Johann Joseph Fux - Gradus Ad Parnassum

FOR

Grab US ad Parnassum ^\^itten Originallj in Latin bj

Tlie

Roman Emperor C H A R L E

Eu oTaved

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fey-

^ ^imc/zs^r

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Caulfield

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S

YI

Chapter Counterpoint,

Of

Counterpoint fition

2 or more parts, wKerein the Notes

in.

and

figurative,

from our own Fancy or from a Church Tune;

in

Concords only.

in the latter

of the fame value, and

mav chufe

"We

Cafe the Subject

is

is

cal-

the Subject either

Can-

called in Italian

fermo. In.

figurative Counterpoint

Parts,

called in Italian

it. is

Contrapunto Before

we

Notes

the

When

and Concords intermixt with Difcords.

1 The

the Canto

Contxapunto fopra

il

Contrary

a perfect

reafon

is

and if in the Upper

Parts,

and

open or hidden; the

5^

are

be ufed in any Progreffion; but the Similar, only

from an imperfect to an

deemed perfect Concords, but the 3^ and

laft

wrong progreffion of fucceffive

avoid the

may be difcovered by

the ixitermediate

.

ly-O-

-iB

Notes contained within the Spaces,

s

h

XT

i

i

8

8

8

8

33:

i 2

8

'

3

i

.We muft avoid proceeding to an Eight or Unifon by a Skip, that

afcends one degree and the upper defcends by a Skip though

An imperfect Concord

II

is

0

be

in the

"

1

when

is

the

lower Part

contrary motion.

°r

8

°

it

II

^

to be ufed preferably to a perfect, as the

S

The Notes muft be conformable to Tlie

Inharmonic Relation

6* Regularity, Variety and

in

Mi

former

is

the nature of the Key.

again ft

;

1

harmonious than the Latter. 4*

Pa

is to

to

Fifths and Eights, Avhether

Hidden Eights

Fifths

I 5

imperfect.

Example.

in the following

Hidden

6^

imperfect:

from a perfect and imperfect Concord

the Similar motion in the Progreffion is, to

Regular, Contrary and Oblique.

viz. the

a perfect Concord to an imperfect, or

8^

why

Oblique may

and

not allowed of,

may be feen

foggetto;

proceed, the following General Rules in Compofition will be neceffary to be ob-

Senfe only the

The

fermo or

fotto il foggetto.

when we. proceed from in this

may be of different value, Subject is placed in the Lower

in the different parts

ferved with regard to the different motions in Mufick:

as

Compo-

the former is a kind of

in the different parts are

Note againftNote

led plain. or fimple from being

to

pom/^ii^'(rn.V

6^

Ex: the 2^

is

in the fixth

Bar of the fame Ex. the

doubled and the

left out

4^

tlie firft

the full

Exam pie, that

tlie

accen-

Harmony.

which properlj

fliould

accompany

has been doubled inftead of the

2'i

rather to be doubled, as by the Refolution the latter becomes a 3^ an Interval that is .th

than that of the 6

f

.

—

which

produced by doubling the 4.

is

0--

A ^

—o—

w

-(-

I

—.

\¥ C

o

fee Ex. 75.

-

—o

mt

^

- c

+

J'/arcd Couriterbolrii^ Wliatever

is

to

fame Counterpoint

be obferved with regard to in the

Compofition of 2

Sr

3

tihls

Counterpoint in four Farts

Parts, to

which

it refers, as

is

contained already in the

may be feen from Ex. 1. 2. 3. 4.

Ex.1.

2 XT lui

Canto fermo

§33

i Canto' fermo

XI xt

XE 3D:

xr

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—

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1

IS XI.

g

XL

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IT

1^

i 0'

o

XT

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xr

^-xr

Xt

a

S

Canto f'ermo

Xc

It

Xt

lO:

XT

X3l

xr

ilLi

4

s

ft 1*

Before

we proceed

be refolved in a

differejit

-Qt

i

S

5

to the next Chapter^ it will be proper to obferve

manner, as tor Inftance the 5

into the Sixth and Third as in the tbllowing

into the

6

the

that

fome

Decime into

Examples

-=-q

$

7

10

o

A a 4 *

i

H

!

I

i

4

10

X5

Q

1

ilXL

^

X2

4

3

I

6

6b

i

6

Difcords the

3

may

the Fourth

— ^

—

20

Of when

Imitatiofi,

tke fuccee ding Part follows the preceeding after

fome Paufes or

without being either conflneci tb whole or half Tones, or to the Key, It

is

it

call it

is

is fufficient if

only fome part of a Subject

is

It is llkewife to

imitated.

is

fame Intervalls

Imitation.

not required that every note of the preceeding part fhould be imitated, which

Canonsj but Imitation

we

Refts, in die

peculiar only to

be obferved that

rather to take place in the middle than in the beginning of a Gompofition, as in the middle

need not fo ftrictly be confined to the Key.

Laftly

Third, Fourth, Fifth, Sixth, Seyenth and Eighth, as

it

may begin with any

wiU be fhewn

Interval, as the Unifon, Second,

in the following

In Unifon

Examples

.

In the Second

^

§3:

E

XL

i In the Third

In the Fourth

-e-

-C.

mf

n

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*-€)-

nff

^

^ ^

In'the Fifth

XT

i

3 Iti

i

It

5

p

I

In the Seventh

the Sixth

M

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inl

{a

XX.

«-

In the Eighth

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C

21

Chap.

my

ll&S Tte Fugue

is

Y. C/e/neta fome notes of

a kind o£ Compofition wliere the following Part repeats

by the fame Intervals and bj

tlie

fame Species of whole or half Tones, and where one Everj Key

fined to the Rules of the Key.

determined by the compafs of a 4*^ and

is

former

tKe

is ftrictly

5^

con-

contained

within the Eight, according to the limits whereof the Subjects of Fugues muft be regulated, fee Ex.1.

That

is.

when

the

5^

Rule, as

fee Ex..4.

it is

fufficient

when

muft not exceed the limits

the fucceeding

remain within that of a Fourth and vice verfa. fee Ex. 2. 3.

Kej^, but to this

Part takes up the extent of a

fir ft

But

in Imitation

the fucceeding Part imitates die firft by the fame

Degrees or Skip8>

But Imitation may begin with any Interval as has been mentioned already.

Ex.1 .

O

o

i-e-i

o

0

a;

0

OfFl^UeS T%e following

is

in that Part

wherewith you intend

if fo,

Method how

Key you intend

to

to

Compofe

in,

a Fugue in two Parts.

and write

firft

down yOur Subject

examined your Subject whe-

repeat the fame notes in the fecond Part either in the Fourdi

or Fifth, and whilft the Second Part imitates the firft wherewith firft Part as will

u

1

Compofe

This done and having

to begin.

be conformable to your Key,

\

tuw

a fhort but regular

Firft choofe a Subject fuitable to the

it

are not confined

Laftly the Fugue muft begin with fuch Intervals only as conftitute the Key, wiiich.are theUnifon

Eighth and Fifth,

ther

we

o.f tlie

you have begun, put fuch

notes. in the

agree with your imitating Part according to the Direction given in the Figurate or

Florid Counterpoint, and after having continued your Melody for fome Bars, thus, that the firft

Cadence

may be made

in the Fifth

of the Key.

regulate the Parts

Then refume your Subject

fame Part you have begun with, but by another Interval, after ha%ing firft put a Reft of a whole or half Bar, whicK however may be omitted in cafe there fhould happen to be After this endeavour to bring in your Second Part after fome Reft a great Skip inftead of it. moftly

in the

and that before the Subject of the

Part draws towards a Conclufion, and having carried, on your Subject a little longer, make your fecond Cadence in the Third of the Key. Laftly infirft

troduce your Subject again in either Part and contrive

fooner than

it

at firft, and if poffible after the firft Bar,

and the Fugue finifhed by a

final

Cadence

fo that one Part

may

whereupon both

imitate the other

Parts are to be united

.

See the following Fugue, on the next Page, where the Subject is taken from our ufual Example, in which every thing relating to the Direction above is exemplified.

—

^

—

22 Cad. in h

•IK

I Cad. in

3l

^3

i

3

it

1

*5

i re it

foregoing Example the fucceeding Part anfwered tKe Subject of the firft in the. above.it, fo in the following Fugue the fame Subject will be anfwered by the fucceeding Fart in the 4*^^ below it, agreeably to the Rule given above; That if one Part takes up the extent of a 6^ the

As

in tlie

following muft not exceed the limits of a

4*^^

n

-o—

and vice verfa.

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Note. The notes of the Subject towards the end of the Example above appear with fome alteration by being introduced by way of Syncopation; which is not only allowed of in Compofition, but is Sometimes neceffity requires a Divifion of notes thought rather to have an agreeable effect.

when otherwife the Subjects cannot be clofely united. The following is an Example of a Fugue in

0

,0

1^

XT

j9

the

Key of

a C

to

i

i it

I3

a

-O-

XL

A

.

XX.

Xt

.

xz

G

Nott

In

.

tlif

llrft

Third A. C.

and fecond Bar in foregoing Example , the Second E.

to be obferved in

it

would have been

F. in

All thofe Rules given

by a

th';fame

imita-

Harmonical

to the

above for compofing a Fugue. in two

done

after bothParts

have finifhed their Subjects, or

Melody of the Subject, according

after the addition

But

gether infignificant. Care muft be taken to bring

it in

in

may be which fomeCompo-

introduced, which

is

of fome notes

as circumftances require,

pends on the proper judgement of the Compofer.

it is

in

.

to

Pro-

Sc

C.

25 may be

taken together and

be underftood of the 4^^

Ex.

that:

refolves into the S. and the 2^ into the 3'

the

The fame

is

to

when they lay ready beforehand.

&:

J.

Ex.2.

m

i2i

32:

m

i

rr

m

0£

i

Here follows

6ie

Example of a

FUGUE

in

Three Parts on the

ufual Subject

XT

lO:

pi

XT

3 3

m fire

Explanation of the Example Method has been obferved as in that of two Parts till Part which the two upper Parts accompany by a proper Harmony during

In the Compofition of this Fugue the fame

the Introduction of the third

the continuance of the Subject.

ent

from

Whereupon

that at the beginning, whilft the

relts and prepares itfelf to

the Tenor refunies the Subject, yet in an Interval differ-

lowermoft

Part

accompanys the fame. Meantime theTVeble

be introduced again by another Interval different from that

at the

be-

ginning, fo as to indicate the approach of the Subject by means of a ftrong Difcord, after which t}ieClofe is rracic

by means of

vi

leffer Sixth.

Now

the Tenor refts three Kars, partly becaufe the upper

an'l

lower

meet fo clofe together fo as not to leave convenient Room for the Tenor and partly becuufc t)ie Further it muft be noticed, that the Tei-.or may alfo Tenor itfelf is foon after to refume the Subject.

f^rt

be })rought in by a the Counter

Tenor and

St

its

6^^ which h as

much Effect in Compofition. Contra Harmony built upon it, deferves

Laftly the manner of bringing .in particularly to be noticed.

Q

26

0/ Concerning the additional

'

/o//r

rrf fourth. Part

we 'muft

refer to the Counterpoint in

4

Parts

where everything

neceffary .to be obferved has been fufticiently treated of already. It therefore remains only to be fhewn, after ^\hich.of the

yet

it is

the

Parts the 4^^ is to

common Rule,

the Tenor; and to

3

we

Though

foUow.

it is

generally left to the Difcretion of theCompofer

eftablifhed by Cuftom, that the Counter Tenor

is

to follow the Treble and the JKafs

number of Parts encreafes, proper Care muft be taken not

further muft obferve, that as the

crowd them in fuch a manner that there fhould not fufEicient

Room be

left for the other Parts to

properly, but if inadvertently the Parts fhould happen to be thus fituated, the

Delign, or one Part muft reft

Subject. .Yet

it

till

fuch time as

it

Compofer muft either

may conveniently be brought

in again to

always w ill be more expedient to order and regulate the Parts thus

out being put afterwards under a Neceffity

at the

Beginning AvithRules^if well

obferved, will greatly prevent any miftake of this kind, which are 1? that by Compofing one Part, at tlie

alter his

be united with the

The following

altering a Plan once laid out.

cJf

proceed

One muft

fame time keep in view the other Parts. 2^ To leave fufficient Room for a free Progreffion. and a

good Melody between the feveraL Parts

fee

the following

Example.

i

a

i r*—

3

3

i

*

a

m

I

5P

i 22 Note.

It is

not requifite in Compofition of four Parts that a continued

throughout the Piece as

it is

fufticieut if

order to refume afterwanis the Subject;

duced,

when

Before

all

we

4

Parts

Harmony of 4 Parts fhould be kept on

fome of the Parts do proceed whilft one or and

to

if

fill

the other refts,in

towards the Conclufion fome additional notes are

up the

intro-

Harmony.

proceed to Fugues of more than one Subject,

Double Coi.nterpoint, in

meet together

s

m

5

n:

it

wiU be neceffary

firft

to treat

of the

as one of the moft material Articles in Compofition in general, and efpecially

Compofition of Fugues where more Subjects are introduced.

^

^

27

Of DoudU This

is a

kind of artfull Compofition where the Parts are inverted in fuch a

manner that the

uppermoft becomes the lowermoft, and vice verfa. fo that without any other alteration in this Cafe a double Melody arifes

diffe rent

from the

Some Authors mention different Species, fuch

in

refpect to Gravity as Accutenefs.

Double Counterpoint

as the

which however

Fifth, Sixth, Eighth, Tenth and Twelfth,

both

otlier

we

in the Third, Fourth,

will pafs over, partly as their Ufe

is

immaterial on account of their being confined to narrow limits, and partly as they differ but tle

from the other; and treat only of fuch as are more fignificant and ufe full

for Inftance

the

Double Counterpoint

The .following general Rules

Parts will be

2']

The Subjects muft be

that is

it

Tenth

all

and

Twelfth. ought

a Diverfity

to

ought to be contrived fo that one Part

the other of fhorter notes

made perfpicuous and

the

more properly from one another

fub{ift in the Progreffion of the Subjects

may .eonfift of Longer and

Eightli

Compofition, as

in

are to be noticed

relating thereto

In order to diftinguifh the Subjects

1^^

in the

lit-

bv that means the Difference in the

manner of Confufion avoided. that one Part is to follow the other after fo me

regulated thus

reft,

but never to begin together at one Time.

3^ One muft

not exc5^3d the Limits prefcribed in every kind of Double Counterpoint.

our This

below

,

a kind

is

a different

be obferved

The

as by Inverfion it

becomes

for the

a

Fourth.

One muft not exceed

Ex

^

it

becomes

a tin ifon

'

.

the Limits of the Eighth, as otherwife

the other as to their nature

-rnpe

to

fame reafon the Eighth cannot be ufed on the accented part of the Meafure,

tervals are thereby changed only into

1

The chief Rules

.

not allowed of to pafs into the Eighth by a Skip, as by Inverfion

fame Intervals would, be

l3ie

For by exceeding the Eighth the fimple In-

produced and confeq^uently the fame Harmony.

Ex

with Rules

part of Compofition are as follows:

but only in Syncopation 3^1-

arife, but fuch as is conliftent

Fifth muft be av^oided

It is

Ex.1,

of Compofition where by the Inverfion of one Part into the Eighth above or

Harmony muft

in this

O

compouad ones, which

are

one and the fame thing with

and differ only in point of Place or Situation.

Ex. 2.

2 __]

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Inverted I

0

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e

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—J

The following Rows of Figures placed oppofite to one another, what Concords and Difcords Notes are changed by way of Inverfion 1.

2.

3.

4.

5.

5.

7.

8.

8.

7.

5.

5.

4.

8.

2.

1.

will .

fhew

at

one View, into

.,.„

I

28 From Kence

it

appears tkat by Inverfion the Un if on becomes an Eighth, the Second a Seventli,

the Third a Sixth, and the Fourth a Fifth, and fo on.

and of that in the Eighth below

it.

Ex. 2.

alfo have place in Syncopation.

Ex.1.

the Inverfion in the Eighth above

And the following Ex. 3,

Ex. 3^-

fhew that Inverfion

Inverfion

"H

o o

I

will

it .feeE

~ ^ J• ^

^ U

1

i*

J

J

-H

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r

—

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arrr-

r

u

n

H-

III II

1

1

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r

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o

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n

From what has been

faid

of this Counterpoint

it is

ofTU

evident that

it is

inipoffible to introduce

feveral Subjects in Coinpofition without the fundamental Knowledge and Practice there of. and without a Variety of Subjects a Compofition, efpecially in Church Style,is rather infignificant

Now

fuperficial.

and

how

it is

to

it

follows

bo carried on.

to

-

fhew

the-

manner of Compofing

a

Fugue upon

a

and

CantoFermo

—

^^ 41

23l

S

_x

=3

^

j

5^ 22

1

Note.

we

Before

write down the Subject that

to be united with the Canto

is

fermo

it

will be necef-

far^ firft to confider duly every Bar of the Canto fermo, whether fuch a Subject introduced either in the fimple or ftrict Contrary

the

Yet there

Canto fermo

Example

will harmonize with it at every Bar: or at lea ft at

The Rules of Counterpoint and good Melody

moft of them. refpect.

Motion

is

itfelf,

ftill

are alfo to be obferved in this

another way of choofing a Subject

by altering the Value of Notes

\\hich

as will appear in the

.

»—

,

Q

-J

1^^

-TT—

—

>

may be taken from

—

—4-

—0

^.x

!

cr~

:,:,:;o

;

following

^

42 Subjects

in the

the Inverfion of it

would appear

tlie

Chromatic Stile

are inverted differently.

following Subject in Ex*

as in tKe

according to the Rules of

1.

manner following, fee Ex.

trary to the Key, fo for that reafon

For if

2.

Hut

tlie

as this Inverfion

to be regulated thus; fee

it is

we wore

Ex.3,

to regulate

Diatonic Genus

would be con-

as both the

Begin-

ning and End remain within the Limits of the Key.

Ex.

Ex.1.

Ex.3.

2. il II

\minra JMIILl

£5 The following Fugue compofed

JU

after this

method of Inverfion

i

EC

1

L.

will futticiently iUuftrate

it.

o in the

contrary

Inversion. ,

^

Q

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r !

Li

1^

3

3

d—

F 1>

1

l

O L fti a

44—iU "0

re

i to

32:

3

a

r

0 * ft

i

to

I

:;;;=o:

fct

S

2 If a Compofition

is to

be embellifhed with more Subjects, fo that each may be different from the

other as to their nature and value of notes, point

as

may be feen

in the

it

may be effected by means of the Double Counter-

following Example,

' .

;

—

—

—

43 -r

i

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0

0-

X2

—

—4

.

"1

T

T"

—

-C-

..

^

..

.,

....

—Oi

.

.

if

.

.

F

=^ —T

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4—-

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JJ

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I

1 This, is the way a Fugue with the Counterpoint in the

3 Subjects

is to

be regulated. Here the fecond Subject

and the Third upon that in the Twelfth.

In the firft place

it is

to

is

grounded upon

be obfer\;ed that

each wSubject muft be diftinguifhed from the other bj a different value of notes, in order to render their different movements the more j^erfpicuous:

fecondly, Care muft be taken that after the Subject has been

introduced in the Duodecime, no Six may appear between the Parts as otherwife the Inverfion could have

no place* thirdly, the reafon why the whole Subject has not always been is partly

for fake of bringing in another Subject, or for fake of Melody.

properly requires a

part for

its

carrieii

on throughout. tlieFugue

Yet a Compofition of S Subjects

Accompanymeiit, as by that means more Varietj^ could be obtained

giving fufficient room for foMC parts to proceed, whilft the other refts.

by

.

.

0^

c

^^lyartdtwii

0^7 to

This Part of Variation to be treated of differs from the common, where Thirds as ceed

bj^

in the

Ex.1.

But this Variation, otKerwife called Diminution

whicK

Skips, Ex. 2. 3. 4.

Rules of Counterpoint, as

in this

laft.

Example (hews the

Cafe we proceed from a Concord

Dlfcord by Skips, which, in Counterpoint

more Examples of

fuch Variations,

is

o«!

by

deviate from the

common

or from Difcord to

common Compofition. fee

notes in their original Form,

Ex.6. 6.7. 8.5.10.

kfri

Cfff ||iYfr. i iiTrrfrff°

ii

firft, the

find

note; proi;i

ufed in notes that pro-

to a Difcord

not allowed of, but only in

where jou will

and the Variation placed next to tliem

i>JV--]

Viiri?ition to

is

the.

ii

[;jrftf

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JUL

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The Compofer need not

N<

h

II

1

to ufe tliofe Embellifhments too profufely, as the Performers generally

are apt ^nough, to introduce them plentifully, though alas

Anticipation priated to

Vogue

when half of the Value the fucceeding note, fee Ex. 1.2, 3.

in our

amended by

arifes

modern Mufick and

it

Ex

2

1 A.,

m

is

I

often very unfeafonably

taken from the preceeding note

is

This manner of varying notes

ufed with good effect

is

Yea manj Irregularities

and appro

much in may be

45

and concerning the Regulation of the Anfwer The following 1^*^

The Melody of the Anfwer muft

S'f

A

Sl^

The Key note and

true Modulation

Anfw

are tKe general Rules concerning the exactlj^ correfpond

or an exact Conformity to the

Fifth muft anfwer

er.

with that of the Guide.

Key muft be obferved.

one another on the

firft

and laft note

of the

Guide and Anfwer.

4th '.

'

,

.

whether

In a Skip,

.

it

,

be at the beginning or

in the

Key note

Middle, the

and Fifth

muft anfwer one another.

Example

In the following

I.

The Anfwer may be framed

the laft note conformable with the Key. fee Ex.2.

or making the

Melody more fimilar

in

two different ways,

firft^by

making

fecondly, by following the Rules of Solfaing,

to that of the Guide,

fee

Ex.3.

X. 1. Guide

I

3C

Ex.

Ex.2

firft, for

in

fome refpect are

being more melodious.

hence it.maybe concluded,

The fame Obfervation

that

is to

Melody

more

to

it

in

would be contrary imitation of A.

From

to

bfi. in

if the

Skip A. D.was to be

Modulation and Melociy: as the Guide

in

the

would h^ve preceeded as D. F.

Ex. 6.

Bad

m

follov/'ing Ex. will flicv/

two reafons

be regarded than the Key.

or in the fecond Cafe the Skip would be preceeded by the 3^

^3 The

is

be applied to the following Example, for

Cafe either a Semitone D. ^E.

in Ex. ^.

right. But the laft Ex. 3. feems to be preferable for

fecond, for being more limilar to the melody of the Guide.

imitated by D. A. according to Rule, firft

i

or

Anfwer Both Anfwers

3.

a

i how

the

Anfwer

to

one and the fame Subject may be differently

regulated according to the nature of the Key, wherein the Subject

is

to modulate.

In

which

refpect D.oth Imitations are proper.

i

—

—

•

4e may likewife

differently be imitated, firft^by following the Rules

Rules of Melody.

In tKe firft Cafe the Subject in the Chromatic.Stile

'The following Subject Ex.1,

of

til

e

Key, and fecondly,

tlie

TKe Anfwer to whicK be made in the Chrojnatic

muft be reduced to the Diatonic Ex.2.

is

done, the Imitation only need to

Stile.

Ex.

m

I Ex. Here

made

Ex. 4,

f

1

tlie

T

II

I

fame Succeffion of Semitones, as in that Cafe

ufe of a note that would have been foreign to the Key, as in Ex.1,

have been dilferent

in a

foriuable botK to

Rules of Modulation and Melody.

th.e

°

3.

the Subject could not be anfwered by

fhould have

This

Ex. 4.

Ex.2.

1.

eafily framed to it Ex.3.

of a brilker motion, the

Subject of fuch a nature as in Ex. 2. For Kere the Imitation

firft

note

in the

Guide, a

the is

we

Cafe would entirely con-

Obferve alfo in the fame Example that for fake

Minum,

is

anfwered by a Crotchet.

Anfwer i

Ex.

1»

D

1

Ex.2.

1.

Anfwer .In the

bad

fecond Cafe by following tKe Rules of Solfaing the Anfwer muft be regulated as in.Ex.l.

whereby the Subject

more

is

clofely imitated^ i.e. by the fame fucceffion of half Tbnes. In the 2'jEx.whicK

bylnS'erfion becomes fimilar to the foregoing the Imitation tKe

is ftrictly

regulated after the Rules botK of

Key and Melody.

s

—H

1^

-fl-f-rl

Common Time

Ex

to

IKew

in

what part of tKe different Meafures. of

or Kinary Meafure,on the firft or accented part only, fee Ex.1,

2*J In quickMeafure or Prefto, wKere a Bar In

z-a—

m

!--(

Before we coi»clude, it will not be improper Time, Syncopation of Difcords may be ufed. In

—

is

4 CrotcKets^ on fee Ex.3.

divided into

flowMeafure or Adagio, on every CrotcKet.

tlie firft

and ThJrd only. Ex.2.

1

—

o

ini

—e

0

—

-e

1

aiii

9

mil

yie add

})y

Specimen of Compofition in tKe CKurcK Stile or Capella from its b^ing performed only by Vocal Parts.

w^ay of Supplement a

properly called in the Stile

a

0

as it is

See next

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