A Treatise on Counterpoint Canon and Fugue

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A Treatise on Counterpoint Canon and Fugue...

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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

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still it

rules,

resources,

when

then,

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counterpoint

least

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or

AND

be

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followingsuccessive

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when ;

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AND

COUNTERPOINT

The

in

in

case

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allowed

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e.

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two

;

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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

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freely

for

reason

in

examples

alto,

the

in

ought

out

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in

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what

treatise,

of

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will

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our

the

on

called

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himself

render

to

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is

bass,

and

chapter

first

admirable

write

tenor,

counterpoint in

Hullah's

to

treble,

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short

be

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"

score

given

in

CHAPTEll

Of

simple

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1.

is

this

to

appears The

only (or

octave

the

The

3.

and

as

a

in

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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

;

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bad.

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of

licence

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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

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imagination of

or

are

of

octaves

octaves

or

or

fifths, even

fifths

called

are

"

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in

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produced.

are

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hidden

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thus

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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

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5

of

the

fifth may not

only

parts be

arise

;

a

moves

diminished

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'

a

semitone, it

fifth, in. which

may case

THE

10

for

allowed

not

lower

regarding

avoidance,

its

the

of

note

forbidden

exist

to

first

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it.

of

a

the

relation.

false

of

note

upper

example,

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and

chord

one

the

following progressionsare

Usually

f"

-"S"-(S?-

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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:

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note

every

jDaniedby to

for

-r^-

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because

the

light

"

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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

*

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:^z:

fermo.

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with

4f^

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or

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3

n

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canto

fermo

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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"-

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m

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or

lowed fol-

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Cherubini

-.^""

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and

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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

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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^^

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others

12:2:

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3.

13

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1

:iz?2:

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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

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122:

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Counterpoint.

fermo.

Canto

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1^2:

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icz:

:^2_

^ 3

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g3g=^=z:g:

:^

e

:^2:

:^

fermo.

Canto

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iq:

1^2;

2

3

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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:

:^

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^

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

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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

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122:

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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.

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OF

PKINCIPLES

THE

20

8

3

2

2

3

I

:

J

i ^

'^

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?

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

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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

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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"

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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.

--]=

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^

^^=^"=^

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CHAPTER

1.

This

2.

A

species

is

semibreve

"

i

it

as

is

now

is

parts.

semibreve.

struck bar

next

;

the

on

thus "

-"s"-

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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^

"

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i:"

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~?2 -"

Z2: "

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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

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"

9

become

ceding pre-

example.

"

take

in the

letting it

by

note

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us

concord

a

"

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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,

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or "s^

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of

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analysed^-

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G"'

26

THE

The

13.

'(',

PRINCIPLES

following examples"'

-^

-

intended

are

models-

as

^=^

^

:z2:

OF

P^=^^^

3^

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3

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ad

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11

22:

3

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74.

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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.

:"

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^2:

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76

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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^

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:^

3.

="

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2.

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and

semibreves

II.

No.

Z2:

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(/3) Quavers

should of

quarter thus Ko.

^ I

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6.

^^

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admitted

be

never

bar, but

a

22:

5.

1221

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3.

^^^HEEdf^

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29

Variation

2,

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4.

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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-

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^

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^

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C5:

s

OF

PRIXCIPLES

THE

30

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1^21

m-

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-TJi

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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:

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i

Z2:

1^2:

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:?2;

2z:

PE^

^2:

(^

"

--r^

:"

^~

p"

fa

-s"-

J

-o-

^

12:2: :zc2zz

I

-e"-

-"s" -s"-

-"s*-

No.

III.

5E^

Z2:

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i^z:

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fermo. :

3!==^-

ry

hS^

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1221

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ffi^J^

1^5=1 -lS" -/S-(S-

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O-

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g;

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1

AND

COUNTERPOINT

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FUGUE.

-"S'-

1221

37

1^21

-"S'-

2:2:

^ -ifS"-

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1^2:

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No.

IV,

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in

in

will

tripletime.

what

has this-

iS^

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2: :tf^

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122:

1^21

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It

e^

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hSi-

1^21

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1;

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b?^2:

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#^

6.

"~

-^

Z2:

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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^-

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1^2:

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No.

"1

Canto

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122:

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1^

1^2:

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III.

1^2: TT

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122:

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fermo. "C2:

IE

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I^

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e

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=12

:?:2:

122:

^

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1*=^

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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

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FUGUE.

"

-"s"-

:p T^-

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-fS"-

z:2:

i^^^~n

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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

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^

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h^=^

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(3545

6

2

3

3

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Such

absolutelyincorrect.

122:

:^

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into

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FUGUE.

it is not

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iq:

AND

Analysis "

i

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:^2: 1^233 "C?~

-"S"-

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122:

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"?

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

-^'-

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"?""

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

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6

7

7

fS*6

fermo.

Canto

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Z2:

7

30

5G

5(3

1)

^

^^

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^

I

:g2

Z2~::i^^2

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Z2:

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z:=22:

jr2.

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Z2:

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I

a

-fSt-

-G)-

5

o

.5

4

4

II.

No.

fermo.

Canto

-f^-

-"s-

Tjl-

-"s-

Z2:

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122:

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S 3

2

3

3

2

2

3

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fS*-

3

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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

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-"S"-

I!

-jr2L zz: -"S"-

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rcz:

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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:

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22:

M

-"s"-

m

CJl.

^

1^

-^

=^^:^iir

^""^^

"

Hidden

?2:

fifths.

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Hidden "Sf

-"S"

octaves.

"

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:z2:

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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=^-

^

"

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-"s"-

;

each

part

thus "

^=f^

tj

feffi

msE

Ci-

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-G"-

122:

-"s"-

"c.

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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:

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"^r?'

Canto fermo.

te3S

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I^X

X2:

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"

-(S-

22:

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122:

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:tf^

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iq:

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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

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a

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1221 1^2:

22:

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ife

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221

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:z2:

62

THE

No.

P

PRIXCIPLES

OF

II.

1^2:

22:

-G"-

22:

lf==f-^-ir

S

"S^

-"S"-

-#bJ

#

-(S"-

R

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f

IC2:

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Canto

fermo Z2:

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22:

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i I i @^

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Z2: "

"s"-

22:

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i^z:

-"S'-

AND

COUNTERPOINT

No.

63

FUGUE.

III.

122:

-ts-

-"s"-

-s*-

:^2:

Canto

fermo. -"^

fe

icz:

-"S'-

rj-

^

Z2:

e

i

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Z3: 22: -O-

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-"S'-

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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:

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2^2:

S^

:?2:

hS"-

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22:

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^

^

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312:

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:z:2:

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"

,

#=^ ^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:

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-"s^-

-s"-

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HS-

-"S"-r-"S"^

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:^

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Z2:

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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

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be is

Treatment No.

OF

PRINCIPLES

THE

68

of

Fourth.

the

No.

1.

2.

G

122:

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of

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the

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2.

3.

No.

122: "

qzzq;

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COUNTERPOINT

AND

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69

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6.

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No.

FUGUE.

7.

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were,

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5, 6, and

7

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dominant

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1.

m

of

No. T2L

J^

ordinary

is, as

it

dissonance.

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the

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2.

3.

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cz

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70

No.

PRINCIPLES

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4.

OF

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5.

m=p^

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jrzz.

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COUNTERPOINT

No.

No.

5.

AND

71

No.

6.

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4

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5

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observable others with as

that

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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

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syncopations, it

are

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221

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(See Chapter

fourth

examples

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X.

6.)

Palestrina

preparation

on

a

close, is

a

often

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the

used as

in

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often

very

dissonance

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72

THE

No.

PRINCIPLES

1.

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74

PRINCIPLES

THE

II.

No.

i

:^ rJ

Canto

OF

"

:^=P2:

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No.

FUGUE.

AND

COUNTERPOINT

III.

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g

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76

THE

No.

Canto

fe

m

PRINCIPLES

OF

IV^ fermo. :a:

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TJ-.

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g

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IL

C^_

1

AND

COUNTERPOINT

No.

77

v..

-"s"-

T2L

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22:

icz:

Canto

FUGUE.

-(S"-

fermo. -(S"

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78

9.

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next

is

example

riUNCIPLES

a

OF

coinbiiiation

of

thn

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:=2"

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10.

should

specialrules

no

examples, therefore,

few

A

are

AND

will

for

FUGUE.

florid

sufiice

to

79

counterpoint shew

the

in

student

four

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how

he

proceed.* I.

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examples

are

slightlyaltered

from

Fux,

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THE

80

PRINCIPLES

OF

II.

No.

-"s"-

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THE

82

1"

Canto

OF

IV.

No.

a^

PRINCIPLES

rj-

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22:

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AND

COUNTERPOINT

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11.

species. Of

this

Or

kst

counterpoint it

method

itself

introduced

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83

with in

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in

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From

M

2

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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

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may

fifths

extreme

used

rarely,

diminished

a

unisons

five,

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counterpoint

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in Of

exceeds

parts

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florid

speak

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be

to

consecutively).

also

as

three,

of

not

of

stringency

the

melody."

course

be

of

already hereafter

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which

relaxation

three.

only

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number

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(though

real

different

a

shall

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treat.

to

rules

the

increases.

even

or

all

parts,

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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:

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treatise

be and

in

sufficient the

FUGUE.

exercise

other

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this

example

and

style.

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five to

to

give

85

set

the

various

counterpoint

part

two

examples

in as

florid.

:q: 1^21

1^2:

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admitted, severe

the

find

COUNTERPOINT

T.

i^:

ii

will

at

different

OF

it

will

none

be

of

the

relaxations

good practice for

t^-

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--s*-s*-

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above the

specified have

student

to

begin

been in

this

86

THE

No.

PRINCIPLES

OF

II.

e

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I!7

r.^'

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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^

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the

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;

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OF

PRINCIPLES

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90

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4.

5.

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resolved This

is

also

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the

for

the

discord

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this

combination

fourth

major

composers

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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

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it

kind

false

of

madrigaliau music is

more

or

"

relation. and

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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.

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or

Sometimes

found

to

octaves,

writing

9.

that

"31-

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seventeenth

less The Hosanna

analogous following to

the

COUNTEEPOINT

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FUGUE.

91

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of

model

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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

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"!

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

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music

Choir

J

Counter

Coro

the

First Tenor

(^Basso

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"

or

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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

^ -

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le

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son,

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le

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-

^

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le

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e

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son,

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son,

le

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c

son,

saggio

the

fondamentale

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le

le

From

e

-

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1^21

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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

-"^-

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=?2:

icz:

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le

son,

le

son,

-"s^-

l-v"h

C2:

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^"

le

e

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r:^

son,

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Ic

e

son.

-

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S"

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^2:

^^

:^

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^

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^-

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-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

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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^^

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xz:

U: 6

^^

2!i:

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x:^

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i

3

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122:

^i

-"s"-

xz

2

^

Z2:

T^

III.

xz

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3

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Z2:

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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

^-^*-^

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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.

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1

2.

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=^

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143

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2.

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CE

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2

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PRINCIPLES

THE

148

No.

OF

4.

1.

iS"-

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3

3.

4 :^:

1^2:

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No.

1.

tFff

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:^

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^^^^

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4.

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a No.

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Jr^jTT^ B

No.

wt.

^^

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No.

B i^:

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-f^-

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LZZ"_^Q

:cJ.

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AND

COUNTERPOINT

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FUGUE.

119

4. -is"-

^^^r^

No.

-"-

f-

2.

I ES

3

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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

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to

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in

intervals

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of

commencement

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of

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in

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4.

treated

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or

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subjects,"as

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various

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be

fugue

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make

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and to

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treatment

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example

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out

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case

subjects,we

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one

last

way

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case

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fugue,

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the

same

rigour,but

same

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a

subject

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many

as

when

the

more

such

the

the

simultaneously at

enter

in

exactly

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of

begin together

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with

course

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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

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the

When

second

of

witli

marked

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all

them

twelfth, as

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indeed

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5,

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melodiously called

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octave.

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counterpoint

;

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part Such

to

of

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it,

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fugue, including

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is

passage

example

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codetta.

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;

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into

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or

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really

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two

need

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is

employed

165

tliey

interval

other

any

advantageous

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together.

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in

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COUNTERPOINT

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CHAPTER

Of

1.

is

"Stretto"

XXI.

Italian

an

Stretto.

the

from

derived

word,

"

stringere,"

"to

together."

bind

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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

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best

shew

how

this

is

done.

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PRINCIPLES

THE

168

OF

(iii.) Subject

transposed.

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have

(i.)we

subject,and At bars

before

the

It

degrees

is not of

first the

the

that

always

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when

the

its

subject,counter-

out.

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in

let the

adds

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of

to strettos

lend

which

the

stretto

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is

distance

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arrangement

the

subjects are

fugue

stretto, which

a

as

to

a

in

comes

two

subject.

subject at

is desirable

recurrence.

of

stretto,

second

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closeness, such

possible,it

will

of

still closer, for

yield

last

bar

one

get closer the ;

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when

closer

and of

therefore

themselves

of

but

;

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only.

strettos

example

it is each

at

fugue

a

those

as

fugue-

naturally

most

here

this

to

of treatment.

mode

3.

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ordinary the

answer,

4.

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produce

a

fugue-subject will

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way, and

then

always allowable,

not

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have

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end

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2.

a

have

the

opening

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answer,

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the

are, a

no

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produce

method

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way.

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with

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stretto. to

the

which

such

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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

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necessary

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in

and

rule,

a

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to

end.

to

fugues

as

certain

a

sliould

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and

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neither

is

answer

beginning

rigorously

allow

and

subject

it

fugues

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the

Episodes,

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to

by

way in

generally

stretto.

2.

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may

afford

be

strong

a

which

is

far

and

taste

3. take in

or

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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

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to

as

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the

composer.

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how

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episodes.

fugue-subject,

composed

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out

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shew

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be

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formed

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subject,

Chapter

they

called

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what

to

better,

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unconnected

totally

artifices,

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bars

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way

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OF

PRINCIPLES

the

COUNTERPOINT

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171

subject.

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OF

PRINCIPLES

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172

fourth

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178

combined there

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;

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three

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point

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closest

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pedal

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brought

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frequent

be

can

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considered

be

the

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7.

which

on

regular severity

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of

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in

fragmentary materials,

with

from

it

fugue

a

tliat

so

;

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a

cases

explained

be

pedal

no

it should

parts

note,

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of

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has

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in

kinds

various

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treated

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adoption

end

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pedal.

in

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of

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it is

FUGUE.

fugal development.

up

not

are

of

though

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for

chieflymade

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fugue,

convenient

very

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materials

of

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or

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6.

a

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real

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lack

any

double

in

AND

COUNTERPOINT

OF

or

canon,

never

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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

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a

tonic

lengthened plagal cadence, pedal ;

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dominant

the

final

fugue,

this

tonic

generally no

but

pedal has

been

and

previously

heard After

9.

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all

the

and

imitation, final the

the

impression fugue.

reserved much

episodes

for

on

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recommended.

in

most

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pedal the

effective ear.

the

coda, and

It

in

leads

ought

the

stretto

directly to

"

be

be

the

closest

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leave

to

it

coda," (or the

introduced.

should

style, because

is called

canonical

episode

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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,

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some

fugue

subject

the

3.

give

to

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2.

of

described

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modulations

the

admits.

it

1.

and

fugue,

a

to

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end

thus "

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a

2

the

subject began

dominant,

the

of

number

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if

on

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part.

any

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with

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be

parts

to

tonic,

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older

be

the

first

even), be

heard

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used

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first

be

to

in

placed

be

tonic, might

OF

from

subject ascended

the

If, however, it

PRINCIPLES

THE

180

in

heard

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so

treble

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the

tonic

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thus

;

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4.

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to

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a

fifth

the

at

always

must

answer

be, according

may But

fourth

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fugues

exposition,either

XIX.

Chapter

than

the

the

as

tonal

or

at

or

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of

though rarely,be occasionally,

may

permitted. For

5.

referred

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6.

but

to

it

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use

and

place

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lengthen, it to

is

by

next no

the

of

means

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feature a

the

of

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sorts

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hearer

as

from

necessary

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almost

to

last

is

student

ah'eady explained; of

entry

introduce

to

being

too

soon

answer

codetta, but

a

it

convert

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into

weary

of

a

the

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answer.

fugue part

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only

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after

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codetta

desirable

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a

prevent

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out

is

various

of

volume,

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to

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be

to

the

episode,

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in

7.

of

examples

of

is the

called

the

piece,but

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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.

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of

relative ;

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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

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down.

convenient

most

recommended

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as

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this

in

they

But

modulate

to

not

remote

need

obligation,nor

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the

extremely

into

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strictly the

in

strongly

is

student

The too

exactly

followed

always

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not

are

OF

too

style

of

denly, sudposition. com-

"

"

,

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11.

take

often in

the

Italy, and

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of

form may

of

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introduced

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andamenti,"

"

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sequences,

episodes

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convenient

as

imitation

they

; are

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186

considerably relaxed example

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four-part fugue,

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analyse

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student

for

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the

reference,

voices

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after

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to

with for

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every

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would

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condition

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four

to

for

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give

now

student.

careful

analysis which

of

of

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we

the

such

specimen

specimen make

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need

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modified.

precept,

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examples

;

points, which

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on

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OF

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21.

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second This

gives of

remainder

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5th

treble

the

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note

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has

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in

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and

11,

(vi.)In In (vii.)

in and

bars 11.

a

13, The

few bar

13th

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subject in

real

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to

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the

tenor,

14, and treble

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the

while

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the

given

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cussion reperin

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in the

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on

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answer

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notes

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answer

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from

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and

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4th

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out

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AND

COUNTERPOINT

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close

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perfect

53rd

and

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five

cadence

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half

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to

to

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followed

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by

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and

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piece. c

counter-

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with

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of

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bass, and

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the

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42nd

(xvii.) The

are

of

exposition,mostly

inverted, in

termination

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other

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bar

as

accompanies

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regarded

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46th

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completed

canon,

(xv.)

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panying accom-

bar, in imitation,

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bar

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strict

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three

finish

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with

three

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concluding bars G,

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it

upon

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and

bars.

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two

the

33rd

inversion

inverted, of

in

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treble

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by

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imitation, is led

direct

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of

by

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five

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(xiv.) In

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be

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(x.) Before

point

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46.

subject in

closest

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is

counter

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treble

fragments

in three

by

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inversion

imitations

the

(xi.) From of

and

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bar

subject,at

this

"

up

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43, 44,

minor.

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begins

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tenor

imitation."

of

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episode,made

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one

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above.

of

fugue

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key.

195

16tli

18th

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while

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treble

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into

episode. (ix.) In

transposed

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place

short

a

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59th

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to "

suspended

THE

196

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22,

of

going

student

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fugue

examples

has

done

J.

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or

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in

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celebrated

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open

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requires

and

and

remarked

contrapuntist

genius out

in

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good

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alto

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beneficial

examples

condense

to

and

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taking

well

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into

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it

volume,

treble

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for

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23.

to

set

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also the

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analyse

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model.

short

the

COUNTERPOINT

advised

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his

as

into

and

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analysis

upper,

OF

PKINCIPLES

may made

patient

this

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study

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alone

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mind

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so

effectual

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EXAMPLES.

Canto

No.

1.

No.

2.

Fermos

to

he

used

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species

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3.

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198

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OF

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PRINCIPLES

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200

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PRINCIPLES

THE

202

No.

2.

of eight j^cirts in

Example

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OF

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Anthem.

F.

1:2:

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COUNTERPOINT

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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

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canon

^

three

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on

the

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J.

Zimmerman.

-e^

COUNTEEPOINT

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I

II.

"

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FUGUE.

211

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212

No.

III.

In "

seven

parts,

PRINCIPLES

containing

OF

canonical

imitations.

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213

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4.

OF

PRINCIPLES

THE

214

Miscellaneous

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Examples. Selected

i

Canon,

"

four

in

from.

Zimmerman.

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_.

I,

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one.

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THE

216

No.

III.

In

"

nine

parts,

in

PRINCIPLES

sequence.

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THE

218

No.

IV.

"

First

In

eleven

parts,

on

PRINCIPLES

Azopardi's

OF

Canto

in

FermO;

canonical

imitation.

subject. 22:

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r^

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fzi

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Imitation

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the

first

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in

the

of

the

32:

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3! J

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the

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AND

COUNTERPOINT

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219

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THE

220

No.

From

a

Mass

5.

"

PrUNCIPLES

Examples

entirelycomposed

^ "1^^

OF

various

of in

Canon

by

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Scahlatti.

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Chris

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224

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226

No.

6.

"

Example

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a

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i

OF

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a

Mass

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by

in

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2

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THE

228

No.

7.

"

of

Examiole

Canon

a

Glo

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ry

rs"-

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in

Four

Puecell^s

Henry

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flat.

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to

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COUNTERPOINT

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AND

229

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in

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230

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"

^

:^

^-

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

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