Jadassohn Manual of Counterpoint
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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
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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.
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