
three
required : they
marked
are
with
asterisk.
an
XV.
No.
of
Examjole the
to
are
key
a
subject which it
which
in
is
must
supposed
to
be
answered
differently according
be. Reicha.
Subject.
*"
Z2:
^=f
-"f=w-
If
(The
this
subject
harmony
ti=S
is
added
is
in to
E
make
li^
major, this
the
answer
will
-HS"H-
be
as
follows
clearer.)
-Gh-
:g^
g^S^zj^^z^
^
:j2:
E
:s2:
Z2: "^15
"
-"
"
-"^
iq:
c;^
HS"H
l22d H(S"H-
COUNTERPOINT
If however
this
subjectis
in
AND
FUGUE.
Cfl minor, the
^^i^^^ ISg2
271
will be
answer
follows
'^ -C5
@^
as
s
"
"IS^
CP
ZZ
g3E3^
"t
-"S"-
1^21
-"S"-
69
76
HS'H
1^
X
XVI.
No.
Subject
a.
F. A.
(In D.)
li
G. O.
fS"-
^3 -*
Answer
^
a.
K: i^
S
1*
Subject ^.
J
^E^-
^
/3.
?^
^
-f2-
(In G.)
E
Answer
^^^
^
^
^f
^ee^e^eeeSee:
No.
OF
PRINCIPLES
THE
272
XVII.
Subject.
5^e
^^
S: ID.
First
(Ifsubject is
answer.
m^^
in
:^\
F.
1^2
Second
answer.
-i
(If subject is
3^
r"r-^
T^=^
-^-
major.)
in
D.
1-
minor.)
^=^=^j^^=^=^
1^=^
t^^=^
or
^^e
or
in thirdly,
S
-"s^ :a
either
case
it may
be treated
as
a
real, not
a
tonal
answer.
THE
274
^-J
J
PRINCIPLES
f~^
OF
S=^
:"it
Z2:
i2=^:
^
"P
^
V
^^ 'JZJl
g^^^
-(S"-
^3Mz
-/S"-
fe
221
-"=^ Z2:
a
?2ZEZz:
V
^^^-H^|!^j;|Eg^^^ ;a:
la.
^=g^
AND
COUNTERPOINT
FUGUE.
icz:
-^" iq;
y--^ "
fe
"
,"^"
-"
"
r
^
-is
=-"
-^s.*-
r"
^
-I-
=^^j
-^=^
^^i^jijzjE^
r--"
^P2izz:
:^
T^
^
-F-=
P-
"
F-
V
;^
X2: 1^2:
"-
-o
22:
V
-V"
P:
"^
xz
-fS"-
T21
y^-
:^=^
^N
m ^":^="
f2
^t_
)
1
5t
V "
^=^
'^~-
-7^
s
iS^-
@^
'tf~T~~^~f--fy"
i
"=^^
Z2:
-
^!2_^ \
N
n
2
^
s
PKINCIPLES
THE
276
r^
"
P=^-J=B^^
b-G*-^
^Sjt
:^E:
1^-^
-S^
cz:
"
p
E^3^
S^^^
OF
P
"
"^Y^^
"
zsuz^ij:^
?^
-"s"-
^ -^
cz:
:^
S
/-i
"
-
e
-jz^
A
tS^
^
rr^r
-"^-
w
iptizr^
fS*
^
2"=r
_^5)^_
:^
-(S*
r-
FUGUE.
AND
COUNTERPOINT
277
V
V
S^rEi^E
I
gg-J:^:
?f^=^^=^!
p=^
-g^-
-rd-v"
f^-
V
fcb-F-r"
(^, _'7p
|#
3
^31
^
j"-y
r
-F
:pz=^rzf=jB:
"
"-j
-c:.'
.-
^f^^^=^^f^-
y--: "
^^==ffi^ r=^
-G"
"
^
m
^
=F-F
(^
" "
1^"^"
P=
"
-"s-
gi-
"S"-
-"^r"^
p-
^ff=F^^^
-fS"
"
r-
:^
V.
^^f^5^=^^
:i^:
*=^F:f=^=
-i-j"-
''-'
Ov
jg^
r"^-
-J-^ -(S'-
1^2:
:^:
-s^
"
F^
"
F-
"
F
-r"
"y
i?:^^
"F
-is"Q
"
F-
'JZT -
f
:^~7dziz:
:^
'T^. -c^
"^^
:c"zzi=r"
-
THE
278
No.
17.
"
PRINCIPLES
Examj^le of
OF
a
Four-Part
Fugue. By
ClIERUBINI.
^
^
:q:
Exposition
of
:c2:
j^
1^ nineteen
="^
"rv"
bars.
ffi
V ^
P
i
:^=*
rS^
:?=:
m
gE"^
Countersubject. :p=:
!^^
EEEf^*
-s"
.C2_
hS"-
"^
-1^-
i^:
"
^2:
-/s
122:
tS"ts-
i^z: 22:
V ^-^
-^*-#
r^L'
r
Ir j'^g
AND
COUNTERPOINT
FUGUE.
279
Codetta
and
Episode.
^^^^S
^~W~W
i5^
-""
::^=5q:
~TJr_
-^
:^^=""=?
""^
-"s-
-^
^
-"^-
m
-fS'-
G"-
221
a
3^
Sitfif:^:
^r-rF^frg ^
::a
1
^-
'
#-1^
T^
I
-0
m^^
'
"
#
221
-^
221
."2-
?=:
III
OF
PRINCIPLES
THE
280
V
teS f
-^
3Wl^""=n
r:^
^^^*,ig^^z^^^E^^3Hg^,*-^^P^
'--^-^^
S
r
-"S"-
-"s""s"-
ijf^:
-"s"-
f^-^^^=^-
~i:"
:tJ^:
:^
H'St-t
V
^=f-p^
-,
^
-fS*-
-s"-
:q:
^tm
=F-i"^
g:=^'"-r-tf^-
-"Sl-Gf-
22:
:tf*:
e
3 aiLffi
Z2:
'^Q
=^
"
PRINCIPLES
THE
282
OF
^=^
-fS"-
?2=z:
^-
T^=^
i^z:
-e"-
x"
K^P^
s
S^ P
m
"
^
(S^ -"^-
IJ^:^:
=1^
22:
fs"-^
if
:P2:
-G"" -s"-
iq:
3^^i i^
~rijr~
^ -^^ T^
-^"s"-
Counter-exposition of eight
bars.
5^ -JT^L
-(S"-
^5
f=r^
it=i-
f^-=^=^
hS"-
22: 221
22221
:g-^r-g^
r^^
.^2.
r
AND
COUNTERPOINT
T^ Z2:
^
ft
FUGUE.
\""-
T^
G-
.C^
-.s"-
T^-
^=^^
28;
f^"
"2_
r-
iQ-
^"
-G"-
m V
i
s V
:"=:
#
?
?^ g
g^^
E
i^i:=bzi^:
-(S"-
r^_J
;S^
Episode. rt=l
12:2:
-(S-
S--
-fS"-
hs"-
i
4:^
:^-"^-^
-"s"-
-P"
fs-^
T'lT"
f^~7^
a
H*-^
13^:^
002
-"^-e^
Z2:
'i^-^iS
OF
PRINCIPLES
THE 284
0^0 _c:^_
-"S"
"
-
tt
-o-
"
J:
"
::c2:
22:
j^2.
^
s
"f
F^^PTr^
Z2:
^
HS"
ii-^:
:q:
-(^
f
.C^
-"S"-
:p=s:
1*=^
.C2_
g^dFf^STi
!^-JI l-t=i
-M"
^
^^
4]^
j^2_ zz:
^
^ -f^-
i
C2:
-"2_
:JM
_C2_
:?2:
5
-"^-
E^Ei^S^S^^^E^
-"S"-
fe=;^=P^ ii^-^-
AND
COUNTERPOINT
"s"-
^
^
"
:s2:
-(S"-
^"-
:r=^
122:
-p
:^ir
285
r^p
J-^
-H"^K
FUGUE.
-jf-
"
-""
t
^^"
r^''^
-"-
-^
iq:
"
i-
'^--
-(S*-
t^
e
'^^
X0^=^~-
t^
1^2:
^
-Gh-
ir^-
-"s"-
u
"
^"'
22:
^i
-"s-
-"s-
V
5=
-"S-
fzzjt
'I
r
-^
-^ -C2_
P
Z2:
3:"
1^21
icz: -(S--
iq:
-(S*-
THE
286
PRINCIPLES
OF
Episode, composed of
ments
the
of
fra"?-
Subject
iu
imitation.
^^5
ly
1
^^=^=]3:
"
giJ
"3-
r"
22:
-,Q
"
^
-o
nrs'
^s"-
lo:
^=
i
T^
.^ -(S"-
I
V
I
^I
43-
J2iQ
Q_
i^-
ZX
-lS"-(S"-
:22:
i
COUNTERPOINT
AND
FUGUE.
287
V f^-r-
:Jf^
*=!=
^"-"-
"C3"
V
:#^
T2L -G-
I
:^
3
^
22: -"s"-
:?2:
-"-
^r-^-^q
^^
^-
iQ-i^-
-is22:
^ 22:
-ne
"
-
:rjL.
-(S"-
-fz;r
)r^^="
irr
Z2:
OF
PRINCIPLES
THE
288
P Z2:
iif
p
-izL
="Q/crgr-_^
1^21
-s^-
^ of the
Fragments u-
"
mm^
-F-
V
ifcB
Codetta, in imitation. Z2:
-"s"-
1221 -"s"-
-Bfu^zjE^.
-is"-
1^
1221
-iSh
^
-^-(S"-
f-rtrr^eft-
1^-/^
t---
t
-f^-
^
r
r
r
^
^
I
i
M-
^ffff
r-,^te"f^=:tf^
rTTfr^^^
-lS"-"s"-
THE
290
-fS
PRINCIPLES
OF
-rrrf^rr-
r:^ r-
-?E^^em^
^f^^^^0p^^0
P-
Z2:
P^
SEE
iS"-
t I
S5^
32:
:^ Z2:
f^fi^T^
^^^l^gfe^-^g^^^^
22:
r
fe2i f^f4
i
r
AND
COUNTERPOINT
:"
-e"-
^
'r
#
-(S*-
-(S--
'JTIL
-^-
iq:
"
i^iqt
-^^^^^
-^-
^g^^gp;^
-o-
1^21
:c2:
"
^^
291
j^;"^^^
^S^
i^^^
FUGUE.
^
-ftm-0-Jiffese
Ci*-
"
iziz:
^ggg^^feg; Pp
2
122:
^^^^
122:
THE
292
PRINCIPLES
OF
^
rf^r^^^w^
-"-
-fS-
^"^/^
_^:^
^t^r?^--^
":i-
^r-^^-
^
:^x
-"s"-
%-
"
"
-/^
:^
-"s"-
wt
/Ts
_C2_
H(S"H HS"H-
"
-iS*-
-"s"-
22:
:P2:
HH"Sf
/r\
S:
f~riTrrfrf
1^:2:
M
Z2: -s"-
AND
COUNTERPOINT
Stretto.
293
FUGUE.
\2^
1^=^ =t=
r^l
t=^=^=r V j^-
^
i^^!^ -G"-
:{t:^=
=iH^~^
i^
^
^
Episode. fezzr -(S*-
"E^ra
SE^3S
g
=3P2=^
-^" :if^=
iS"-
::S^
g"
:tfP
-(S-
#:
:T5
-fS"-
72:
-1^-
^e"^^
12:2:
V
^
-|S"-
'
^
THE
294
PRINCIPLES
4^
H"=^ttE:
OF
_Q-
^^=^
s "f^
B#=3k:
i
""
^(S
lif^
"
"^
-m-
-^
-^
0"(^
I
"
"
wT=^
--
:q:
"
-f^-
'jrz.
-Q
^
f
:22:
-s*-
-|S"-
:^:
11^^ ^
S
-s""
i
g
y
Q
r-"
-_^-
1^21
-."s"-
"
"I
:C2:
-IK o
'
^
-^
I
n
I "
^^=^
"j^ar-^n^ ^^ "cr
AND
COUNTERPOINT
Stretto, both
Subjects
FUGUE.
295
curtailed.
'TD'
1 Z2:
^"-
^:
H"S^
V
-.
-Q-
^^^r=^
^
I
"
fj=jt
V
#:
?
1221
w^^wr
:q:
g:^
V -i^-
io:
J^
g
iS
V
"E^t^
-HiSW
-"s"-
:"^
Z2:
-^"0-
^^^^gF=^=p; 'JOL
-j=t
i^"
-"s^-
-(^"-
V
m
M
=i^
-"^-
3^ g^^N^^
%=ir^
22:
PEINCIPLES
THE
296
-"s"-
OF
?
3:2:
V ^"
^
-is"-
"
r^
r-^-w
s=^-=^ V H*
^
F
V
H-tS"4-
g-
T^'
T=^r=f=F=^ Si-S^
PRINCIPLES
THE
298
22:
^
-rf7Tr^
fS^
l^g^nt
32:
3^
_C2_
^^^
Closest
OF
^^
-^-^-~r\
Stretto.
-"s"-
^W^^
-"s"-
ijo:
^^^^
Pedal.
4M:
=lWt
3
::c2:
-^"
^
^^
S^^^^S^^ -#
=J^ -"-
y
"^
"
"
^
"
irzi:.
-*^
-G^~
T^
1^9:
Wt
^
AND
COUNTERPOINT
4^^^-H*-
"Z2:
.^2_
-Q-
299
"P'
"^
^
^gj^-ffit^
FUGUE.
ifct
i^
:^^^^^g" ""
g"J"-^^-^t^^|^^a^^-^^^ ^
"^
/^
^N
/^
t^
S^
Coda.
:g^
^^
i
=^"^^^f^E^
f;
-^-
ii
^^^"l^e=^^^j^_|jjj^^3J,^j,^^ --f:
m-
^^
i!* Canon
Qq
2
between
the
Bass
and
Alto.
THE
300
PRINCIPLES
OF
-f^
-"-
:^
4Q-
U-"^-
V
--^
4t-
Jl^
-"s"-
t^"0^f^
-fjf^-^-j^^^-^p^-I
h -I "
i
-t^-
Z2:
\ "
^1-^^i
1^2:
EEPE^
-(S"-
-"=^-(S"-
-f^
-m
-iSh-
m
F"
P
^-
^==p=^^^=tti^ffii^f^
"^
^"
#-
AND
COUNTERPOINT
FUGUE.
301
r".
-"s"-
tl
.Q-
tZ
-m
fe^i^="-tfe
lZ_
r"s
C2"TT -G"-
-Q-
-d
-r^
jS-
fg ,
:e-"f
/Ov
jQ_
^=^f=^ a
0-^-^-^-0"^
/^
-G"-
Conclusion. /^
i
;^2:
-G-"^_
i^i:
J^tfi
1^^
-(S*-
r\ -^-
P=ft^
~G"-
^^
=eE3
-^-
r\
:^:
-s"-
WS'H-
-(S"-
-(S"-
1^21
HSW
"= t"[:
No.
PPJNCIPLES
THE
^02
18.
"
of
Example
Four
a
With
-Part
Answer
an
additional
OF
Organ
Three
icith
Fugue
figured.
Accompaniment
'"-*~^
J.
ri -
p"~|
-
e
r-^
e
-
le
p-j-to-^
Sebastian
Bach.
^fPf^m^
iffi^E^-g
Ky
and
Inversion.
hy
Bv
V
Subjects,
e
-
e-le
son,
e-
^ 2:z:
1^
^^-/^ ?^
-o7
6
6 5
7
5-6 3
-
AND
COUNTERPOINT
303
FUGUE.
Iff*
te^
A
^"
"-
^"^"d-d
fe: Ky
W^
-
ri
-
e-le
e
-
^21
son,
e
le -
-
-
-
e-
-
e
-
son,
e
-
le
{^-gf-f-"r-|-pH7p" ^ii
-iS^
ipz:
-G"-
-
-^
-
eon,
e
-
le
^^
Wf=t=\
CZ.
-Gh
^^
i
ttlt -*
5-G
63
4-67 2
-
5
3
"
"
-"i
6-6
C5
b7
B7
OF
PRINCIPLES
THE
304
V "
^"
-^"
"
P
Ky
n
-
-
e
e
-
"
F
'
f^
le
c
-
-^:^
-
sun,
le
e
-
-
A ft=l-
tft?
1^
^^^^
ife
e
-
e--le--e--
son,
r^
S
:p^
sou,
e
'-^lez;
a
le -
-Q-
-fe -^
"^^=^=B
-"S-
e
-
son,
c
le -
-
e
-
son,
e
le -
-
e
-
-
K
son
\-
-
-
n
iS"-
^'"^-
^
-""
jf
5
4f
-
0
5
D
b C5
2
-
2
2
-
PEINCIPLE3
THE
306
J:
OF
3
s=i^
^^^sa^
?
-^"f~
t^^^=^
e
-
son,
-
le
e
e
-
-
sou,
-
e
-
le
-
e
A
-"t=-r-f^
-1"
son,
t^
e
e
i* "
-is"-
h
le
-
e
-
le
son,
^y
"
r^=^
son.
t^-
^^
zirzL
-iS"-
^"^3=e^
T^-
It
e
-
-
-(S*-
jt
Ky
son,
ri -
-
e
A '-C^
S^
-G"-
le
e
son,
-
e
le
e
-
f="r?=^
-Gh-
S
-f^
^^
-tit
-
f-
'
-G"-
Z"
son,
T^-
^
-^"Gtb
5
b5
bG
b7
3
S
4
5
2
5
-
6
D7 5
-Cr
^tj
6 44-
3
COUNTERPOINT
FUGUE.
AND
307
-C2-o-
=^F
-.-^ -"si-
'^
Ky
-
-
ri
le
-
e
I
son,
e
-
icz:
-j^zzfT
TJ'
r
le
le
e
^^ei^
3^S?r=Q "y
son,
-
e
e
-
son,
e
le
-
son,
-
e
-
e
-
le
-
e
son,
A
m-j-^
:t: -"s"-
Ky
@5 w"g-d
^
3
-^-ffj-^^
-(S"-
-^z
S)
B5
7
-
n
6
5
6
4
3
5
5
"
5
R
r
2
B
-
308
PRINCIPLES
THE
OF
/^
-"s"-
-^"
'^ff=f^--f^=^^.
le
e
f^*
ff*
-f^
(S"-
-
son,
^^
e
P=j""i=^
^
lo
e
-
^^=r^r^ r^
-
I
le
e
son,
-
-
e
le
e
son,
-
-(S"-
-
-
:^=*. :2p:
P^
-"
lo -
c
-
e
son,
-
gl^-"
-
n7
("
le
e
-
7
U
3
son,
e
le -
^J^JVJ^:
^=*|p:^EzE
^^
-s*-
"
e
-
son,
-
r,
6
5
4
e
o
3
-te="==e:
-
5
fi
3
44-
5
!jo D
bfi
b?
4
5
'
q
-""
le
?i=e=i:
B
e
r^'
2
5
7
-
AND
COUNTERPOINT
FUGUE.
309
V
w -(S"
-^
son,
Cliristo
"
"
"
i
Jfp=Q
^2:
-"S'-
^
e
-
le-e-son,
Christe
e
Christe
le
e
e
-
.
le -
-
e
-
son,
.
le
e
-
V -"S-
=ttp="p=q
g:=i=^ Christe
e
le -
-
e
-
son,
le
e
-
e
-
-
-
-^
^
"^^ Christe
son.
-S*
^
3
Gi-
*:*^":
e
^=^
le -
-
.(Q
t^^^"f^^^ff^n %
6
"
e
-
son,
e
^"j*.
D
-
-
OF
PRINCIPLES
THE
310
V -^ .fcpi:zq"=|":rfp=?^:
le-e-son,
-^-
:^
e
-
-(S"-
g
iz:
son,
le -
-
e
Chris -
Ky
son.
-
te
son,
-
c
-
A ii^^
e
-
-%^
le
e
-Gf-
y=M=F^
"fs"-
e
le -
-
e
-
le
e
le
e
son,
-
-
c
-
-
^^
-
-
-
-
son,
e
-
S
d-
son,
c
ri
Ky
-
-
V
^f^=^=i^=^r=i=r^^^
^-#-*-i^
^"t le
^
ifezzif^
e
-
son,
1
\
e
le -
-
e
-
G"
G"-
son.
e
-
5P=T^^^^
m
e ("s
:Lii /
Co
44
3
j;
t
"
-
^
"
AND
COUNTERPOINT
FUGUE.
311
A -"st-
T^-
-""
le
-
-
e
-
-
Ky
sou.
fc
V-
"I "
le
le
e
e
-
-
-
-
e
-
e
son,
-"s-
l^=^il^ 2:2:
h
"
-
:ttQ:
fete^?:
_C2_
li -
I
le
son,
son,
A
S^
:tt^
(^-
4^
:^
-(S'-
S^
^"^"^
e
le -
-
e
-
son,
e
CJ
le
e
-
-
son,
V
'^^
ff^-:
"
le -
^
-
e
-
-
^:
1^21
sou.
Ky
^-
i^:^"
-ffr:^ g^-
P2:
1*--^
^
^
v
"
-^%J"
44-
G
4^
"
-
B
7
3
Jf
:^
e
-
THE
312
-iS"
PRINCIPLES
OF
-^=^
"E^
f^
^z
,1^
le -
-
e
-
?^
fff* -L^J
e
e
m
1I"
-
-
e
son,
-
e
"
e
le
-
p=^:2=q
rl -
-
-
e
e
WW^
-
-
le
e
-
-O'
E^^
-Q .
-^^
-
le
e
-
-
son,
e
-
-
le
^
@l=jg:
-iS^-
^ 6
6
2
-
-
son,
^^m
-
c
-
le
-
jfL_^ -/S"
e
-
-/^
Ky
son,
-
-fS"-
le
ri -
--^
?:
^
le
-
ii^
^
Kv
son.
f=?
3
"
6
-
:"
-f^'-
^
THE
314
TEINCIPLES
OF
~~\
i"=^
:if^cii^=^;
e
e
son,
-
-
le
-
ftt
e
son,
-
JQ_
y-^'
:fctt^
c
=F^^5^
ftg^ i
le
-
?^
n
^
^
^
^0
:S^
e
le
e
-
-
son,
e
-
le
V
I
i=^Ky
m
t^
irE^feg;
:S^
e
le
e
-
^
:?=^
-
son,
e
k -
-
^^r-f^-G"-
e
-
-
son.
^rT~^=^
^-^-
S
^2:
:r=r=
3^3
"^=^a^
1^ U 2
6
6
44-
44-
3
2
6
B
Ci
4 li
44 3
6
#
4
8
AND
COUNTERPOINT
5=f?
^
-f^-
t:^'-
315
FUGUE.
-^^
3
mzz.
Z2I
c
-
^^
le
son,
-
^St"q^?fi^
B*
e
-
-
T^
"
c
e
sou,
-
Christe
c
-
le
-
e
son,
-
Cluiste
Ky
son,
-
c
-
-
ri
-
|S"-
"
son,
-
-
e
le
A
l^"E^^^Z=g=Jzz3E3E3|^Eg;^E^3^^^ Ky
w^ -w-f-w 7-6G
ri
-
e
'
c
-
le
c
-
son,
le
-
:j"3^|E^-ilz=tf
-iS"-
76
c
6567
776
(i
4
S
6
2
"
5
6(i(3 5
4
PRINCIPLES
THE
3 If)
OF
-^
V
"i^-
ffT^W^
-"-
:?*
^
"
^ e
le
e
-^
5:
e
-
r
J
-
-
-
e
son,
-
-
TT\fe
r^ ^ ti^=t--:
tLAm.
I
1
le
ri -
V
9"
"
Ky
son,
-
Clirlste
e
le -
-
c
-
son,
e
le -
V -(S"-
i=ileiut
j^
A_
Z2
e
Christe
son,
-
-
'f"f~^^
? c
-i
le -
-
e
-
son,
"
=lp-
h
le
e
-
V
i^F^ ^"^-
e
-
icz:
1-^
son.
Christe
"1
6 5
c
le -
jgsggssgipga
^E^^^ 67
-rv
-s*-
7
-
-
S
9
8
5
7
6
"
4
fi
7
")
"
#
8 -
6
0
AND
COUNTERPOINT
FUGUE.
317
H-i
*=5K
-"
"if=f^
-G"^
-"S"-
t:^ H
Ifilt
i
le
e
e
-
-
-
son,
-
h
le
e
-
_^2_
"4^"Fff^ e
e
~Gh-
-
son.
-fS*-
""
v-yf*^r
:?=
q^"5^P
e
'"^-
-
@izpr
:ps:
-^
' "
"
-
#h^
#
^
e
*"*j
"
le
e
son,
III
I
-
son,
e
-
-
-"S"
"*:
e^
(S"-
?^^ le
e
-
son,
IE
e
le -
-iS"-
-"s"-
=B?2iq
318
THE
PRINCIPLES
OF
V '^J
^J"
fe
itfa:
a le -
-
e
le
e
son,
-
rpji^^ e^
-
A H^-
^
tt"C^
ri
Ky
-
-
-
-
e
le
e
c
-
pr=^
-"S"-
:^Ez:^
son,
-
3
le
c
-
":?^=^
-
son,
^^^ie
c
le
e
-
-o-
son,
-
c
ipz
Ic -
-jn^L
r:^
f
m
r^~
c
F-
-^
-
son,
-
e
le
e
-
'^=^
#g^^^^r=r^j^
T^
^ES
-"s^-
son,
-
T^
^
Ui 4+
B
2
3
D
6
E6 4
3
B7
!"
6
5
4^
2
7
Co
0
8
i"
AND
COUNTERPOINT
319
FUGUE.
V
m
"
e
t
E e
le-e-son,
-
-Q_
't^
e
1^
Christe
son,
-
Z2:
^'-
S
-"^
e
-
le
-
e
(^2-
p
fc
son.
-
f2-
"^
e
-
"^
ifP^
Christe
son,
le
e
-
-
-
-
e
son,
V
a^
4f^ ;^
-."s"-
e
-
Ky
son,
c
-
ri
e
e
-
-
le
e
V
-
son,
le
e
-
'^
^^
^^^^
fflg-r
-o-
Ky
e
l^q
^
le
e
-
-
son,
e
le -
^Q_
^
-T(^-
:?2:
"
"
?
*=:
^
Z2:
Go
6
3
4
8
6
5
6
E
5 -
6 44C
-
THE
320
PRINCIPLES
OF
^
^=jbbr^ri^ -G^-
ic^:
Ky
i
r"
Utt"E
r^
*=:
I
le
-
-
-
e
-
-
n
sou
e
...
I
q:
:
e fe:
e
^ :f^=^
-
^^
-"s*-
le
-
le
e
e
-
e
son,
-
tl^
1^
gLi^_^_^
-."s"-
"
e
-
son,
Christe
e
-
le -
e
-
son,
c
le -
-
V
g5
-"S"
e
-
son,
^^P^-P:^
Christe
7-6-
-^^=1
e
/'
-"s"
663
?^
c-le
^Q-
^
Q
-lS"-
^g
r-
C6 "
-
-
N
-"S-
:P^
1*^^
r E
rg
THE
322
le -
e
-
sou,
e
-
-
le
e
-"S
-ff-T"r-g
OF
PRINCIPLES
^-
-iJ^
-
e
son,
-"s"-
i^^E^ Christe
sou,
e
-
le -
e
-
sou,
e
le
^
l6. ^
Z2:
k
e
-
-
Christe
-
son,
Christe
e
-
le
e
^
^^
-^G"-
Q
r-"
^r^
-/S^-
?
-"s-
:tf^:
Ky-ri
le
-(S"-
-"s"-
-rS*-
4^
=]:
:^r-g^
1
b7
G 4
-
3
-
-
-
AND
COUNTERPOINT
FUGUE.
323
V O-
"
i
-^^
"
0-j
:p=^^
-s"-
-^-
ty
Christe
e
le
-
-
e
-
-
son,
e
-
le
-
-s"-
i" e-son,
e
-
?^
le
-
-N /-
i^^
X
:^ F^W^F
53i
:?:^z
:^:
Sf ^t:
e
^
^
gl
e
son,
-
-
le
^
-(S-
-1S"-
^ -
le
e
-
son,
e
-
-
6
-
D7
-
7
6
6
h5
b6
6
3
4
5
-"s"-
6
7 5
4
T
t
2
i
le
-
s^isi
s^s 7
:t==
-
3
THE
324
PRINCIPLES
OF
^TS
te iSh-
son,
e
-^-
le
c
-
^
cz:
son,
-
nrmr
le
e
-
-
Chrlste
son,
-
e
-
-
-
le-e-son,
e
-
Chrlste
son,
-
r^
0
s le
-
^
-
-
e
-
le-e-son,
e
-
le
H(S"M
e
-
ig:?i!
I
-
-
e
-
son
-
r^
"s"
rTi^
^
I P^
e
i^=f=e
fc 9iS^-
-"S"
r
s=^
son
-
bp ^
3^^
""-
^ Christe
son,
e^^r
r
1
e
-
"
r
Christe
son,
le
e
-
le-e-son,
-
c
e
-
-
son,
e-le
\i^^
-P^ "
fS"
F"^-
cz
^
jlo
le -
son.
e--
e
-
-
-
son.
/CS
^ -"S"-
8
-Gh-
-iS"C7
6
-
5 4
4 -
IIQH-
-iS"-
be
9
b9
4
87
D7
be
5
4
3
8
-
De
-
4
5 3
Examjyle
19,"
No.
of
Four-Part
a
325
FUGUE.
AND
COUNTERPOINT
with
Fugue
Subject, containing
One
Diminution. Scored
the
from
"
Wohltemperirte
Clavier." Sebastian
J.
Exposition
of
Bach.
bars.
six
is"-
t=rt
Z2:
C2
"
-iS'-
m^ Real
-."s"-
fS^
TT}-
i
^^ Codetta.
Subject.
JiS 55
Count
ersubject.
-iSh-
zq:
T^
hS"-
r" -"s"-
=rt
^a^
-Gh-
1^a^
^
answer.
-f^r"
1 -
^^^
^i^^l^gS:
"^=w=-^--
^P^?=-r^
:^ i^
-"s"-
PRIXCIPLES
THE
326
OF
Counter-exposition
^^-E. ^^id:
-"^-
:c" -Gh
-^-
V
^^^
-lU:
:;^=^^:=^i
-^"i-
^^
-"s""
:^"=:|^ -(S*-
V
SSifef
I^IZZil
-rS"-
:?i;^ii:
S
:z2:
W" -G"-
of
four
^=3?
-s"-
lo:
Lars.
Episode.
V
"?, itf
^S
:?:"
i^^
-"s"-
-|S"-
-B
ft?
-"5^-o-
fe S^
"
"s"
:5^:
"
-"s"-
g^^^^
-s"-
iq:
iq:
i^Z
-"s"-
-s^
:"a
V
#i^; 5S -(S*-
^2:
=^2=:^
lazz:::
-"^
"
T-
32:
COUNTERPOINT
AND
FUGUE.
327
JiS ""^
^
-"s"-"S"-
-fE^-
^"^
-V-
i
:^
3J^E=r
-"s^
3
^
^^"
122:
1^2:
i^tSa^:
S3" -e."-
-(S"-
:e3
:C2:
jJ
^P3p^^^^
rf
:j2:
72:
-(S"-
-^^ X2:
Z2:
-"^
e^
-"^
i?:^
^
-s^
^"
^^ 213: ;22:
'(S-
"
^
328
THE
^
Z2:
P^
1^2:
-"s"-
OF
PRINCIPLES
-"s"-
T^-
-f^-
I
^
g^F^^
-tsh-
ZIZIL
'IZ21
m
5
3e
-(S"-
~-^-
i3z=i^
M
I
Z2:
-ni-r-i^
ij
^^S
-"Jz=7Zt^
-^s*-
T^-
-i^-
z":
-"-
IZt
"^ S'jTJ^
^
11^5
5^g=P= -W
"
4p
izi:
^:^=z:
e^-
V
T^
'Tzt. -/^-
V
^" -f^-
1^
'JZ2L
-y^ -G"-
:z2: -e"-
THE
330
PRINCIPLES
V
^
OF
Stretto.
P:
\"-eh
-e^-
V
rf
^EE?
P'
r
|"-
q:
-G-
-Gf-
-M
fe=? ^gp=z^^=^=^^: -Gf-
^^
lt"3^:
-^
g^
rj-
^=^
-eh
ss -"s"-
-^
fS=#^ ^ P^
"
-"s^-
^
:t:it
TUT"
:^
^"
^
t=t=
-^^
^
:t==
" "^
"
t"^
:^
"
o
r^'
V
^
^
-,3 -SI-
"
^
r
P-H*
"
g-
Z2:
AND
COUNTERPOINT
^3:
FUGUE.
331
SE^Ei
:q:
-^
-"s"-
F-
V
-s" ^
^21
-^2_
I ^^^
-iS"-
"^
-S*-
:^
-"
3t 1^2
;:
H-"
-^
:3=^^
:*t3t
V
@^
M
J-"^-^"^
15
ss
-S"-
lo:
1^=^
-(S^
Z2
^rz^-xEz-^zl^
fcir=iS: -ff=f^
I fi^ ^r^-^j=3^f
^"w
--
f
--^-
-s*-
-(SI-
P
"
=^=^
"
-^
^
J^^|g^=r=^r
'
U
U
2
gtf^
:p:
s"-
332
THE
OF
PRINCIPLES
45 53
:pz=p:
-^^^S*"
-"St
ig=s^. "lf=p:
r-
icz:
-X/^-
-"S'-
1S^
r\ "g^
f-'
q=^^ :C2:
-|S"-
'r"
i
m--
-"s"-
Z2:
-s*-s"-
2!2:
-"S'-
V
TKr^' ^"t^.
ttp:
e
-"s"-""
-^-
V
-^s"-
Z2:
55
tP:
^
-Pi.
^.
IGl
:W
J3^
^=fc^
^
s
f I "
f=^:
r ^
-"^-
z:"
^
^
:f=-^ :q:
"-
3:2:
-(S"-
fos
I p^
fS*-
FUGUE.
AND
COUNTERPOINT
cz:
333
^
-^^
-(S*-
jtfc=f=*
C2:
%3t
ii
,^,-p"
S
"S=if=
"""l^
-o-
V
^
g
'tf
-"^-
ir\
Conclusion.
:lJ,
fg=F=P
-iS'-
?2:
-s^-
^^S
1:2
:^=^:
-"^
Ov
-t-M=w-
i^-^
"
^-
""f^
-"s-
m =iz"^
"
"^-
~^-
ff /0\
t **i^=
^
"
f-F-F
?2:
Z2:
/Ov
^S
2:2:
-o-
^ -""-
^^?
-"s-
-o-
PRINCIPLES
THE
334
No.
20.
"
Example
of
Choral
a
OF
with
Fugue
Five
Two
Subjects,and
in
Farts.
By
Leonardo
Leo.
^
m^-
IS
fea
V
I
^E^
iffi: e
-
^^-f^ ^
-f^
-^
-(^
1
le ~^
V
O^
^^-^
^rf
-(^-
Ky
Sffi
-^-
T.S.
-
-
ri
-("
t--
?g^ -
-
e
i^+r
c
-
I
^
-f^ A.
'^-^
S
le
r
-^
6
^ 5
4 2
221
7
6
COUNTERPOINT
AND
335
FUGUE.
"^
V (S"
"
I"
fS
fs-G"-
T^-
Ky
-
ri
-
-
e
e
-
-
le
!^
y"
'-^^=^
is"-
1
-
son. "N
V
"^?^-
-fl#^
hS"-
^^
-Gh-
-S"-
^te
son
-
le
....
/^
-s
f^-
-Gh-
5
6
"
4
^
^=^A
i
33G
THE
:^p
fS""
r~F
e
son,
PRINCIPLES
-
OF
rj.
f^
5^
:z:"
le
-
1
-
son,
} V
^ife
Z2:
idr Ky
t
-
ri
-
ir
/^
-fS"-
-fS*-
-4"47 fS"-
I^I
^ son,
^
le
e
^
i^-
1
-
son,
e
Trr -o-
7
-"s"-
6
7
6
e
THE
338
PRINCIPLES
OF
/"
^^=F=r=!^=^
?
^TS
TJ
ii
3:
(S*-
Z2:
le
V^
-C2-
^^
^-r
-tS
S e
-
S
e
-is"-
le
1
."^2_
e
:z2:
tw^
son,
-
Z2:
-is-
le
1
-
e
son,
-"S"-
~N
@^^l
":^ 4i2
:z2:
-"s"-
-F--
6
6
7 3
C6 -
AND
COUNTERPOINT
FUGUE.
339
:^
^P=^
.iS"-
31^
t:^-
3tZ^
-(S"-
-G"-
1
le
e
son,
-
^, 221
:zz:
Ky
;^
^
-tS*-
T2L
ig
le
_C^
"b
-s"-
rj
-"-
le
i
"
-
-(S"-
Ky
son,
-(S"-
Ky
"^s
Si
-^-
|S"-
8 6
5
5
3
4
X
X
-
-
e
_^^^
5
-
ri
-
iS"-
-"s-
-"s^
:z2:
-
2
3
-b^
6
4-3
e
-
le
-
THE
340
"=r"
PRINCIPLES
OF
22:
'G^-
22:
:c2:
=F=F=
son,
/'^
-"-
22:
-^-
-B
T^'-
e
-si:^^^i"-
-"S"-
-
-
le
-^2-
e
le
"~N
i
32:
-s"-
T2:
e
iS"-
-
-
-"s"-
le
1
^
f-f-f"^
6-56 4
2
^F-rT-i^
^^
-
son,
-c^-
1
fpifa^
-
-
son,
-^^-
"=^ 3-6
5 3
-
-
6
-
-
AND
COUNTERPOINT
FUGUE.
341
~N
f^=F
!S"-
-(S"
:q;
Si
:r".
W=~^
ty
le
Ky
son,
^y^ -fS*-
ri
-
-
-
e
e
-
le
-
N. Gi
-."S"
dt^
rj
-!S"
r-
^2:
1
^
son,
-
"~N
-^^
V -"^-
-(S-
E:
V /j:2_
"F" F
e
-"S"-
-n^
^^^
g^=g=q^"
# -
le
-O-
fe
1
^e^ri^T"
-
^r^ 6
7
Q
son,
I
^
-
le
^q^^f^i^q
6
hjfz^
6
5
^
#^
^
4-6 2
-
^
THE
342
PIIINCIPLES
OF
V
ip?:
-f^-
fS"-"S"-
e
son,
-
f^3-
1
i^
H
^
^i^:
le
ip:
P
-"s^-"s^
-(S"-
-(S*-
le
T^
^
j:2
i
:tz: e
son,
-
-
le
i
-
-":2_
s
C2_
:p:
le
1
son,
-
V
I
-
-P
?.S-
e
Z2:
fS"-
m
T^
i
-
e
son,
-
^(g f-
m-~i
le
-TTT
m^
-"s"-
"s"
"
-
3
le
:z2:
m
-"s"-
-(S^
7
he 4
!?7
-
W
S
-"s"-
E#P 5
4
a
-2
FUGUE.
AND
COUNTERPOINT
343
/'
^
N
3
C2:
^-
nzi
-t^-
le
son,
son,
V
m
=F=E
ICZ
:a:
e
son,
a
-^-
-"S"-
i^
is e
-
1
^
"
-1^-
xz:
le
:e--te
-"2_
le -
sou.
-
-
^-(S-
u son,
V
c
r
^--Ph"P=p "t
"
iT
"r-'g:Fg
le
1
-
^
son.
-
lS"-
ijfcsaiffgatj^^^ 3
4 2
6
"s"-
6
6 5
THE
344
i
-^
OF
PRINCIPLES
-"s"-
:1^ "
I-
R
-P^
g
^:2:
is*-
:z2
tV
::^
-1^
ir="
e
"
\-^
le^
-^
r
"
le -
E=S
3^
-"s"-
-"S^
le
son,
V
m
^
:q.
Ky
W^\
-"Si"-
7
()
Z2:
5
4
-
-s"-
-
3
G
Z2
ri -
-
=^=^=^
6
THE
346
PRINCIPLES
OF
^
^
^
:r2:
Ky
I
^
E3
^P~~^ is^
,Q
^
1
'J^2L
-^
-
-
c
e
-
le
22:
-"s^
cz:
ri -
Z2:
-
son,
i^
::i:Jr le
son,
-(^
Z2:
-"S'-
^
-s"-
-"s"-
Ic
V
"o
^^ 7fi-6
7
6 1
5-46 t
-iS"-
^@^
-"s"-
hS"-
fp
r.
2
COUNTERPOINT
i ^=P
AND
FUGUE.
347
^ -^"
:C2:
-^ "
^-
-s"-
Ic
i
son,
-
^?^==i :^:
Ky
Z2:
:P2:
-/^
-
-
ri
-
e
-
e
le
-
-^-"^'
1
^=^
-"^-
-^-
-(S"-
e:
5^"
@i^^^?^^
Y
V
:P2:
2
X2:
-s"-
-"S'-
-
-
son,
-^
-"s"-(S"-
THE
318
PRINCIPLES
1^
-
-
OF
=P=^
f^
-t(S"-
l^
-(S*-
le
i w
-is"-
:sz: -(S*-
-"s"-
-^s"-
le
r-^
u
=q:
^
,
:e
Z2:
ipzzqzir^:
-"s"-
I
tepjjj
zcz: -"S"-
-s"-
-s"-
-""-
^=r^^^^^
rJ
1^2:
6
7
6
5
C
4
4
d
'
:z2:
"
!"
4
a
COUNTERPOINT
11
'jrjL.
}
-G"
nS'
FUGUE.
~^'-
-G"-
iq:
=-
349
-S*
T
"
O-
1
AND
-f^~
-o-
'^=-^-
1221
V ^cz:
ly
:^c=^
son,
e
::E
-
^r-w
:^:
le
f*.
i^zzFg^^cz Ky
-
ri
-
-
-
e
=P=^^
"
S3;
p
:zi:
le
e
-
-z^-
-
son.
^i^l
-"S-
6
-,^
^EE^S
\r
6 -
3
5
1221
7
6
THE
150
PRINCIPLES
OF
-N
-""
2:2
-
-
q:
-f^-
:q:
le
son,
1
V.
I
:zizcz
son,
-
z'
^
^
-"S-
-e^
k==^
"
le
-#"
Z2:
=t=F
le
son,
H^-
^.-s-
1
-
sou.
-
H*-^
i
cz:
1^-
son.
Ky
e^
-(S*
le
-
i
-
ri -
^. -"S"
T^L
Gf
^
^
f^-
f^-
Ic
i^^
t^-
:^
-"s"-
7
6
6
5
5
Cf
I
(^
6
-j^^ "
6
5
,
1^ 'P'
4
FUGUE.
AND
COUNTERPOINT
V
351
/^-
ggSSiS ?R'^^H*=l=i^-^e
P fTr:7iiii^EE^
"^E"
-
le
:pzzi_^__
son,
1221
-Y^-
^
1(^2:
-fS"-
P
-^-
"^J
-^^
:^i=z2
s
1
son,
-
^ -^
^
fr^-
x:^
:p^ ^
"
s*-
Ky
-
-
ri
-
-
e
e
-
le
V i^z:
@]
-"s"-
t^-
"=ti
-S'-
e
-^.
S
122:
-"^
S"^^^g
-"S'-
ife:
-S'
be 4
b7
-
8
b7
6-5 4-3
3 ;5
-
-
THE
352
PRINCIPLES
OF
^
T2.
T^-
-G"-
r}
P
le
-9
^f^
^
"
^
"^
-"s"-
2:2:
le
1
hS"-
fe*
^2:
-
-
son,
V^0~w--
^"-^
le
b-"s"-
-^:2
I
*rf^
^fc"
_C2_
^^
U
:^
^^
22;
-/s"-
i^
-"s^
:z2:
le
^^
^
(t:?
i^ -"s^
7
b
6
N
6
bo
b7
b4 2
6
7
irz
6
6
7
6
-
354
THE
PRINCIPLES
OF
Stretto.
/rs -s"-
r"=L
Ky
r\
"=^
-
son.
"~N
V
ir\
^m^^
-"
Ky
-
-
ri -
-
e
e
-
^^=^-
-"^
Ic 1
-
son.
rs
i^i^^^Efc^ T.S.
^f
2
G
6
6
Q-
"
COUNTEIIPOINT
r=F=r tt=t
AND
FUGUE.
7^
P
355
-B
-iS"-
-"s-
iq:
Ky
4^2.
."2_
i" #*
-^-
p^
U:
^_qi::p^
,rv
-"s"-
le
V -"s"-
^
-"s^
Ky
-Q_
"
:"=f^^
-
ri
-
iS^
5 -
-
e
e
-
le
e
0-^^
-1"-
:f=2:
-"
2
3
3
4
6
4-3
Z
Z
2
2
6
THE
356
PRINCIPLES
OF
V -iS"-
-"s"-
'T2.
? e
?2:
-/^
-
le
:?2:
-G"-
1^21
le
-"S"-
g
son,
"^'r"
-"S"-
^
-fS"
e
le
-
-
"
:^
son,
le
1
le
son,
-
^
r^^
t^
?2:
'G"-
-fS*-
le
-""-
m
^
-":2_
^^
le
^=^ :|i^z^zw'^=pz#
-^2_
6
^ 5
4
:^^ 7
6
357
FUGUE.
AND
COUNTERPOINT
r:L.
I
-o-
-^-
-Q-
m
l2=^:
_Q.
i^Si^^
#
2di=q==;^-
l_'
L
^^^^^^^E^l^^g^ 7-
7-76 5
5 -
^76
7-75 3-3
7
THE
358
-
-
PRINCIPLES
OF
son,
e
-c:^
-^
.-^
-
le
j^
f=^
-O-
Ky
son,
-
-
ri
-
-
e
e
-
le
SS son,
m--
'jTl^
j!zr.
~r:r.
:c2:
v".
Z2:
^^
2:2: ^^
~rD'
22: -^
1^21 ^...
-^
1^21 ^^
COUNTERPOINT
^0
F-
Pzq
AND
FUGUE.
359
^-
:q:
e
son,
-1^-
iciz:
ipz
-(S*-
it:
^
?:^=
^
j^
3:
f="
E
:q:
-
-*^-
le
-
ziz
-iS"-
t 1
-
son,
V
^-^^"o
p-
IS
^:
le
^^.^
1^2:
Z2:
ziz:
i?:^:
"^^
le
@^
22: v" 7
^^ 10
-
'^^
v_
9
6-6 4
3
4
1^21
Z2:
1^21
Z2:
5
9
7
6
5
5
4
3
3
-
-
THE
360
OF
PRINCIPLES
/-
-G"-
^-P^
T^T^'-
N
'HZ.
'jr:i.
K^
-Gf-
-"s*-
"~N
^=^
122:
-H-^"
1
-
1^
1^21
Z2:
W-
ir\
son
-
le
/0\
I
_Ql
-"^-"S"
-yS"-
"I"
-O
f^-
-S*
.
"S^
/^ /Tn
\r:j^\
?:
t==^--
-i^
:a:
"
r"
son.
/Ov
" ^=:
"
221
Z2:
11^^ 4
3
1
PRINCIPLES
THE
362
"
i
^ES"
-.s"-
in
midst,
I
M 3f=^
^=;i=p
r^
-jfT-
the
of
midst
^
OF
tbee.
s
-s^-"s"-
-G^-
Is
i
-
ra
el -
in
the
midst
-t^ '".
of
thee,
in
-^
rj
Great
"
^
the
the
midst,
"
-X-
S"i^'
is
the
ho
-
ly
One
of
Is
-
ra
-
el
in
the
^^^1 -^
mm
^
S'
One
of
:z3.
Great
is
the
ho
ly
mjf
t *=p
I
f^
f*^^
-"S'-
^ 8
3
7
s
s
10
9
8
7
6
G
COUNTEEPOINT
AND
FUGUE.
363
33
" Great
is
^: the
ho
ly
-
" w
"
One
(*
m-
of
"
^
(S"-
zd: :q.
midst
u--^^ S^
of
:p:
thee.
-(S"-
Great
ho
ly
^^=^
-"^-
:p
the
is
One
of
^=P^
Wmidst,
t W^
'^-
in
the
NizN
Is
-
1-a
-
el
midst
i-fiz:
in
the
is
thee,
of
the
ho
ly One
122:
of
midst
thee.
:=Jf
m
-G"
Great
'^^
is
the
5
4
ho
-*
-
ly One
"
(^
of
-lah-^"J-fIs
1^122
7 -
S=^
g
^
m^^
-G"-
of
8
3
A
2
-
ra
-
el
in
the
PRINCIPLES
THE
364
OF
^
i^s Is
-
ra
-
el
the
iu
of
midst
thee,
is
the
ho
~rT
T^^=^ ^
l"
p^^ff^
^-
-"-
-
ly
of
One
T2L
^
-\^-^/Is
^
-
ftr
ra
-
el
in
ggr-" Is
-
ra
-
el
^ .
iu
the
I
Q
thee
of
midst
the
"
-"s"-
-
of
midst
thee.
-/^-
" 11
Great
^5
5S
midst,
-^.
55
g:
fS"-
in
the
is
the
ho
^^-
midst
of
thee,
-
'
is
the
ho
-
ly
^
ly
One
^
One
of
m
of
f^-
5
-Gh-
~o 6
3
"
7
(J 1
4
3
6
s=st=? 6
-
G
AND
COUNTERPOINT
^
365
:c2:
IZZ.
tl- J-N_]Vf^
FUGUE.
"^
0~~ii^
'
Is
in
ra-el
-
of
midst
the
is
thee,
the
ho
ly
-
One
of
M m
Ejz^jz^fef^ 'F^f-fziAz.
-fst-
is
Great
ho
^
-9
m
the
.
One
ly
-
f
of
Is
ra
-
S:
el,
-
,tf
|P
"^
"="is
Great
ES^ 1 W^-t
the
ho
-
ly
One
of
ra
-
:p
221
Is
-
ra
-
ra
Great
el,
-
-
-
el,
fE^3^E^
TZ.
9=9^
la
Is
el
in
the
of
midst
thee,
t:
is
the
ho
-^
is
the
ho
^
-^^
-et'
-G"-
5
6
6
5
5
7
3
4
4
3
3
4 2
ly
One
of
ly
One
of
^
arqz^cn^
m".
-
6
6-6
-
^=^
?
^nv^
Is-ra-el,
is
the
OF
PRINCIPLES
THE
366
-^-^
ho
ly
-
?
^=^=e w^
of
One
Is
ra-el,
-
-r^
f=^is
Great
-t^. ^
-/"^
f
^ icz:
is
Great
the
the
ho
-
,m^
ly
One
Is
of
-
ra-el
/-
1
the
in
of
midst
g^P^E^^
ho
-
ly
T^-
Is
of
One .
ra
-
el,
.
3^
i^
lf=W
n^-
v-vIs
-
ra
-
in
el,
1=B;
the
of
midst
^
-"s"-
^"^
-f^-
-"S'-
Is-ra-cl
Wi-. i5
in
the
midst,
in
the
thee,
of
midst
-"s"-"S'-
:?Z2
-(S*
fi 4
i^ (i
-
3
4f
7
-
3
G
B
7
KG
5
4
3
COUNTERPOINT
M
AND
FUGUE.
367
V =1N=^ ~-^'^~W' -e^-
"
^
is
Great
"
r^-
-o
id"S
tf*-
ho
tlie
"-
ly
One
of
Is
el
ra
-
in
the
-
the
midst,
iSj S3 -G"-
thee.
V ^"
-P
-f^-
tS,
is"
^-
is
the
Great
i=St: K^
ly
no
fS
of
One
SM
thee, -la-
is
Great
the
ho -
ly
-
One
of
Is
-
ra
-
el,
V /Q-
W^
1^^
q:
:t^=i2
Great
l^^^E^
is
ho
the
-
-T
ly
One
of
Is -
S"-Gt-
ra
-
el
in
the
midst
of
e -G"-
^
!
T2:
T2L
"s-
midst
OF
PRINCIPLES
THE
368
of
thee.
^. ^ the
IS
t
^
Is
ra
-
1* E#it
el
is
S=S:
the
ho -
ly
of
midst
the
in
Great
thee,
-P^-
=^f=l=^
$E"
?
Great
1^
-
of
One
^=6=
-S"-
^
:": ^21
ly
ho
-^
"f-^
fs^
-(S"-
a
Great
dfc" g*
"r^
^2: "
One
of
Is -
ra
el
in
the
of
midst
-
-"s"-
thee.
-^"
^
^
"o
fth^ -^s"-
hS*-
^
i
^
it^S ho
OF
riilNCirLES
THE
370
ly
-
One
of
Is
i-a
-
-""-
Great
el,
-
is
the
in
the
V
Jj m
is
Great
^
w~'
the
ho
-iS"-
W^.
jt=f^r
0
Iv
-
One
of
N
1
1 #
-lS"
"
K^
Is-ra-el
#
'
tS
^
#
^
^
r^
v-"^ is
Great
thee,
of
midst
the
e^^^^
^
ho
P
\y
-
*
"
One
"
of
Is-ra-cl,
~i^ H^""
":?#
^
"
(^^
"
"^t^L is
Great
the
ho
ly
-
One
of
Is -
ra
-
cl
in
the
-^^
#^
=ME=F=^
^ ho
-
ly
One
of
Is -
ra
-
Great
cl,
^ ^
=^=^
7
is
the
5
6
6
^
-f^
?2=
6
5
6 a
5 1
7
-
,T
6
3
COUNTERPOINT
A3
AND
z^zz^ -a
ly One
-
of
371
ir=]V
^=^T"^r"i^^^^ ho
FUGUE.
Is-ra-el
-"
"--
"
the
in
-G"-
midst
of
in
the
in
the
thee,
:SJ
N-N-e^
midst
of
'J^J
thee,
Great
the
is
ho
-
ly
One
of
Is-ra-el
V
:itf '".
W^^^
C2:
tS
[/ Great
E I i^^
the
si
s
in
the
ho
-
ly
One
of
Is-ra-el
y
ho-ly
One
of
ly One
-
^^i^^
^y
Is-ra-el
:^__^
in
the
in
the
^"^"-d
of
:P2:
Is-ra-el
-^
"
-^
in
^
the
:?:"
1^21
midst
1^^
^JEgEgE^
midst,
'^^-
of
thee,
i^z:
-J" ^ in
the
midst
lot -G^
7
^
W=W^
t^
ho
is
^
6
7
6
B
2
9
8
4
3
"
iSh-
THE
372
T^'-
PRINCIPLES
OF
T^
^
midst
of
pz
thee,
-^-
Great,
Great,
-G"-
midst
of
Great,
thee,
"t^
i#
ii '"^g=r^r~p midst
of
"
^
Great
i#
Great
is
^^=f^=^
-(^-
thee.
g
zi:
:z-;
-^
:]^=;/ is
the
ho -
ly
One
of
Is-ra
-
el,
-(S"~
e
-o-
:z2:
:s2
midst
of
gST^
thee,
Great,
Great,
3 :J^ of
m
thee,
Great,
22 -""
:iM
'"
5 4
-(S'
Great,
5
-
"
m
-"s^
4
-
3
the
AND
COUNTERPOINT
FUGUE.
373
V
=^f^r "-
1^-
^^=4
is
Great
Great,
Jii
P3^
i^zzi^zr^
--f^=r^ the
ho
-
ly
Is
of
One
ra
-
el,
-
S -Gf-
ho
-
ly
mm- fc=^ Great,
t W^i#
2:2:
Great,
@^
One
of
Is-ra-el,
-"s"-is-
"
^
a
Great
Great,
T^~-
T^-
Great
Great,
iq:
P^
Great
1
is
the
ho
-
is
the
ho
-
5
4
rj
3
I
P--
One
of
ly One
of
"
ly
"
^-
ly
ho
the
^
8
-
^
h^
i^
-fS*1^2:
P-P-
^"
^mmm
?=2==p
is
'
I
"
Great,
@^
0
7
^ 8
7
PrtlNCIPLES
THE
374
OF
:feS
S
I
'". -("
Great
^=i
-"S"-
S Great
is
the
lio -
1^^^
^3
iiratjt
One
ly
of
^:
^"
at
3?
is
the
ho
#
"
-
Great
Ls-ra-el,
midst
of
-"s^-
^E=^
is
the
-("-
thee,
/
I
' "
h
-1
the
of
-^
^=f^ in
One
:K=^
# Is-ra-el
ly
1 -+' ^.
"^
is
the
ho -
ly
One
of
-tS"-
:^
^^:?=ti=:"^z^ Is-ra-el
U
in
the
midst
of
-"^-
("
e
ff One
of
Is -
W^,
thee,
-f^-
ss
q:
-
ra
^
"
-
ol
^
-^
?2:
in
,"
midst
the
-"S"-
f^-
": 8
n
G
-
9
8
of
AND
COUNTERPOINT
FUGUE.
375
V
ftS
^"^-^
^
~f~w
is"-
JZ2. Is
-
ra
-
'-W==W-
m
is
Great
el,
the
-
-
of
ly One
-
Is-ra
the
^-A
Is
of
-
ra
-
el,
ho
-
-
0"0
^
ly One
of
Is
ra-el
-
Is
ra-el
iy~"
the
in
midst
0
~IZL
of
thee,
-
T^
^E^ is
Great
W^. P:
Great
^tj
:e=^: the
ho
-
-
ly
One
of
is
the
ho
-ra-el, is
the
ho
is
the
mm
-
ho
q: -G"-
^
S*
-f^-
-
ly One
of
ly
One
of
^^E^
Great
thee
the
MMe=^
-^
-Gt-
-^i-
Is
in
Z^IZW
'^^
^^^r^-p-r^-^
13 t":p:
ly One
-
r-^-fr^
el,
-
-
NdV
p"^""\wv
ho
ho
6
5
7-76
4
4
5
4
-
3
of
ly One
-Gt
"
OF
PRINCIPLES
THE
37G
Conclusion.
^ Ws=^
*"
1
^^^"
"
t^
"^
"
H^-^
-'S"-
"7
the
iu
midst
of
thee,
in
the
midst
thee
of
/?\
J^
tE^^.
^
"
":
-
-f~^
of
midst
thee,
in
the
:if^F^
of
midst
thee.
-H"SH-
^2:
fe^rg=F="g^E^
HS^I
-P^
g:^
Is
ra
-
-
el
the
in
midst,
in
the
of
midst
thee.
ir\
Is-ra-el
in
the
midst,
the
of
midst
thee.
/TN
-^. pFS
ir
Is
#^
53=^:
-
-
ra
-
2d: the
el
^2:
*^
ig^i^^
TP
-G"-
231
of
midst
-^
8
3
7
-
thee.
PRINCIPLES
THE
378
OF
V
M
rj
#-
'
S^
xi
?
T^:^-
-"s"-
"~N
y=-8j"^
_C2_
-iS"-
I
I
-f-.^ r
B
jQl
"tS"-
::^^Eg^
-fS"-
-e^-
C2:
if^
^-
@^
-is"-
Z2: Z2:
I: "C-
"?:
;gp^
@^
^
-""-
=p=^^=i^
N
-is"-
^
IQIIEZ:^
^
AND
COUNTERPOINT
"^
FUGUE.
379
TD HiS^H
-P^
tf^-TT-l^jg
-^
I El
^
-P^
H(SH
G-
^
g^r" ^^
@^
'-f-^
1221 12:
iS"-
iS^ 1^2
1^2^
-"S"-
la:
V
-^-
rj
122:
#
'
xz: ::^2:
rf:
i 1=^ l=tt=
:;ir^
3c
2
^
^
^
"1^-
s a^.P: ^
THE
380
PRINCIPLES
OF
M
1 tf==]M:
HSW-
I -ft-
"^
T^
22:
-A^^
o-
-(S.^
-"s"-
S^
*";
y r
r r '^r^^rr
#
^
?==p= fS"-
V
^ts^
-Q
"
.^
r"^r^g=?^
Is ^
-/^2_!^
^f--f-p
-"^-
-ts"-(S*-
1^"
n? -
^gESr
TJL
AND
COUNTERPOINT
FUGUE.
381
Jj:
-t^-
-iS"-Gt-
v=^-
-^S*-
V -n
W"-
'
p
^^
:^":
2:"
i
M
:zi
22: Z2: Z2:
^"
^
-I* -| "
i^
^
"
f"
^"^
"
"
I
I "
1 "
-m
I
"
"
r'
"
_i
"
^' "
I
w r^
-G"-
"
^^^a^r^^
^
r"^
"
ftaci^-
m=^
S^^
-"^-
^^^
-"s"-
^=^ 22:
THE
382
PRINCIPLES
M=X
^
:^
i^
t^-
f^=r"
OF
"
^r^j
I
1 "
-s"-
Jt^g
s^
1^
p
p
3
lS"-
:Z2
^it r^
^
"
j:^=^=
:p=^
zx iq:
:ci
-tf
-G-
fS"-
~1
J
I
J-^:
?2=z: :?:2:
fa^-^l^^^-fcr-^-rz^ -(S"-
e
1^21 "^
@""^
^
AND
COUNTERPOINT
FUGUE.
383
^-"s"-
V
-t^
:p5=z:
Ig
rrTf^
-1^
Z2:
"
^"
:fl^
"^
-/s*-S*-"s*-
"t; f"Fry=F^
@^
M -^"s"-
1^21 -o-
^1^
Tl^-
tf
Ig @^
icz:
-?^
HOH
^^'
-"S*-
iq:
:^
THE
384
Stretto
with
first
PRINCIPLES
OF
Subject. -"s"-
-^^^-
't=-r^^rf^
-^
-Gh
*J
4^4.3 "
1
122:
s,s-"S"-
1^21
-(S"-
N/
I E?i==-^-
^^^
=1^
^y
^
at=^
^^g^
icz:
-(S*-
^
P
^^"-
7^?^=^=^^=(^
/'
hS"-
1^2:
4f^ Z2:
1^^
-s*-
-Gt
rj-
V :"^
N
^
1^-^
=i^
^^-J^J-^
:tt^
""
-^
^
-(S"-
"
f
M
^
f
386
PRINCIPLES
THE
OF
M
^
-(S"-
:fci:
r^rri^rf ?
_Q_
_C2_
EE^
-^-^
xz:
-"-
e
3!2:
wf^
(""
-"^-
-.s"J
I
"
I
\
"
@^
I
"
4"^
-"S"-
"
"
"
*-
"
*-
I "
1^
^
-/S"-
-1
four-part counterpoint
:3?
are
L^H
h-
^
introduced.)
1
^"
ig--^
rrTrjfi^
_c^
r-" -"s-
1^
\p^F^^^
r^
w^r
e
"
1^21
-0-iir
r^
-^
"
V
^^e^
-(S"H^-
"
I
rjz
"y
.r^
^
^
F=
COUNTERPOINT
AND
FUGUE.
387
M "=p
tf y-fti,^
-"s"-
^
G"
r-"
r^
Z2:
"
"-
:^2:
-o-
-"s^
-VtS"r\-
z:"
-(^
ffiS
"
X2_
-(S"-
:^:2:
i^izat iq:
:22:
-(S"-
#i
:M iq: -ti"S^
J^
F=P^
=^=^
-^-
iH-?
c^
-Jl^zzizfrz
-Gt-
-I
W^^
t ^ ft. #^
:P2:
5^^=F
^ -"s"-
p-
-(!^-
#^-^
^
-S^-
-iS"-
^-^-0-_-Sl
1^:2:
-lS"-
icz:
-"s)-
R^R
'-^^ iq:
3
D
2
THE
388
PRINCIPLES
Stretto
:fc": X2:
-"-
OF
with
both
Subjects.
3 icz
-(S"-
-"s"-
-tS^
n"sw
H"SH
li(SH-
A F
0
P
feStt:
-(SI
;
^-
^^
Z2:
^^
l^P
t:^
-WSH-
li?:
V -^^
(^
:P2:
'^^^
is-
y Z2:
t^
:q:
tf
-1^"
^i
s^
-i=if-
i-
-"s"-
iqzizq:
1^ H(S"fi ^^ "
AND
COUNTERPOINT
FUGUE,
389
V g^~-
0L
is"-
C2:
^a
1^2:
"-
-Q
-.r"
at^:^ -"s'-
tf
zz
-iS"-
H"S"H
-"S'
t^
22:
^fe
M
n"sw
/^
^s
G^a
HS44-
H(St+
-g/
r?^
^
r-y ^
F
^
"
_C2.
w="-i^=!^
0
""
f
?^2
"
m
f
-^-
"s"-
^
m
^ -^
-^
"
"-*-
-"s"-
1
A
i 3^
"
:^=PEZ^
y
"N,
^
^
fS^
r-^
-Try
4W:
X2:
-(S"-
/^
-^
/-"
PRINCIPLES
THE
390
Coda.
OF
Closest
"
Stretto, by combining Inversion and
\^/
Augmentation.
5^ 1^2:
'"^^
-f^-
221
-f^-
nzz.
-^-
itFif^
-C3-
"m
[^ -o-
g^=F=P
-^-
V "
H^^
Q
ap:
s=^^^^^=^ ^^
-"-
"
"
IJP^:
^-^
^
iS"-
g
*": -"^-
e
221
*
22: ^ "
wtf w
-C2_
-"s"-
-"S"-
?:2:
CS-
q:
-"s"-
^:2:
^
A
fe SI
T^
fS"
r-
^=^fi^
-"S"-
-"S"-
Q"TTT
v"_
^
:q:
:p?:
=1^
Z2:
The
two out
Basses the
are
here
effect of the
"cp-
doubled inverted
'G'^
d"
in octaves, to
bring augmentation.
AND
COUNTERPOINT
FUGUE.
391
rs
JJ:
-flfSH
-fS-
-^
^
jOI-
tf
0
Ia
/^
Z2:
^\
t
"-
"
!S"-
-S"
^
"m
-"s"-
^
~N
^
i
-(S"-
HS4+-
f^
-"S'-
A I
-"s"-
41^
-^-^-#"C?"
ey
-P-
U^-
H*-^-^:^
-ri""H
-o-
~N/0\
1^^^^
4HS"H-
H^'
-"S"-
@^
H(SH-
1" 1W
I
30 RETURN
DAY
USE
FROM
WHICH
DESK
TO
LIBRARY
MUSIC book
This
is due
Renewed
date
books
FEB
2 3
the
on
the
on
BORROWED
last
to
subject
are
stamped
date
which
below,
immediate
to
recall.
1976 ^liM
^
'^^ 1082
NQV14l9t2
"
1977
13
FEB
or
renewed.
TEBT6-B7T" AR
2 4
Due
1977
end
of
j)[.L'\iort fo
JJM .
LUIVERSITY
rp'^sll
0
EDUCATION
jii|
ouarte
OF
1 ^g
JUN
DEC
19
1984
SEP
0^
1984 '''-^9^:^
W7
CALt^Uit:"ll4
ZiMk.[L\
MAY
12
,"fter_.
PSYCMOLOqY
^- 1
MAY r
"
21
]97Q
30
'301
"
General
"L.D21A-10m-10,'74(S1945L)
University
Library of
Berkeley
California
.
MT55.091880
C036924078 UC
BERKELEY LIBRARIES
CD3b=124D76
iiiiiiiiiiiiiiiiiiiiiiii 601373
UNIVERSITY
OF
CALIFORNIA
LIBRARY
DUE
DATE
Music
Library
Universityof California Berkeley
k
at
View more...
Comments
