Jadassohn Manual of Counterpoint

Jadassohn jAANUAL OF GOUNTERPOINT

CORNELL UNIVERSITY LIBRARY

GIFT OF

Professor & Mrs. Donald J, Grout

Music

Cornell University Library

MT

55.J21 1897

A manual of simple, double, triple and q

3 1924 017 605 142

The

original of this

book

is in

the Cornell University Library.

There are no known copyright

restrictions

the United States on the use of the

in

text.

http://www.archive.org/details/cu31924017605142

A COURSE OF INSTRUCTION IN

PURE HARMONIC WRITING IN

THREE VOLUMES BY

S.

JADASSOHN.

Volmne second: Instructor In Counterpoint.

BREITKOPF AND HARTEL. NEW YORK, a. SCHIRMER

LEIPZIG,

ENT?

STA, HALE.

1897.

MANUAL OF

SIMPLE, DOUBLE, TRIPLE and

QUADRUPLE

COUNTERPOINT BY S.

JADASSOHN,

PBOFESSOE AT THE EOYAL CONSEBVATOEIUM OF MUSIC, LEIPZIG.

TRANSLATED INTO ENGLISH BY

GUSTAV

(TYSON-)

WOLFF,

MUS. DOC. CANTUAE.

THIRD EDITION, REVISED BY E. M. BABBEB.

TMIS

LEIPZIG,

WORK IS

COPJRIGET.

BREITKOPF AND HARTEL

NEW-YOEK,

G.

SCHIRMEE.^

ENTB STA. HALL.

'"

1897. Entered according

to

Act of Congress, «« the j/«of 1887, by G, Siltirmer in the Office of the Librarian of Congress at Washington D. C.

PREFACE. The subsequent Manual contains instructions for the study and quadruple Counterpoint. All the

of simple, double, triple

principles and remarks set forth in this volume, are founded on the contrapuntal works of Bach, Handel, and other classical masters, who have written in our system of the major and minor keys.

rules,

These studies in Counterpoint are intended

to

prepare the

student for the composition of Canon and Fugue; but those

who do not intend to become musicians by profession, be enabled to penetrate more deeply into the works of the classical masters and to cope with the difficulties of their sublime creations. Let no one imagine, however, that the knowledge of the rules alone would suffice; these would be attained quickly and with little trouble. Only serious, conscientious study can further the pupil here, as well as in all other branches of art. Only when the student has mastered all the problems contained in this book in a thorough manner, will he be enabled to proceed to the study of Canon and Fugue. also,

will

Leipzig. Dr. 8. Jadassohn.

PREFACE TO THE SECOND EDITION. The English

translation

to

the

second

edition

of

my

Manual of Counterpoint has been revised and corrected in accordance with supervision

by

my my

special request

and under

my

highly gifted pupil, Mr. E. M.

immediate

Barbek

of

London. It clearly

I give

my

and conscientiously represents the German text. hearty thanks to Mr. Barber, a very excellent

FREFACE.

T^i

musician, for his intelligent assistance and

I

hope that this revised

translation will enable the pupil to understand completely all

the rules, principles and remarks contained in

my

work.

Leipzig, November 1891. Dr. S. Jadassohn.

REVISER'S PREFACE TO The

of the

correction

first

THE SECOND EDITION. edition

was only undertaken

at the special request of the author ; as his pupil, I personally felt the necessity for a clearer and better translation; this was moreover strengthened by the opinions I heard expressed on

all sides.

I

have endeavoured

to

preserve unaltered the respected

author's views as expressed in the

time seeking to clothe them

German

same

text; at the

vrith the correct

English technical

terms.

In

conclusion,

I

wish

to

thank Dr. Jadassohn for his

kindness and forbearance in repeatedly giving explanations; and trust the result

vrill

me

the fullest

prove useful alike

to

himself and his other pupils.

Leipzig, Nov. 1891. E. M. Barber.

PREFACE TO THE THIRD EDITION. The

third edition of the

according to

the

second

»Manual of Counterpoint*

edition.

The

later

is

issued

published

and

edited »Exercises and Examples for the studies in Counterpoint* forming an essential completition separately to the

ded

»Manual« are mostly instructive and

to teachers

and

may

be recommen-

pupils.

Leipzig, June 1897. Dr. 8. Jadassohn.

CONTENTS. PART FIRST. Simple Counterpoint. Pages

Chapter

Note against note

I.

The Cantus

§ 1.

firmus in

Chapter

firmns in the Bass-

the Soprano.

Middle parts.

The Cantus

§ 3.

The Cantus

§ 2.

firmus

in the

Exercises.

Two

Florid Counterpoint.

II.

1—10

in four-parts

notes against one

.

.

.

10—21

Counterpoint of two notes in the § 4, 5, 6, 7 and 8. Baas against one of the Cantus firmus. Examples. Exercises.

Chapter

III.

21—38

Counterpoint in Upper parts

§ 10

and

11.

Rules.

Examples.

§

11.

Counterpoint

Cantus firmus in Middle parts. Exam13. Counterpoint in Alto or Tenor. Examples. Exercises. § 14. Counterpoint in several parts alternately and simultaneously. Examples. Exercises. in Soprano. ples.

Chapter

IV. §

§ 16.

Chapter V. §

38

Counterpoint in one part. Examples. Counterpoint in two or more parts.

15.

Note against note Examples.

§

in 18.

47—53 three -parts;

two

notes

Four notes against one.

Exercises.

53—56

Two-part Counterpoint

§ 19.

—47

Exercises.

Three part Counterpoint 17.

against one.

VI.

§

Four notes against one

Examples. Chapter

12.

§

Exercises.

Bules.

Examples.

Exercises.

PART SECOND. Chapter

VII.

Double Counterpoint

Double Counterpoint in the octave in two parts. § 21. Double Counterpoint in three parts. Inversion of the two upper parts. § 22. Inversion of the two lower parts. Examples. Exercises. § 20.

57—07

CONTENTS.

VIII

Pages

Chapter

67—75

Double Counterpoint

VIII.

Double counterpoint in the octave in Four parts. Soprano and Tenor, Soprano and Alto, Alto and Tenor, Tenor and Bass, Bass and Soprano, accompanied by two free parts. Examples. Exercises. § 23.

Inversion of two parts

Chapter

IX,

:

Triple Counterpoint in the octave in

Three and

75—86

Four parts

Examples

§ 24.

Three parts with

in

five

Inversions.

Examples in four parts to given Bass; the three upper parts are inverted five times. Exercises. § 25. Quadruple Counterpoint in the octave with 23 inversions.

and inversions of same. Chapter X.

Example

Exercises.

Double Counterpoint

in

Tenth and Twelfth

....

87—93

Example, two parts with inversions also three parts in different ways. Examples. Example in four parts in 23 inversions. Practical use of Double Counterpoint in the tenth by Bach. Double Counterpoint § 27. in the twelfth. Explanation. Rules. Example with inversions the same with one or two free parts^ Eules.

§ 26.

;

;

PART THIRD. Chapter

XI.

Counterpoint in

five,

six,

seven and eight parts

.-.

Five-part Counterpoint; Examples. § 29. Sixpart writing; Examples. Seven-part writing; Examples. Eight-part writing; Examples. § 28.

— 117

99

PART

FIRST.

Simple Counterpoint.

CHAPTER I. Note against Note. § 1. The -term Count&qp&htt implies the indepenaeat progression of one or more melodious parts or voices with one another, taking iiito

consideration a natural and correct connection of chords.

fielody

is

therefore the characteristic feature

of Counterpoirit;

each of the .parts or melodies thus united-, must be worted out independently; each must be a perfectly constituted part of the whole. This enables us to change at will, the relative position Of the parts in double, its

turn

triple

and quadruple counterpoint.

may become

Thus each part

in

soprano, alto, tenor, or iiasa.

We

have already recommended to the student in the exercises book on Harmony, (where we dealt with the structure and connection of chords,) a greater amount of care and coasideration, in the progression 6i parts from a melodious point of view. In the last -exercises in the "Manual of Harmony" particular attention was called to the formation of bass and soprano. Referring to this, in our

we can at once begin with the exercises in simple We make -a distinction between Simple Counterpoint in

counterpoint. :Note against

Note, in which only notes of equal duration are placed

—

"to

a cantus

and Florid Counterpoint, in which two or more notes are placed in one or several parts against the cantus firnjus. In the former the progression of parts will be independent only with respect to melody; but in florid counterpoint, the -progression will be independent in a rhythmical, as well as a melodic respect. The only difference then, between the exercises in -simple counterpoint, and our last studies in the "Manual of Harmony" is that firmus,

,

Jadassohn,

Counterpoint.

1

CEAFTEB harmony employed

the choice of the

§

J.

is

now

free.

By

this

1-

means

given of bestowing especial attention to a more melodious progression of each individual part. We commence our exercises as before in four-parts, and place the opportunity

is

to which the student will have to upper parts. He should treat these in different ways, with respect to position and choice of chords. It js intended that the student should only employ diatonic chords for the first few exercises, choosing at first as simple harmonies as possible, and only allow himself by degrees the more rarely used har-

the cantus firmus in the bass,

find the three

After the cantus firmus has been worked out several times

monies.

with diatonic harmonies, he will then be allowed to employ modulations but these

in an unnatural,

bass

may

however must not lead too far, nor be introduced or forced manner. The treatment of the subjoined

serve as further explanation.

Cantus firmus. 122=

Note. four clefs.

The student is lecommended to work his exercises always in the The following examples are printed on two merely to save space.

irr—r

§1.

h-ir^ 4.

—

NOTE AGAINST NOTE.

*-

CilAPTFB

p 11.

12.

I.

§

1-

NOTE AGAINST NOTE.

§ 1,

only common chords ; in the third and eighth we find the chord of the Dominant Seventh; in the 4"" S*'' e*"* T**" H*'' 15*'' and 16*'? examples, diatonic chords of the seventh are used; in the 9*'' and

we find the secondary chords of the seventh of the major on the 2"* and 7*'' degree with the altered fundamental note and altered third; only the 12"' and IS*"" examples give transitorily some modulatory progressions to the dominant of o-minor the chromatic alterations being effected, of course, in the 10*''

examples,

key of

C

,

;

same part

(alto)

allow

different

still

ways of treatment

It is not positively

make use

;

those given

firmus would

here however,

aid the student in working out his exercises.

a,re sufficient to

to

The cantus

to avoid false relation.

necessary (as shown in examples

1

of triads only in the following exercises.

Exercises.

^.

i^

18.

^P$

19.

S^

20.

^i^^^:EE = ^^

21.

22.

i^a u f

.

i

'

zz:

a::^

9--yr- -iff-^soiS^

3z:

s:

sf-^:^

and

2],

CHAPTER

§2.

I.

For the guidance of the student the commencement of the may be as follows:

exercise No. 17

I

^—

2E: ViSi-

if:

IT

9

26.

3!a; -iS'

etc.

etc.

i±^

i

m

:«=

#g-

S=

—

-(S«2.

-e>

etc.'

etc.

ig-

122^

S

3E

isaz etc

etc.

i

i^^i

p= 6

6 5

#

etc.

»

»

•s-

P^ The Cantns flrmns

in Soprano.

We

the

now give a cantus firmus in the Soprano. § 2. progression of the bass will require the greatest care.

Manual of Harmony

No new

rules

§

Here (See

61.)

are required;

as

practical

guidance,

we here

give a few examples of the commencement of the following cantus firmns.

-^27.

"¥-

^

;fcfairffe

28.

^^.

r-^

^ etc.

§2.

S=p==f^n=i

NOTE AOAINST NOTE.

CHAPTER

34.

35.

36.

I.

_^^^^:^i?::f:=^:^-^^_

§

3.

^^^^f

NOTE A&AimT NOTE.

§3.

9

We add two more workings out of the same cantus firmus in the alto, in which the tenor progresses more melodiously than in No. 38, ^ere it is only a replacement of the soprano, intentionally formed in an awkward manner.

^^^ 39 a.

or

CHAPTER

10

Cantus firmus in the Tenor

—

-H'lc

45.

46.

.

_

1

IL

§

4.

FLORID COUNTEBPOINT.

§4.

11

either at the beginning, or shortly before the end of the

exercise,

for instance:

Commsncement.

Close. ::Sr:

zsz

^=^49.

=s®z

^ ^^

^ ^

In the middle of a movement, the introdnction of a suspension, even

if

make a

well prepared, would

disagreeable impression, as

it

That a suspension in the bass can only as a rnle, be employed before the third of a chord, has been shown in the "Manual of Harmony".

interrupts the motion of the bass.

If then a suspension, as disturbing the motion in the bass has be used with care only, it stands to reason, that the tying of a note of one chord to the same note in another harmony, has to be avoided altogether. Only the three following rules will therefore be available. Leap from one to another note of the same chord. 1. 2. The Passing Seventh, occurring between the root of a chord and the third below it. 3. The fundamental note of a chord of the seventh, following a chord of the sixth. These three methods we see employed in the three following bars, namely: method first in the first bar, method second in the to

A

second, method third in the third bar. first

method.

50.

tMid

second method,

^ The

'

:sr.

^ C;

,

method.

5 I

last

V

V,

bar of No.

I

second method.

first

method.

^

^

50b shows,

third

method.

6:

I

that

2

6

^=t I7

IV

we may

117

^ V7

leave

out the

of a chord on the second half of a bar; but it may never be omitted in the first half, and only very exceptionally in a chord of the seventh.

third

In a few exceptional cases the fundamental note of a chord can follow the root of a chord, provided that re-

of the seventh

tarded parallel octaves are not merely hidden by so doing.

CHAPTER

12 51»

Ex.

cannot

be

fonnd

§4-

II.

fault

No.

-with;

SI*

quite

is

Inadmisaable. a.

Good.

I.

i ^s

Bad.

-&»-

-%-^^=t^

;g=

51.

m& The bare

*rzE ^

3

-(=-

consecutive fifths and octaves,

3fc

which occur between

the strong beats in Ex. 51b., are not sufficiently concealed

by the

on the weak beat of th£ first bar. A countei^oint, such as the one in No. 52, would be enljrely unallowable.

leap of a

sixith

Bad.

52.

|9^=i

a few instances, the parallel octaves are suspended

Still in

This

the motion. the sixth, the

M^H-f^^

is

seventh.

is

the case wlien the bass,

succeeded by the fundamental note of the chord of If contrary motion is employed, especially in con-

nection with two chords of the seventh (53*),

the effect

would be

a good one. a.

53-

i.

at

Good.

i^ P=^ Bad.

—

's^

by

bearing a chord of

S.

Bad.

^

e.

Less good.

^

~r32=

=^

E

§

FLOBW COVNTEEPOINT.

5. 6.

13

§ 5. More than three note^ belonging to the same chord and proceeding in the same direction should not be given to thecounter-

Consequently the progression of the bass in Ex. 54

point.

is

bad.

54.

Here the bass moves

B

in the

same

the notes C, E,

direction;

C major ;) after and F, D, B, Q (v,). Such progressions should always be avoided. Towards the end, the bass may very well make a leap of an (last bar but one) octave, best however from below, but also from the higher to the leap of an octave preferably upwards lower octave. can also be employed advantageously, at the beginning of the exerhy the middle of a movement, progressions of occise (first bar), taves should only be used exceptionally. G,

(chord of the

D

A, F,

C,

that,

seventh on the

(n^)

A, P, D,

first

B

degree of

(vtiS)

,

^ §

^

:£

-jy

^^

=£

^

iS NB. =ZB=

J

^

^

i

^

One chromatic passing note, as at NB. in Ex. 73, can be used occasionally; such a note then takes the character of an altered tone,

ascending .from the natural tone.

give an actual modulatory effect.

But

this does

The commencement

not

of the fore-

going cantus firmus can be treated in the following manner:

^

74.

Si

eto.

=1=

-^lfff=^f^

Several of such chromatic progi-essions however, should not b» employed one after the other, as in this case the progressions of the parts would become what old writers used to term a ^howling procharacter.

The nature of The following

tionable.

(Compare Manual of Harmony

gressiorC\

true counterpoint

is

of a diatonic-melodic

exercises would therefore be entirely objec§ 57.

Ex.: 301 and 30^.)

Quite bad, 'because cliiomatic.

a>~

75.

i

Jz

zsz

=f=

I

EfF^—

i

^=^ ZZZH

:2E®=

gjg-p|6^bg-

CHAPTER

20

a.

§9.

The passing seventh in the alto, last bar but one Ex. 73, is always allowable in any upper part at the close. The student may now work a few exercises, by placing § 9. two notes in the bass against one of the cantus firmus. He may choose for the soprano, one or the other cantus firmus ftom exercises 29 48. In the treat36, and for alto and tenor from 40

—

—

ment of these exercises

in florid counterpoint, the pupil should not

try to find support in the exercises he has already done

counterpoint;

or,

to

in simple

bind himself to the employment of formerly

He would not find his task easier, but more difhe kept always to the same harmonic ti-eatment, the mechanical patch-work of putting a second half note on the weak beat, would be most inartistic. One also would soon observe, that what was good and suitable for work in note against note, would often be unsuitable for treatment in florid counterpoint. In attentively noting the examples No. 64, 65, 66, 68, 69, 70, 71, 72, used harmonies. If

ficult.

73,

it

will not escape observation,

that in the counterpoint of the

on the weak beat, has but (Examples 65 and 71.) Now it is not' in any way forbidden to leap to the fifth of a triad the following counterpoint cannot be censured, although it shows the fifth of the chords

bass, the leap to the fifth of a triad,

seldom been used.

;

on the

first

and fourth degrees.

bt b

rg,.

;s=

76.

S

-gyg-

"^SQ I

^P^-^lf^F^^^zF^t^^ Such employments of the bidden,

fifth

either in the use of a

are therefore not exactly for-

common chord

or the chord of the

seventh, where they form a \ chord on the weak beat; but one cannot lose sight of the fact that the frequent use of the fifth on

the second half of the bar, character to the counterpoint.

gives a feeble,

We

halting and

warn the pupil

employment of this progression. not to be recommended, although

For

too frequent an

Example 77 is any of the foregoing

77.

it

I^ s

Efe

this

against

reason

does not violate

rules.

te^ m

awkward

therefore,

E^

TWO NOTES

§ 10.

The

21

common chords, marked with *

of the

fifths

IN THE VPPEB PARTS. in Ex.

77,

are easily avoidable as shown in Example 78.

78 J

Im s

:&

-g

a

^&"

^

^t^h^-jf-Rf^^^fir-F^^^ At

we wish

the end of this chapter,

that

fact,

somewhat

difficult exercises.

employed.

Similar

—

counterpoint.

to

draw attention

to the

not advisable to keep the pupil too long at these,

is

it

In practice mostly mixed counterpoint

exercises are

is

repeated in two and thi'ee-part

one would not

In instrumental or vocal studies,

detain the student at the same exercises until he has mastered them

by progressing

to perfection; to

to other

overcome by degrees the preceding

ability.

As soon

new

he

studies,

difficulties

with

will

learn

much

better

as the pupil has attained some efficiency in the

formation of counterpoint with two notes

bass,

in the

it

will

be

advisable to proceed to the next chapter.

CHAPTER Two Notes §

There are

10.

.eight

when they

notes against one, 1.

The

2.

Suspension.

3.

A

in

ni.

the upper parts.

methods available

treating

for

two

are placed in an upper part; viz:

leap to another note of the same chord. ;

tie

between notes of equal value, common

to

two con-

secutive chords in successive bars. 4.

All passing sevenths, descending from the root of a chord to the third below.

5.

Leap

6.

weak Leap ished

may

of which the

to the root of a chord of the seventh,

bass note

is

the third,

beat. to

thereby forming a *

|

chord on the

the Dominant as well as to any minor or diminwhere the minor or diminished seventh

seventh

,

serve to prepare a suspension.

TAe leap

to

the

major

CHAPTER

22 sffienth is siriatly

forbidden

a sequence for instance,

lU.

if)-

exceptionally, in th« course of

;

may

jt

prepare a suspension.

common chords of dominant and subdominant when the note of resolution is employed by preparation in a middle part. The root in the middle part should however be a ninth below the suspension. The

suspensions

of the

roots

of the

the tonic ,

8.

The if

,

suspension prepared by means of the passing seventh,

the notes form part of a sequence or part of a series

of bound notes. Note. The i^asoQ why the seventh cannot be nsed foi the piepaiations of suspensions, except in those cases mentioned untei No. 6 and 8, is easily le-

The sevenths aie dissonances themselves, and as snch need reOnly .the leap into the minor and diminished sevenths, gives strength and power of resistance to these intervals, to supppit and carry the sncceeding dissonance. Those instances mentioned nnder No. 6 and 8, are explained hy cognizahle. solving.

the e:LceptionaI character of the Seqnence,

Examples 1.

to these eight rules:

The Leap.

^^g

^=F=^

A

J

79.

9^r^ 2.

The

Suspension.

i Jz.

^t^=jr|^^

w^^ 3.

The

Tie.

4

3

^^g ^

81.

P^^

7 4

J^J-J 9-

3

TWO NOTES

§ 10.

The

4v

m THE UPPER PARTS.

23

Passing Seventh.

^^Jt^

=S=

82 a.

6

6

i^;3-rar: One can

6

:a:

write Sequences without hesitation as

shown

at

81b.

f##^^^^^^^ S

6

826.

a.''~

i±^ The fifth, taken diatonically after the chord of the sixth, is explained as the seventh of an imperfect \ chord; as the fundamental note of the primaiy chord of th% seventh has been heard jnst before in the same part. 5.

Leap

to the root of the chord of the seventh.

^tfc^

dr

eS ^

3^

-g-

83.

i!E^ C; IV

IV,

viiO

1I7

This method will be used but seldom, and mostly in such a manner as demonstrated in No. 83. The chord of the seventh

must appear in

this case complete in all its parts as a | chord. such as those shown under No. 84, are not recommendable, although they may sometimes be used in practice.

Progressions,

Not Good

Not Good

^

84.

I ^^

Not Good e.

a.

^ 6

3

C- IV

5

Il7

_£_5

VI1O7

V7

s 5_

CHAPTER

24 In example 84

the

a.

10.

UI.

chord sounds empty as the third which At b. the sixth is wanting. ;

\

the fifth of the fundamental chord

is

which

is

the third of the fundamental chord,

At

is

missing in the

^

fundamental note of the chord of the seventh on the first degree appears diatonically, and not as it ought to be by a leap; therefore the effect is weak, although the \ chord appears complete with all its intervals on the second half of chord.

the

c.

the bar.

The Jeap

6.

by

and the suspension prepared

the major seventh in a sequence.

T^J -Tfi

i $7—

I

g!

II ::

—

I

I

^T^ ~.u

^ z^

II

^?j-^

J m-as g'g -•

^

-

6

^

85.

4 2

5

2

6 5

6

4

3

:^2z:

3e:

C: H

117

Vy

^

I

a: vil" VflO^

I

^.^^^^^^^MMJxUu-j.

i

6^

p i^ o:

•nfi'j

7.

triads,

The

§ 53.

9

3=

B d: VI1O7

C;

suspension of the

8

3r

IV,

I

fundamental note of the principal

although the note of resolution be present in one of the

middle parts.

(See for reason

Exercise 257 b.

Suspension tonic.

f^hr 86.

for the

the minor and diminished seventh,

into

purpose of preparing a suspension,

of

the

c.

and

and examples "Manual of Harmony" d).

fundamental note

of

the

triad

of

the

TWO NOTES

§11.

IN THE VPPEB PARTS.

25

Suspension of the fundamental note of the triad of the dominant.

NB.

^

^ 87.

4 19

± ~rgr C;

-

7

3^

S^ or"

-

-

M

8

9

{

-^7 TJ

6

T >?

|-^^

—^-^--a-.-

fO

The

^r^

'

frmrr

^^

B>-^

r

eJ

T^

^

=

r

^f=&=^f

cantus firmus in the Bass

;

3iSI

r»1

the Soprano replaces the coun-

terpoint of the Bass.

% 222.

A

J.

f-^

\

^

,.

.

J E^fc -UJ J J

,

.

r J

J

J

,

JjJ

frP^

I

i

ffln^ -U-.

^

:t

In the same manner other inversions can be worked, stance bass,

:

the

change of the bass

into

the

alto

,

for in-

the alto with the

(having the cantus firmus in tenor,) the bass with the soprano,

cantus firmus in the alto or tenor, etc.

The

pupil should

work out the following

exercise.

Beginning

with note against note in as simple a manner as possible, he may furnish the cantus firmus with a more florid counterpoint in the free parts

and inversions.

The

practice

of his

own endeavours

prove clearly to him the necessity of the given rules, prinThe inciples, and remarks on this kind of double counterpoint. versions of the exercises should be written down always, in order will

CHAPTER

72 that

may be

JBxperience

formations of this kind

many

corrections

Above

and

gained of the real

They

of writing.

of

the double

often

give rise to

eflfeot

will

alterations of the original work.

student must* give due

the

all

23.

VXII.

attention

to the inde-

pendent melodic formation of each part, and see that the distance of the parts be sufficient to allow for the inversion.

Exercises.

We

may

be given to every one of the parts. exemplify the manner of treatment with two free parts below;

The cantus

firmus

cantus firmus from No. 224.

Cantus firmus in Soprano,

Alto and

Counterpoint in Tenor;

Bass are free parts.

i3b^ 223 o.

iAUAihlsUiMA^ ^m. i^ rTrry+f

^

<

ISZ

Inversion.

i-U

I

I

I

I

11

^^

js=UU=i=l J.

I J.

h^

I

li-

^-

is::

i

Ian

^

iJjj

f=F=P^=£rF=r*^^=^ Cantus firmus in Alto,

Bass are

2236.

Counterpoint in Soprano;

Tenor and

free.

^^^^^^^ r=rrr ^^^^^^^ ^^^fTf

I

I.

jAgJ^lL^

DOUBLE COUNTERPOINT JN THE OCTAVE.

§ 23.

InveiBioii. 1

i s-

Edq-^

p—f^

^ U ^^ ^

^

i^E^

£ ^.-jij3X4^ ?^0f—f=%

^m

Ft

73

?=^t3

f#^

3?=

Cantus firmus in Soprano, the middle parts are inverted.

223c.

J-

12^2=*

4-

j^pO-j^J^ ii jii

^rV~^r-^ ^i

i±^ J,^-

-^7-^

4-^:4^

I

J

^if^mHir=

{

Cantus firmns

—

lA

1

in

.J -J

Soprano; Tenor and Bass inverted.

^=d^=i=

iz

=^=F^

223 d.

iji

I

r etc.

J^i--i^ =

JJl<

^^^^^^^^p i

^i^^

p

IS

^ etc.

iES

*•

CHAPTBB

74

23.

VIII.

Cantus firmus in Bass; Bass and Soprano inverted.

223 e.

^^ |^M^4j^^ rr ^ Se^ Ei^iE^ m r

.

u

i Jl

J^

=l=t

?=MM^ Inversion.

^..

J.

^Es

1^

^=J=^

i^i~J ^E^ 224.

^

^ ^

J

I

Ttf-

J

^

225.

^^^^^1^^ =F==^

226.

^^ i

227.

^^

-TP

-^— •-

3S=

^-

:S

|5= Remarks on these Exercises.

It does not matter

one or the other of the inyeieions commences or The | chord must be avoided at the beAlso in the middle of the movfement attention must he if

finishes with the chord of the sixth.

ginning and close. paid to what has been said regarding the introduction of the

fifth of a chord,

TRIPLE COUNTERPOINT JN TBE OCTAVE.

§ 24.

when

7&

would result in a |. Thla chord cannot of course be The student need not trouble himself too much to evade it; one has only to bestow sufficient care on its proper introduction, otherwise this chord may easily sound weak or have a bad effect.

trhicli

inverted,

avoided altogether.

CHAPTER

IX.

Triple Counterpoint in the Octave in three and four parts. 24.

§

by

treated

If

in

three-part

writing

formed from

it,

parts

the

all

the rules of double counterpoint,

have

been

can be

five inversions

namely:

1. Position. 2. Position. 3. Position. 4. Position. 6. Position. 6. Position. 1. Soprano. 1. Soprano. 2. Alto. 3. Tenor. 3. Tenor. 2. Alto. 2. Alto. 2. Tenor. 1. Soprano. 3. Tenor. 1. Soprano. 2. Alto. 3.Tenor(orBass.) 3.Alto.

Tenor.

3.

In these inversions one can,

1.

S.Alto.

Soprauo.

(to

Soprano.

1.

avoid disagreeable crossings,)

place one or the other parts two octaves higher or lower.

ordinary inversion

the

octave

does

matter,

In the

occaone of the lower parts crosses a higher one for a few notes; but this must not be continued through many bars, other-" in

it

not

if

sionally

lost. Below the bass or no other part should be placed even momentarily. At the beginning and close the, fifth has to be avoided, in order that none of the inversions commence, or close

wise the effect of an inversion would be the

the all

lowest part

representing

movement with the

it,

| chord.

In

the middle

of the exercise,

the rules formerly given regarding the position and introduction

of the I chord, are to be observed.

A

suspension nine to eight,

Every part must form an independent has always to be avoided. melody, as each of them inverted in its turn in the soprano, will For this reason the resting of one part become an upper part. for any length of time on the same note would be impracticable,' This however would unless it be purposely meant as a pedal. We here give an example of not sound well in three parts. triple is

first

counterpoint with

all

placed in the bass.

the

inversions.

The oantus

firmus

CHAPTER

76

24.

IX.

"1^^i^rrf=r=^-r-i:j ^^^^^

228.

I

8.Cf.

^^

»«

f:'

^^^^ s

1T9

'^Y

t-

First inversion.

-^-T^fA-

The Alto

I

is

r

r

r-g

placed an octave lower and forms

^^^^^ fTrrt^ ^ti

the Bass.

^E ^i-^^r:^ 229.

^

{

r

^^E?N^=^^^^^E|^^gEg fTrr ^^

rrr-rr

iS^&^^g^^gj^E^EEg^^

»^^i3^ rrr

_

=2:

—

ffff

^bjzr^fj^-j

-a^

^

§

TRIPLE COVNTEBPOINT IN THE OCTAVE.

24.

7T

Second inversion. The Alto is placed in the higher octave This and the next inversion ought to and becomes the Soprano. be transposed to the key of G. to render them more practicablefor the voices.

2.

I^^^^^P^

,;td2:

1..

J—

-j

J

J

.nJ-Jj

230. 3.

^«E6

m.

e£=J=fe£M te m

iSEES m f=r-fyr-^rTT

^. E£

E^

#---

f

!

5* fe e^ee^ f

ijJfi^

i4

221

f.

^-

Jadassohn,

i--i

Counterpoint.

=r

^ ^'

Es:

CHAPTER

82 Fifth Inversion. s.

[i 2. I

f=rrf

liMd^U T

iS=

Exercises.

o243.

^

5E^£±{^gj^

242.

C.f.

25

IX.

k

TRIPLE COUNTERPOINT IN THE OCTAVE.

S 25.

83

be seldom required; one would certainly never produce all the inversions, (even if they should be perfectly usable,) within the compass of a piece of music. This would produce monotony. We therefore

advise

counterpoint.

the pupil not to stay

We

too

long

urgently recommend practice

at

this

in

triple

kind of double

movements very often occur in practice, as on in treating of the fugue. Now follows an example in quadruple counterpoint. To save space, we will only give the four most important of the possible twenty four inversions; we here give those in which each part changes its place.

counterpoint;

we

as such

will see later

1

2 3

4 be left to the student to write out the other inversions, he will then see that, provided the parts are worked properly by the rules of double counterpoint, the inversions would prove usable. Ex. 216 is also treated in quadruple counterpoint; besides those six inversions given in 217 222, the student may also write out It will

—

the other seventeen.

2456.

.r

^rM^-J^-O: i

^:i

J U

J

J ^^Ef^=f=^^^^^^ :l

6*

CHAPTER

84

.25.

IX.

(B^^ f=^^rfTr ^i Uu^^^^s ^ iat

245c.

fe^^sbi:^ 1.

-O-

¥^

^U^^rm

1^^

Hb

:&:£:

P^^^^^^^^Eig J

J

4:

im-f^^^m^-fe^jimi »ii-lg-^rj ^ ^ I g^-pV > ? I

:

J:

[

245 c;.

^U-

1.

ij^iJii

TRIPLE COVNTERPOINT IN THE OCTAVE.

25.

85

m

i=s=j-h^

g^^^jf=l^^

s;

i

W-drfe

245 e. *. C

i

^^=g

3^==^

iii

s

d=T^

--

i. s~

H«

m

^^-fm

TT

1-^ f^^te^^^^ ^=

i

^ -i

f^

:i

rr-

^

-0-0-

CHAPTER

86

We

show here

also

25.

IX,

example 216 in the inversion |

245/-.

'1*3

i

1.

V

i^p^^sEsesp^ 5a:^..j=^j^j^ fr^T^T^^

^r-fe^ gs^t^^AM^^^^^ ^ P 3ISI

fc^^

[

Eigrcises.

246. 9-^^^

247.

^

r^^

^

^^;^^=Nfe^^=r^F^

9Mt^^-^;^^^=g^^|=j=j=^

^ ^^^^^ 248.

a^=^=^^

E

^tf^^3^^=p=^ tr±il±3*z It

-*—

The

student

may

also invent such

in quadruple double counterpoint.

movements as can be worked

DOVBLE COVNTEBPOINT IN THE TENTH AND TWELFTH.

§ 26.

CHAPTER Double Counterpoint § 26.

X.

the Tenth and Twelfth.

In double counterpoint in the tenth the question

invert a part a tenth or third. inversion,

in

are

shown

87

The

intervals

is

to

which appear in the

in the following table of numbers.

123456789 987654321

10

10 It

of

two

result,

is

evident that in this kind of counterpoint the succession

thirds,

tenths, or sixths should not take place.

in the inversion in parallel octaves,

unisons or

They would fifths.

InTersion.

The fourth and the seventh can only be used in passing in way that the fourth proceeds to the fifth, which in the

such a

inversion naturally becomes a seventh to a sixth: for instance:

m m yr=r ^ iAai 'im ^m T=^ ^-^-^-i-ri

Inyerslon.

e£

InTeislon.

% r^^rf Pi^

J

i

rT

CHAPTER

88

The suspension

of the ninth

is

X.

26.

resolved in this

way:

i ^f^=k=

IiiTeisions.

^^m

i

^d-ri^LU-^

imrr

:fefe=£

clear, that in the double

It is

contrary

and

EE

counterpoint in the thent only

motion can serve the purpose, as those used in parallel motion: thirds, sixths, and

oblique

intervals generally

tenths

;k

have to be excluded.

a considerable number of rules concerning those intervals, suspensions and progressions which were Older treatises put forward

All those rules are unquestionably be evaded or permitted. but in most cases they serve, as many years of experience has taught us, only to embarrass the student. We, on the other hand, suggest but one simple rule for the double counterpoint in the to

correct,

tenth;

and

To

this contains all that is required for its formation.

the higher

pari write a lower,

so

that

both proceed

together

in thirds

And

to

the lower

part write an upper, so that both proceed together

in thirds.

The harmony

of

all

four parts as a whole must be clear and

natural.

Now provided the rules, relating to double counterpoint in the octave have been taken into account, one will be able to invert a phrase treated in this manner, in the tenth. Regard the subjoined example.

C.

f.

249.

Gp.

DOUBLE COVNTEBPOINT IN TBE TENTH.

i§26.

89

be seen that we have so arranged the lower part that we may add thirds above it; in like manner we may also write thirds below the upper part. As the

Here

will

it

with the cantus firmus,

parts are treated according to the laws of

the octave,

what

is

we

shall

now be enabled

equivalent a third.

First kind (or third)

We

of inversion.

show

double counterpoint in

to invert

each part a tenth or

this in the following examples.

The upper part

is

placed a tenth

lower, the lower part remains.

^cz^B^^E^£=-T[^^J^ 250.

{

^^^^=¥ f^j^^^ gg^^LLCjl^^^

0-*-

^g

To

this

and

also to the succeeding inversions,

one or two free

parts have of course to be added, as in practice such counterpoints formed by two parts only, could not be used.

part

Second kind of inversion. The upper part remains, the under is placed a third (or tenth) higher.

^ 251.

^m

CHAPTER

90

X.

26.

p^^^m^FT^^n^wfu^^ !* i;^EfeE^t^SE£rff=g? Third kind of inversion. tenth]

^

Il^^t^^

252.

Both parts are placed a third

(or

higher.

W^^

E^EEE^

^

^

A)^ ^

l^i^s ^^i fe

=^^

^ ^

^^J-JJTt=tr^ Fourth kind of inversion.

The upper

part

is

placed a tenth

lower, the lower one a tenth higher.

fee—

J

-j9J:^^-^i3[4:^=^EEg

253 a. S^2J

i^^S

g=^=±&jaM=£sa

^^E^^^^ a^g^i^^^ss^ i

We can treat this example in three parts in the following way, which contains one part worked in double counterpoint in the octave.

We

only give the commencements the student may for practice, write out the whole example as well as the inversions. ;

DOUBLE COVNTEBPOINT IN THE TENTH.

§ 26.

91

First manner.

^

^3B^3S l=y 2536.

I

etc.

fa:c^iij^^^=^ Second manner.

^r 253 c.

jTJ

J

.

^^

\

M

-:^

^

i^

f^ff

^

l

etc.

P

also practicable to add to the counterpoint anotlier which need not be inverted; but then the free part requires to be replaced as middle or lower part in each inversion. In the same manner one can add two free parts to the two parts in the double counterpoint in the tenth, and reconstruct them in each inversion. We demonstrate this by furnishing example 250 (the first inversion of 249) with one free upper part, and example 253 a (fourth inversion) with two free parts (Soprano and Tenor). It

is

free part,

m 253 d.

<

^S 9\

^

-

r 3=^^ ^ ^^£»

^ J JJ

-

i

I

r

^gj^

p^P-F

^F^ 3^

CHAPTER

92

We

transpose

the

X.

of 253 a

inTersion

26.

to

A

minor as

more

adaptable for voices.

253 e.

7=^=m

^E

^—

fS^^

-^

Ifttlt

jg-

-»^B-»-!«-

:t=R=

^£

^

^^^^

s

g^^=^ S^Tf ^ it^S^ i H«fi»

-(=-

EEt

g^=g^r=£?f^^^ •-

SEte f—

-•—#-

itn4

^

kind of double counterpoint can be treated in four parts by combining the above two additional

It is self-understood that this

also

parts in thirds, for instance:

254.

We have shown this already in example 249 with small notes, and give now three inversions of this little phrase. This will prove beyond doubt that no other triple or quadruple counterpoint exists except that in the octave.

§

DOUBLE COUNTERPOINT IN TBE TENTH.

26.

4-s:J

.S^

iJ^i

,

255.

ii^^

9a

^

fi

i«=E? Pft=E

M^^Mm^^ m^^'^'^w

^

*?*

^

^rg:

atznr^^^^^ *.>*

^•

(|i^ 257.

-

^afc-i-8'.^^^^

^

256.

g?f=??=^ ^ ^^==^

^^^^^ ^^^^^S ^

{

Vi?f^^= ^^J j^^^^=^=3=^^

^

:£

i

— S^ S^S^B S^ ^g^g^r^ #-«

HIP^tg^^^

h

^-#-

CHAPTER

94

We

§ 27.

here add another example of

double counterpoint.

Back's fugue in

The

X.

B

student

This

is

flat-minor

the

employment of such

the "Stretto" (Engfflhrung) in 8eb.

(Wohltemperirtes Clavier, Th.

may now endeavour

to

compose

in double counterpoint in the Tenth on his

Double Counterpoint

own

little

II).

movements

account.

in the Twelftli.

In comparing the following tables of numbers and notes, § 27. one will perceive that by inversion the unisons and octaves will be

changed into twelfths and

fifths,

the

the tenth into the third, and vice versa. 18. Inveision.

Jnversion.

eleventh

into

the second,

DOUBLE COUNTERPOINT IN THE TWELFTH.

§27.

95

As the sixth by inversion, becomes a seventh it must be always prepared, and descend one step diatonically as a descending ;

passing note

it

need not be prepared; for instance: Fiepaied sixth.

Unpiepaied passing sixth.

^* ^ i!^

InTeisions.

The double

i

Sr

IE

-^

ItJfc:

e

iiJ ^

is based essentially on This monotonous combination

counterpoint in the twelfth

the progression of thirds or

tenths.

requires to be cleverly concealed,

by giving the contrapuntal part

a free movement. We will show this to the student in tjie following example. One generally adds to the notes of the cantus firmus only the third or tenth.

jte 259. c.

Therefore the counterpoint the

progression

of

thirds

I

J

-

^

g^

iip$=

f.

^J

f

^-=1^

is

formed in such a manner, that

and tenths

covered; for instance:

is

as

much

as

possible

^

^^^s

rm=^^=f^=^=^ 260. c,f.

^^

^^n^^EUx^'-^^^^ ^

35Z

3

CHAPTER

96

From

this

little

phrase

we

X.

§

could be able

to

27,

form the four

following inversions.

The counterpoint

inversion.

Ifirst

placed a twelfth lower,

is

the cantus firmus remains.

[^^ i

C.f.

261.

^t^F-fft-r^W^-Hfg?

Cp.

i

-hrT^hi-3 #-#-

=t=^

ii

:^

m^^rf-w

Second inversion.

The cantus

firmus

is

placed a twelfth higher,

the counterpoint remains.

1^

C.f.

262.

W^-,'i

Cp.

'^

\'

i

i-jp

j^

iJi^

#f-f^

i

^^"

TtnTT

'

r

I

r

tHt'^^t

^

The third kind of inversion would correspond to the Gxst. The cantus firmus is placed an octave higher, the counterpoilff a fifth

lower.

C.f.

pztll^

ISIZ.

1^

263 a. Cp.

•^.lUl ^ rTf-f^^li^fc^

i

;

DOVBLE COVNTEBPOINT

§ 27.

The

m THE TWELFTH.

97

manner of inversion corresponds with the second

fourth

the Cantus firmus

is

placed a

fifth

higher, the Counterpoint an

octave lower.

C.

^ ^

f.

264. Cp.

To

We

middle

f= C/ two-parts can be added

these

illustrate

part,

m

-«^=-

this

in

and

in

f

f.frrjf it^' '

I

or two Free-parts. which we add one freethe inversion 263 a, to which we join two

example 260

a,

one,

to

free- lower parts.

The Cantus

firmus

is

placed an octave lower to leave room

for the free-middle part.

'-

2m b. C.

f.

f

ferr^

I

m^

^

1^

i-i-rn

«-

no

OBAPTEB The same cantus

276.

Sopiano

I.

SopianoII.

^

XI.

§ 30.

firmus with a counterpoint of two notes.

^

^^;^

^

f^-rjuTT

ft3^

a.

a. Alto

Alto II.

^F^F^t

S

lE^ =i&-(a^

Tenor

Bass

a.

i^^

I.

Tenor

a.

I.

II.

I,

Bass U.

E^

*=t:

O^: ^

^ ^ C,

^^i^ ^ f_pL-|

g

p

piip:

f.

Should a florid counterpoint be required careful attention must be given to the passing notes, so that they do not lie too near to the harmony notes, thus rendering the passage indistinct. Here follows an example the same cantus firmus.

COVNTBBPOmr IN EIGHT SEAL

§ 30.

PARTS.

111

277. Soprano

I.

Soprano II.

Alto

Alto

I.

II.

Tenor

Tenor

Bass

Bass

1.

II.

I.

II.

^^ ^^S i±^ G.

%

f.

—m-P—f-^^ P-^

-*

^f l^e

-^^

—

f-

^

j^^ i±

^i

^E^£

^

CHAPTER

112

can be used in free composition,

All the foregoing liberties allowing the sopranos and altos, in unison,

Here

30.

XI.

or tenors

and basses

to progress

or the whole chorus to be treated in four parts only. is

an example of

this kind.

278.

Sopiano

I.

and

II.

^^^^

£13 -m ^

dolce

Alto

I.

and

11.

^P=^=^

i ^

^-s2= ;

f-

^^^ ^

dolce

Tenor

I.

and

^

II.

dolce

Bass

I.

and

II.

.ui

^^^

^^N^ molt' espr.

men,

molf

^

molt'

a

-

-

men,

^

espr.

f==i=

•^i-U'

4

J

etrpr.

^

4^L^ =F moU' upr. 3-ff

fSfS

J.

.-.

r.-yr

fwt^ I

J

— COUNTERPOINT IN EIQHT REAL PARTS.

§ 30.

113

doleisi.

iM*fe^J'^ g^^^^pfl¥^g6 men,

P

ijA

=F=F

a doleiis.

^

^^

-g- fig

(ioJciss.

fert:^

5* =L^

men,

i^d: ZUSi

^E^

t

doJci'ss.

3=

a

men,

-

-

men,

a

W ^=^^f^^n^. ^

a

^=^ ^^^-

^_l

^ mf

^

tjz

p^^--PM^:g===f?^^==^=p:^z=F?g f^ -f^f-^

3

Pfe=* men,

a

i=^

/

SE

I

a

S^

a

m

P

9^

ff

g

.

i

4

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Counterpoint.

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CHAJPTER

114

XI.

30.

One would however attain a much better effect, by writing two choruses in four parts each; here follows an example of a double chorus.

279. Allegro moderato.

fU-^

Soprano.

Praise

Praise

I

ye,

ye,

a tiT r

Bass.

Praise

ye the

praise

Lord,

praise

ye

the

Lord,

-

ff

praise

ye the

Lord,

Mye,

P^J—

Soprano.

praise

the

Lord,

^

yw

Praise

J-

ye,

praise

ye

praise

ye

^—

13

Aito.

r^^-

Praise

a "

Tenor.

M-

^^ Praise

WW,

(g

^EZI^Efe

Alto.

Xenor.

ye,

IT7]^ \

02

ye.

^^ ^S =

Praise

ye,

f=g=^ praise

ye

/

Bass.

aE^=^^ Praise

ye,

^t=: praise

ye

t

COVNTEBPOINT IN EIOET REAL PARTS,

30.

tf

cresc.

-(•—•-

i

^

-^ ye the

pisiae

Loid,

#^#P=^f^

u

115

praise

//*

ye the

^Tt-f— -t— Ji E

Loid,

tf.

s

fi

ye

praise

^

ye

all

^ e ye

praise

lands,

//

ye

all

lands,

^

//

y

[fjlr rp

f-TTp

praise

ye the Lord, praise

I'

J

J

-ULl:^

him

^

//

ye

praise

Lord

the

F

Fye

all

//

fe

£rf?=£=e ye

praise

the Lord,

1321

all

H^

P^ praise

ye

all

ye

the Lord,

all

ye

.

ye

lands,

//

lands,

8*

all

116

(rts

f-f-f-r >

r ye

praise

CEAPTEB

XI.

ftr

r

30.

J

-no:^

the Lord praise the Lord

t^

all

ye

lands.

all

lands.

feS^ the Lord praise the Lord

ye

praise

^

^m Lord

the

praise

m

lands.

all

^

^1^ Lord

the

praise

t^

S^L^M-ff

lands,

ye

all

lands.

=s=p=

rl |&=^=2z lands,

lands.

all

ye

all

lands,

all

all

ye

praise

ye

lands.

lands.

^ praise

It

voices

is

lands.

all

as

of the

well first

in writing for a double

chorus, to regard the

chorus as

I=*

I^*

IP* Soprano, IP* The student may work for

the second as

Soprano,

Alto

etc.

those of

Alto. his exercises in five,

sis,

seven

COVNTEBPOINT IN EIGHT REAL PARTS.

§ 30.

and eight parts one

or another

examples, best suited for this

Later on he

may

After having

firmus

from the former

a bass cantus firmus. himself endeavour to invent such indepen-

dent, poly-part movements,

Motets.

cantus

117

is

and

to give

now acquired

the

them the form of small rules of

counterpoint

it

be of the greatest benefit and importance to him, to study industriously the works of the classical authors, such as Bach, Handel and others; only then will his studies lead him to real will

beneficial results.

Explanatory remarks and hints for

the treatment of the Exercises in the Manual of Counterpoint

with especial regard to

§

2,

page 8.

We

evident that the cantus firmus of No. 34

It is

E

has to be worked in

minor, on account of the d^ in the

work the example

^m

34.

self- instruction.

^ 11O7

VI

^

IV7

zsz -^

ZIZZ

-^r:^ 6 5

8

-A.

IlO, "7

1.0,

A

lEm

6

-4-

^E^

'JSZ

s

6

i

bar.

fifth

as follows

*7

'

working out of the cantus firmus of No. 35 could be done manner: NB. „ u

in the following C.

f.

35.

.

4Uti-

E^IE

^S

r

,

..

g-

is=

4I

IV

I

IV

NB. The seventh ascends, as the bass [Compare Mannal of Harmony § 45.)

Vt

I

117

V

takes Its natuial tone of resolution.

EXPLANATORY REMARKS AND HINTS.

P

:;s:

-#-

m

32:

119

^

rsz

A

leap into the major seventh 10, page 24, Example 85. therefore be used for the precannot it has always to be avoided paration of a suspension in a similar manner to the minor or diExample 85 b shows the employment of the minished seventh.

§

;

major seventh descending by step of second and used as the preparation of a suspension, in the third bar in a sequence of susThe dissonance of the major seventh when used as a pensions. chord of the seventh with altered fifth appears less harsh; but then the suspension becomes impossible on account of the altered

which requires resolving upwards, which would make the note of resolution sound with the suspension.

fifth

^^S gP^T*^ ¥-

When

two contrapuntal parts move in minims against semione can write the passage in the

breves in the cantus firmus, following manner:

^^ ^^^ To § 12, page 30. No. 108,

For the working out

of the cantus firmus

soprano we' give a few hints; the counterpoint of the firmus. cantus the of semi-breve minims against a

requires two

EXPLANATORY REMARKS AND HINTS.

120

C.

I

f.

108a.

•I

s—ni^s^

±

xJa

T:

{

SeSe^ NB. See Manual

NB.

-'g— ^=^-

of

Harmony §

53, pag. 131, Ex. 257b.

EXPLANATORY REMARKS AND BINTS.

i^ m

i=J

121

^^5^ ISC

J.

^±3E -w-

32= I2Z:

The hidden

fifths

between

tenor and bass are allowable on account of the contrary motion of the soprano.

^=m

^

st iE

-^

EXPLANATORY REMARKS AND

122

J^J

I

C.

I

f.

108c.

V

eJis-

J

I

,_.

BINTS.

.

zsz

}

JMiJ: .

'LiXljJt

J

!

A

Z

1^^—a^^—si

^^

^

i

3ZZ

^^

IB2Z

C.

f.

:s i^

'^^-rd..»'

I

fe

J J

108d.

iSE

li

3=

fet

^^d=^

plEE^

c.

f.

108e.

^

^ 22

i!±te

J 1S=^=

^

i=J=iJ: 01

[a)

(»)

EXFLANATOBY REMARKS AND

^

S

HINTS.

123

^^

3!^

12=

ZSZ

ZSZ

JS-

J C.

fri^^-4!Pi-i

f.

.

J J

,

j

jrpg-j

los/-.

l^^ i

Ljrpj j^-d-ri E^^

:^

zsz

We

add a working out of the cantus

firrnna

No. 100 in the

form of a sequence.

100.

c.

f.

i

J.^T^,i+.i

^^tU^_^

jBZ NB. 32=

•-^

NB. See Manual

To § 15, harmonic ones.

of

Ex.

Harmony § 53

pag. 131, Ex.

134 and 135.

257 c.

Both notes of a leap must be

EXPLANATORY REMARKS AND HINTS.

124

In this case the most suitable note will be the diatonic passing seventh; less so, the ninth passing between the tenth and eighth. In some cases a diatonic progression upwards can be used, for instance after three notes of the same chord:

To § 15, Ex. 136.

jE

J

I

r~

r

^

chromatic progression after three notes of

the same chord could only be available in rare cases, for instance

i

:4=t

^M

m

ii^

^i: zsz

To § 22,

Fx. 201.

It

will

be

perceived on observing this

may amount

example, that the distance of the bass from the alto

two octaves. The careful introduction of the and minor triad will here be found necessary. to

fifth

of the major

be adon a weak beat) or prepared, in order that in the inversion, the | chord does not enter ill-prepared on a strong beat. This can only be done by the second inversion of the tonic chord in the preparation visable to introduce this interval,

of a

It

will

either as passing note (best

full close.

In Ex. 201 the

fifth

of the dominant [A,

C*, E,) appears

the third bar) in the bass on the fourth crotchet.

note [A]

is

sustained,

struck in the soprano on the

first

crotchet,

serves as a preparation to the

fifth.

The

a passing note.

(in

The fundamental and being

fifth itself is

is sustained in the bass from on the third crotchet it becomes transitorily the fifth in the chord of the subdominant {G, B, D) by the passing note O in the soprano. The same occurs with the in the alto, in the sixth bar of the same example.

the

first

In the fourth bar, Z>

crotchet;

A

Example 202. the soprano the

fifth

The inversion

of

soprano and bass shows in

of the chords on the second degree,

(e,

g,

b,

bar second), the sixth degree, [b, d, /**, bar fourth) and the chord of the dominant, [A, C^, E, bar sixth) as passing notes on the fourth crotchet; the fundamental note and third of the respective chords are each time present in other parts. All that has been previously said concerning the preparation and introduction of the fifth applies to

example 207.

To § 24, Ex. 228. As in the Ex. 201, 202 and 207, we would here observe that the fifth of the major and minor chords are always carefully prepared. Only in the last bar but one (10),

— EXPLANATORY REMARKS AND HINTS. the fifth

125

F

enters freely on the first crotchet. But here of the chord of the Tonic shortly before the close

fifth

;

it

is

the

and the

chord is used quite in its proper place, where it is especially I well qualified to indicate the approaching conclusion and to prepare the same. Moreover the fundamental note of the chord [B'' in the alto)

prepared.

is

To § 24,

A

Ex. 237. crossing of parts in an inversion can naturally only occur, when the distance between two upper parts is greater than an octave in the original position, as in Ex. 237,

bar

3,

between tenor and

gression of the soprano,

alto.

One

will observe from the pro-

(bar 2) that the altered fifth

can be em-

ployed advantageously.

To § 25, Ex. 245 J. Here also the preparation of the fifth and minor chords has been observed carefully; only

of the major

the eighth bar, we find the free entrance of the fifth of the chord on the second degree (c, e', g) on the third crotchet. The effect is not at all bad in the inversion, (Ex. 245 c) because of the fifth being a chromatio passing note of no great moment. The latter could have been easily avoided; it has been so placed in-

in

tentionally, in order to bring this exceptional case to notice.

To § 26, Ex, 258. the soprano in the two

If the student places the first 6 notes of

bars of this example an octave lower, he will obtain an instance of an example in double counterpoint in the tenth, like No. 249. To § 28, 29 and 30. We add a few more basses, especially adapted for work in more than four parts.. The student is meant to treat these at first note against note, and afterwards in florid counterpoint, for 5, 6 and more parts.

-9+If

first

INDEX. Bach, 94. Cantus ftrmus, see Examples. Chords of the fourth and sixth, 69. of the augmented fifth and sixth, 69. Chorus, double, 114. Chromatic progressions, 19. Conlirary motion in doable counterpoint in the tenth,

—-

Counterpoint^ simple,

1.

minims, 10. the bass, 11. the soprano, 21. the middle parts, 30.

florid, in

in in in in in in

crotchets, 38.

three parts, 47.

two

DoMe,

parts, 53.

in the octave, in

two

parts, 57.

in three parts, 59.

in four parts, 67.

TripU, 75 Quadruple, 82. in the tenth, 87. in the twelfth, 94. in five parts, 99. in six parts, 102. in seven parts, 105. in eight parts, 109. Crossing of parts, 64. Double counterpoint in the tenth, 87, in the twelfth, 94. Eight-parts, 109. ;

'

double choruses, 114. Exercises for simple counterpoint in four parts. cantus firmus in bass, 5. cantus firmus in soprano, 7, 8. cantus firmus in alto or tenor, 9, 10.

88.

— INDEX.

127

Exercises for florid counterpoint of two notes in the bass .against one of the cantus firmus in soprano, alto and tenor, 29, 30. Two notes in soprano, against one of the cantus firmus in the bass, alto or bass two notes in tenor or alto, against one of the cantus firmus in any other part, 33. Two notes in different parts, partly alternate partly simultaneous, against one note of the cantus firmus in any other part, 37. Four notes in different parts, alternate, and simultaneous, against one of the cantus firmus, 46. for counterpoint in three parts, 52. ;

—

in two parts, 56. for double eottnterpoint in the octave, in in three parts, 67. in four parts, 74.

two

parts, 59.

in triple counterpoint in three parts, 79.

in four parts, 82. in quadruple counterpoint, 86. in simple counterpoint in four parts, 2 9. in jflorid counterpoint, two notes in the bass, against one of the cantus firmus in soprano, 11 21.

—

—

Two

notes in soprano, against

one of the cantus firmus in the bass 22

— 29.

two notes against one of the cantus firmus

in alto or tenor, 30, 31. one of the cantus firmus in

Two notes in alto or tenor, against another part, 31. Two notes in different parts, partly alternate, partly simultaneous against one note of the cantus firmus in the soprano, 34, 36. in the bass, 35. in the tenor, 36. in the alto, 37. Four notes in one part, against one note of the cantus firmus, 38 43. Four notes in different parts, partly alternate, partly simidtaneous, against one note of the cantus firmus, 44—47. for three parts, 48 52. for two parts, 53 56. in double' counterpoint in the octave in two parts, 5S, 59. in three parts, 59 67. in four parts, 67—74. 79. in triple cotmterpoint in three parts, 75 in four parts, 80—82. 86. in quadruple counterpoint, 83

—

——

— —

—

—

in double counterpoint in the tenth, 87 in the twelfth, 95—98. 102. in Jive parts, 100

—

— — —

in six parts, 102 104. 108. in seven parts, 105 115. in eight parts, 109

Figures, contrapuntal, 38. of imitation, 46

of triad-movements, (arpeggio) 40. Fifth, augmented, 54. Five-part toriting, 100

— 102.

—

94.

128

INDEX.

Free-parts, 67, 72. Inversions, 57, 74, 82, 87, 94.

Melodies,

Minor

1.

scale,

melodious, 41.

Movement, rectus, 47. obliqnns in double counterpoint in the tenth, 87. N'otes harmonic, ip.

passing, 38.

q/ change, Paragraphs: 1 page 1. §

38.

4 page

6.

§

3 page 8.

§

14.

§

8

28.

§ 13

-

30.

47.

§ 18

-

53.

9 § 14 § 19

22 61. § 23 87. 94. § 27 § 26 § 28 Parallel-octaves, hidden, 14. fourth in double counterpoint,- 69. Jifth in double counterpoint, 59.

67.

§

98.

§

6 § 11 § 16 § 21

Part

§

2 page

§

7

25.

§

12

44.

§

17

13.

§

-

59.

-

§

15.

§

24 29

-

10.

§

20.

§

34.

§

54.

§

75.

§

105.

§

I, 1

II, 57.

Ill, 99. Pedal-Point, 75. JRules for four-part -writing, 11, 14, 21, 38. for three-part writing, 47. for two-part writing, 54. for double counterpoint in the octave, 59. for triple counterpoint in the ootaTe, 75. for quadruple counterpoint in the octave, 82. for double counterpoint in the tenth, 87, 88. for double counterpoint in the twelfth, 94. for five-part writing, 99. for six-part writing, 102. for seven-part writing, 105. for eight-pa,rt writing, 109. Sequence in counterpoint, 27. Sixth,

augmented,

58, 71.

Suspension in the bass, 11, 20. in the upper parts, 22 25. in crotchets, 38, 39, before the octave in double counterpoint, 60, 61, 76. Tenth, counterpoint in the, 87. Three-parts, 47.

—

Tie, 22.

Transmptions, 67

—

69.

Twelfth, counterpoint in the, 94. Wohltemperirte Klavier, 94.

Printed

Ijjr

Breitkopf and Hartel, Leipzig.

5 page 13. 10 21. 15 38. 58. 20

25 30

-

82.

107.