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
text.

in

the United States on the use of the

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.

LEIPZIG,

BREITKOPF AND HARTEL. NEW YORK, a. SCHIRMER

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

WORK IS

COPJRIGET.

LEIPZIG,

BREITKOPF AND HARTEL

G.

NEW-YOEK,

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.
of simple, double, triple
rules,

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

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.

These studies in Counterpoint are intended

also,

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.
will

Leipzig.
Dr. 8. Jadassohn.

PREFACE TO THE SECOND EDITION.

The English
cordance with
supervision
translation

to

the

second

edition

of

my

Manual of Counterpoint has been revised and corrected in ac-

by

my my

special request

and under

my

immediate

highly gifted pupil, Mr. E. M.

Barbek

of

London.
It clearly

I give

my

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

T^i

FREFACE.
I

musician, for his intelligent assistance and

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
correction

THE SECOND EDITION.

edition

of the

first

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.

have endeavoured

to

preserve unaltered the respected

author's views as expressed in the

German

text; at the

same

time seeking to clothe them

terms.

vrith the correct

English technical

In

conclusion,

wish

to

thank Dr. Jadassohn for his

kindness and forbearance in repeatedly giving

explanations; and trust the result
vrill

me

the fullest
to

prove useful alike

himself and his other pupils.

Leipzig, Nov. 1891.

E. M. Barber.

PREFACE TO THE THIRD EDITION.

The
third edition of the

Manual of Counterpoint*

is

issued

according to
separately
to the

the

second

edition.

The

later

published

and

edited Exercises and Examples for the studies in Counterpoint* forming an essential completition
Manual are mostly instructive and

may

be recommen-

ded

to teachers

and

pupils.

Leipzig, June 1897.

Dr. 8. Jadassohn.

CONTENTS.
PART FIRST.
Simple Counterpoint.
Pages

Chapter

I.

Note against note

1.

in four-parts
2.

110
The Cantus
in the

The Cantus

firmns in the Bass 3.

firmus in

the Soprano.
Exercises.

The Cantus

firmus

Middle parts.
Chapter
II.

Florid Counterpoint.

Two

notes against one

1021

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

Chapter

III.

Counterpoint in Upper parts

2138

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.
12.

Exercises.

Chapter

IV.

Four notes against one

15.

38
Exercises.

47

16.

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

Chapter V.

Three part Counterpoint

17.

4753
three -parts;

Note against note

Examples.

in
18.

two

notes

against one.

Four notes against one.

Examples.
Chapter
VI.

Exercises.

Two-part Counterpoint
Bules.

5356
Exercises.

19.

Examples.

PART SECOND.
Chapter
VII.

Double Counterpoint

5707

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.

VIII

CONTENTS.
Pages
VIII.

Chapter

Double Counterpoint

6775

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

Four parts
24.

7586
Examples
in

Three parts with

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.

Example

and inversions of same.

Chapter X.

Exercises.
in

Double Counterpoint
Eules.

Tenth and Twelfth

....
;

8793

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^
26.
;

PART THIRD.
Chapter
XI.

Counterpoint in

five,

six,

seven and eight parts

.-.

99

117

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

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

triple

and quadruple counterpoint.

Thus each part

in

turn

may become

soprano, alto, tenor, or iiasa.

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

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

counterpoint.
:Note against
"to

Note, in which only notes of equal duration are placed

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
,

a cantus

Jadassohn,

Counterpoint.

CEAFTEB
the choice of the the opportunity
is

J.

1-

harmony employed

is

now

free.

By

this

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
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

monies.

After the cantus firmus has been worked out several times

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

in an unnatural,

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

bass

may

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.

irrr

1.

h-ir^
4.

NOTE AGAINST NOTE.

*-

CilAPTFB

I.

1-

p
11.

12.

 1,

NOTE AGAINST NOTE.

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

same part
allow
still

(alto)

to avoid false relation.

The cantus
those given

firmus would

different

ways of treatment

here however,
1

a,re sufficient to

aid the student in working out his exercises.

It is not positively

necessary (as shown in examples

and

2],

to

make use

of triads only in the following exercises.

Exercises.

^.
18.

i^
^P$

zz:

a::^
2q=q-^
la;

9--yr-<S-

19.

S^
^i^^^:EE = ^^
-?
I

20.

a?

Isz

21.

i^a u
f
.

'

s>
-iff-^soiS^

3z:

s:

sf-^:^

22.

CHAPTER

I.

2.

exercise No. 17

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

I
26.

2E:
ViSi-

if:
etc.

IT

3!a;
-iS'

etc.

i^

:=
etc.

m
122^

#g-

S=

-(S2.

-e>

etc.'

ig-

3E
etc.

S
i^^i

isaz
etc

i
P^

p=
6

#
s-

6 5

etc.

in Soprano.

The Cantns flrmns

the

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

We

Here
(See

Manual of Harmony

61.)

No new
firmns.

rules

are required;

as

practical

guidance,

we here

give a few examples of the commencement of the following cantus

-^27.

"-

^
^^.

r-^

^
etc.

;fcfairffe

28.

2.

NOTE AOAINST NOTE.

S=p==f^n=i

CHAPTER

I.

3.

34.

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

^^^^f

35.

36.

3.

NOTE A&AimT NOTE.

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

10

CHAPTER
Cantus firmus in the Tenor
-H'lc

IL

4.

45.

46.

4.

FLORID COUNTEBPOINT.

11
exercise,

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

for instance:

Commsncement.

Close.
::Sr:

zsz

^=^49.

=sz

^ ^^
if

^ ^
disagreeable impression, as
it

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

well prepared, would

make a

interrupts the motion of the bass.

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".

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

second, method third in the third bar.

first

method.

second method,

tMid
method.
:sr.

,
'

second method.

third

first

method.

method.

50.

^
The

^
C;
I

5
V
V,
I

^
6:
I

^=t
I7

IV

^
V7
out the

117

last

bar of No.

50b shows,

that

we may

leave

third

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.
of the seventh

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

tarded parallel octaves are not merely hidden by so doing.

12
Ex.
51 cannot

CHAPTER
be
fonnd

II.

4-with;

fault

No.

SI*

is

quite

Inadmisaable.
a.

Good.

I.

Bad.

i ^s
51.

-&;g=

-%-^^=t^

m&
The bare
leap of a
sixith

-(=-

*rzE ^

3fc

consecutive fifths and octaves,

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.
Bad.

52.

|9^=i

M^H-f^^
by
bearing a chord of

Still in

a few instances, the parallel octaves are suspended

the motion.
the sixth, the
is

This

is

the case wlien the bass,

seventh.

succeeded by the fundamental note of the chord of If contrary motion is employed, especially in conthe effect

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

would be

a good one.
a.

Good.

S.

Bad.

e.

Less good.

53-

i^ P=^
Bad.

~r32=

^
E

=^

i.

at

's^

5. 6.

FLOBW COVNTEEPOINT.

13

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

Consequently the progression of the bass in Ex. 54

is

bad.

54.

Here the bass moves

G,

in the

same

direction;

the notes C, E,

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.
(chord of the

seventh on the

first

degree of

that,

C,

A, F,

(n^)

A, P, D,

(vtiS)

^
55.

S
^
: <=i;

S
isz::.

6.

The

^ ^^
^<S=. -32.

bar can also

last bar seldom if ever contains motion, the first do without it; occasionally the bass may commence

on the second beat of the bar.

56.

i
Any

h --^^^
It

:f=

mE&
a.

=?2^

^ -B
6.

other passing note except that of the seventh descending

from the root of the chord, is not at all admissable. The progression of the bass in No. 57* is bad, but the one at 57'' is good.
Bad.

Good.

57.

ii
\

-fr:

^Sh-

h-gg'-

-T^
2
-ISZ-

^_1J_^L^

^^

14
-e>-

CHAPTER

II.

7.

i
sion,

EE:

is::

^g-^^N
As the passing seventh allows
and considering that
this

the bass only diatonic progres-

part

must mostly move by leap,

one can occasionally give two chords to one note of the cantns firmus, provided that if by so doing, it aflFords the bass an opporunity of moving diatonically, and provided also that the progression of harmony be clear, natural and comprehensible, as demonstrated
in the following Ex.

58 NB.
NB.
ISSZZ

p
58.

-aS-

f
Tgl

^^
fe

7.

-^

^S

zzs.

The
to
is

mental note always have minor, which

of the

occurring below the fundaseventh will chord on the first degree in minor, be the seventh degree of the descending scale in

passing

not raised.

i ^^
59.

;fc

i!=<r^
A F

^. f=^
parallel-octaves,

In Ex. 59, the bass cannot progress in any other way than: The 7*'' degree of the minor scale is therefore not etc. G,
in
this

raised

case.

Ketarded

occurring

on the

beats in several successive bars, as shown in Ex. 60, cannot be permitted, especially as the regularity and stiff progression of the extreme pai-ts is not good.

weak

Bad.

^^

Sra
?

-)-

8.

FLORID COUNTERPOINT.

15

The

of one bar,

retarded parallel-octaves however, between the strong beat and the weak beat of the next, are permissible and

completely covered by the intermediate notes.

m
61.

-a-

ilEte

Between the weak beats of two successive bars, the paralleloctaves, concealed and retarded by the first note of the second bar, Example 62 is not to be censured, but can only occur once. Example 63, showing the same beginning, is bad, on account of
its

^^

further progression.
Not
to

be blamed.

62.

g i^ 7=^ ^ ^^r=^
g

Not good.

63.

fc^ i w3

:2r.

IBlL

^
We

8.

now

point of two notes against one of the

give to the student some exercises of a countercantus firmus, which latter

can be used for alto as well as for tenor. The Cantus firmus is in the Soprano.
NB.1

I^
64.

^^Eg
Si

^
ZSiSL

^
-^
=s^

--^m

16 NB2

CHAPTER
NB3.

II.

8.

^^^
^
descend.

:^S=

^^
(See

^S
rflto

AtNB.i, the seventh [F) in the alto has to proceed upwards, on account of the passing seventh {P) in the bass, which must
pToceed upwards, as
lution.

Likewise at NB.^, the s6verith (F) in the thes bass leaps'to E, the oiiginal

has to
reso-

tfote etf

Manual of Harmony
parallel-octaves,

43.)

The retarded
which
fall

between the extreme parts NB.

(See

on the weak beat,

follows

are admissable. the

Example
in

62.)

Now
alto; see

the

counterpoint for

cantos IGrmns

the

Example No. 44.

i
65.
{

&:^-

# tM

-:

^
6
fi.

s:
te:

m^^^
IS

fe

-^

E^

^
?r

-ggp-

g^^B^f^^=^=#a:|">Mf^
This example requires no further explanation.
In Example 66
but in the

we

give a working out of the

cantus firmus. No. 48,

tenor tiud with two notes in the counterpoint.

^^M
66.
4

133-.

2z: 32:

lEI
6 5

mm ^

_2_

f=

s^ r

8.

FLOBID COUNTERPOINT.

17

,A
^^sc.

a
67.

>2

7
(S

SL_5

The beginning

^S ^

of example 65 might also be done as follows:

^P^
possible,

fe^

^^

In order to give the student as mnch practical guidance as vre add a few workings of the following cantus firmus; only the last of them contains a modnlatoiy deviation.

^
I ^ #:
^i\.

r-

17

-gi-

i
^iiji^t^

-^

S
^

? n^-^L^

I^
ai<r.

^
^

sz::^

^
3^1

3 ^^

Jadassohn,

Coonteipoint.

18

CHAPTER

II.

8.

70,

I^
9t=t^^.J

V
\j~f
I^

i
=^

^-

^
3^:

A
ia"j

71.

i^ ^^

^
:^!:;

^^^^^ ^

i^
rr
<= >

72.

i SE
J

^^-^=^J^T^

^ ^

i
^^^^-^^^^^

r
8.

FLORID COUNTERPOINT.

19

/3.

>

!?

-jy

^^
J

iS
NB.
=ZB=

^
i

^
But
this does

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.

not

give an actual modulatory effect.

The commencement

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 progressiorC\

character.
tionable.

The nature of The following

true counterpoint

is

of a diatonic-melodic

exercises would therefore be entirely objec 57.

(Compare Manual of Harmony

Ex.: 301 and 30^.)

Quite bad, 'because cliiomatic.

a>~

75.

i
I

Jz

=f=

zsz

EfF^

^=^
ZZZH

gjg-p|6^bg-

:2E=

20

CHAPTER

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

counterpoint;
or,
to

in florid counterpoint, the pupil should not

try to find support in the exercises he has already done

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.
ficult.

If

73,

it

will not escape observation,

that in the counterpoint of the

bass, the leap to the fifth of a triad,

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
seldom been used.
;

on the

first

and fourth degrees.

bt b
76.
I

rg,.

;s=

"^SQ

-gyg-

^P^-^lf^F^^^zF^t^^
Such employments of the
bidden,
either in the use of a
fifth

are therefore not exactly foror the chord of the

common chord

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.

too frequent an

gives a feeble,

halting and

awkward
against

We

warn the pupil

therefore,

Example 77 is any of the foregoing

employment of this progression. not to be recommended, although

rules.

For
it

this

reason

does not violate

77.

I^

te^ m

Efe

E^

 10.

TWO NOTES
The
fifths

IN THE VPPEB PARTS.

in Ex.

21
77,

of the

common chords, marked with *

are easily avoidable as shown in Example 78.

78 J

Im s
At
the end of this chapter,
it

:&

-g

^&"

^t^h^-jf-Rf^^^fir-F^^^
we wish
to

draw attention

to the

fact,

that

is

not advisable to keep the pupil too long at these,

somewhat
employed.

difficult exercises.

In practice mostly mixed counterpoint

is

Similar

counterpoint.

exercises are

repeated in two and thi'ee-part

In instrumental or vocal studies,

to other

one would not

detain the student at the same exercises until he has mastered them
to perfection; to

by progressing

new

studies,

he

will

learn
better

overcome by degrees the preceding

difficulties

with

much
it

ability.

As soon

as the pupil has attained some efficiency in the

in the

formation of counterpoint with two notes

advisable to proceed to the next chapter.

bass,

will

be

CHAPTER
Two Notes

in

ni.

the upper parts.

for

10.

There are

.eight

methods available

treating

two

notes against one,

1.

when they

are placed in an upper part; viz:

The

leap to another note of the same chord.

;

2.
3.

Suspension.

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

to the root of a chord of the seventh,

is

of which the

bass note

the third,

6.

weak Leap
ished

beat.
to

thereby forming a *

chord on the

seventh

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

may

serve to prepare a suspension.

TAe leap

to

the

major

22
sffienth is siriatly

CHAPTER
forbidden
of the
;

lU.

if)-

exceptionally, in th course of

a sequence for instance,

jt

may

prepare a suspension.
of the

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
roots

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
79.

^=F=^

9^r^
2.

The

Suspension.

^t^=jr|^^

i Jz.
3

w^^
3.

7 4

The

Tie.

^^g ^
P^^

J^J-J 9-

81.

 10.

TWO NOTES
The
Passing Seventh.

m THE UPPER PARTS.

23

4v

^^Jt^
82 a.

=S=
6

i^; 3-rar:
One can

:a:

write Sequences without hesitation as

shown

at

81b.

826.

f##^^^^^^^
6

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^
83.

dr

3^

eS ^
-gIV,

i!E^
C; IV
1I7

viiO

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

must appear in

Progressions,

Not Good

Not Good

Not Good
e.

84.

I ^^

^
a.

^
6

__5

s 5_

C- IV

Il7

VI1O7

V7

24
In example 84
is
a.

CHAPTER
the
\

UI.

10.

the fifth of the fundamental chord

is

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

;

which
chord.

the third of the fundamental chord,

c.

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
the

At

the bar.
6.

The Jeap

into

the minor and diminished seventh,

for the

purpose of preparing a suspension,

and the suspension prepared

by

the major seventh in a sequence.

i $7
85.

T^J -Tfi
6
5

g!

II
::

^T^
~.u

^ z^
^

II

J m-as g'g
-

^?j-^

^
o:
nfi'j

4 2 6 5

:^2z:

3e:
117

C: H

Vy

a: vil" VflO^

i
7.

^.^^^^^^^MMJxUu-j.
6^
9
8

p i^
The
triads,

B
d: VI1O7 C;
I

3=
IV,

3r

suspension of the
(See for reason
c.

fundamental note of the principal

although the note of resolution be present in one of the

middle parts.
53.

and examples "Manual of Harmony"

d).

Exercise 257 b.
of
the

and

Suspension
tonic.

fundamental note

of

the

triad

of

the

f^hr
86.

11.

TWO NOTES

IN THE VPPEB PARTS.

25

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

NB.

^
87.
{

^
9
3^

-^7
8

^8
I

7
^4

S^ or"
7

7
|-<g

TJ
T >?

~rgr
C;
I

19

Tg

VI7

Suspension of the fundamental

dominant.

note of the triad of the sub-

i
8.

v=g=

^i^^^L^iiyi
'
3C
IV

i:^

^^
C:

Z25r
I

:s:

The

suspension prepared by the passing seventh.

An

instance

showing this,

is

given at NB. of the example

first

No. 87. bar

11.

56.

We

commence our work

with

the

counterpoint

and show the emFor better ployment of all the eight methods in one example. comprehension, we mark the first employment of each method with the corresponding number.
in the soprano on a cantus firmus in the bass,
K.

Cp.

i^
i^

ii=

^
22=

JrJ j-j

89.
c.
f.

7.

-JCl
ZSISZ

't-'

^^

j=f^-=^.

^==F=JJ^

-#
2z:

26

CHAPTER

ni.

11.

^=^
132::

4^ Jij^p
is

-^

The
of
all

student need not imagine, that he

obliged to

make use
the con-

the eight methods in each individual exercise.

is

On

trary, he

strongly advised to employ only the most usual ways,

which are 2. 1. 4. 6. 3. We note them down in the order in which we consider them most suitable. Therefore the suspension would be the best means, the tie (especially when used in several consecutive bars,) the one least adapted for counterpoint in two notes. More than two successive leaps are not in accordance with
the diatonic-melodic character of counterpoint.
terpoint

The

following counit

would not be advisable just for that reason, although does not violate any of the established rules.
Not good, on acconnt of too many
leaps.

Cp.

i i^

_1
0a

Si

90.
c.
f.

^^

ST
-^T.

i
9fc

^ ^^
i2z:

r^r.

Z3n

As
as
far
to

a rule
as
their

(in

working these

exercises)

one will do right not

to confine oneself to one,

but to interchange the most usual means,

to

employment seems

be adequate to the want;

(5.

and

make

use of the less customary methods,

7.

8.)

only

when

the progression of the counterpoint

seems especially adapted

Only the suspension may be used through one however should not capriciously amass them. It will be left to the good taste and musical training of the pupil to decide in each individual case, which method should be employed for the movement of the counterpoint. The best
for their

employment.
in

several bars

succession;

proof of the excellency of a counterpoint will be always

bility for singing;

its

adapta-

of course a sound and natural harmonious con-

11.

TWO NOTES

m THE

UPPER PARTS.

27
should

nection

is self-understood. Sequences in the counterpoint not be used ofteuer than three times in succession.

Cp.

& i^=t
I

=^

& ^ ^^
_l

-j-j^ ^=>

91.

cf.

1^

s ^^^ ^^
,
,

3C

i3e:

PS m
I
fault

fe^

2^

^J

Jt^
-(S^ 13^-

W
lai

^ &
The
first

even six bars of exercise 91 cannot be found them in a similar manner produces monotony. The use of the sequence at the commencement has under certain circumstances a good effect; but the employment of
four,

with,

but to

continue

a sequence or sequential progression should not be repeated more than three times. In this respect the commencement of exercise 92 might be called good, as are also the first bars of exercise 91.

Cp.

g I ^ eg
*
I

"

-s

'g

'^

-Stetc.

'

fJ

92.

Cf.

Si
If the cantus firmus itself shows progressions of a decided se-

quential character in

the form of a cadence,

it

will

be advisable,
viz

to take the other parts of the counterpoint also in a sequence,

28

CHAPTER

in.

12.

Cp.

i^

-sLJ=:^ Yj-r rf -^~^Tg ^'-H-^^j1

93.
c.
f.

^^
I
.

-t-r

 12.

IWO NOTES

IN THE UPPER PARTS.

29

Cantus firmus in Tenor.

Cp.

fcS JZJ
zz
a.
i

J,"'

J::J=;i^

96.
c.
f.

m ^
The
and tenor
firmus
student'

^$

i
I

g-

zziz

may now
following

place a counterpoint

of two notes in
the

the soprano against the cantus firmus alternately in the bass, alto

of the

examples.

If necessary,

cantus

of some preceding exercises

may be

treated over again for

counterpoint in soprano.

Exercises,

\ 97. i^E
\98. iM$E

-^:=s
:3r.

3=

\99.
100.

^
-^YtlF

"g
I

|^;

^|

'^

^
Ie
rai 32=

zsz

101.

^MM=
PJ^i^

1221

102,

iS==2z:

103.

^^

30

CHAPTEB

III

13.

104.-

P|3$=

105.

mw
CantDS
firinus in Alfb.

106.

^^^^^^^^^^^
Sl3^
1^3^
CantuB firmus in Tenor.

107.

^
la:

s=r3c

108.

109.

^^ &1^
33fcrt2z

-s-

(g

''^~r ic

110.

rules
(

13.

The above
alto.

10.) will hold good, for the counter.

point in the alto or

in the tenor.

The seventh method can

this

only

be used in, the

bars marked

Example 111 shows

case twice in the

NB.

Cantus firmus in Soprano,

Cp.

I&
py
When

iff-

111.

ir-

^
EE
is

nb.

NB.

^33Z

^ "7
is:
one.
1.

5^

^?=?=

rrrrrj"

:f:

/
ia=
is very much more be here reduced to viz. the leap, suspenoccasionally be imposit

the motion

in a middle part,

difficult

than in an

extreme

We
2.
3.

shall
4.

the methods mentioned under

sion, tie sible to kiSep the

and the passing seventh.

It will

middle voices within an octave.

The

transgression

of this rule however should not last long,

as the exercise

would
cantus

otherwise sound empty.

firniras

The

following

treatment of the

of No. 111. would therefore be worthless.


13.

TWO NOTES
Bad on account of
pietiasabatlt.

IN THE VPPEB PASTS.

31

too great a distance

between the middle parts

C.

f.

Cp.

112.

Here follow, for the direction of the pupil, six different ways of working, out a eantus firmua in a middle part.
Cantus firmus in Soprano, Counterpoint in Alto.
c.
f.

/ [^tI^""^"

'

zsn

'

-~

Cp.

113.

rf^

5 t==a ^E^S I
'"^
1""^"

^^
-^--=^^=S==z -s^'- z=sz

^
Cantus firmus in Soprano, Counterpoint in Tenor.

k ^'i^ i
114.,

rsc

Cp

PS

J-J

^J i-i J-J
221

ig-

^
-4

isz:

ISEl

^^

j-j
-2!=

J J

32

CHAPTER m.
Cantns firmus in Tenor, Counterpoint in Alto.

13.

Cp.

115.
G.
f.

^^^^^^^^
^^
a.
---

^ ^ rfff^ftp^^^^

"P ^~^

^
i

^^3 s E
zsc
f.

Or these four
r

bars.

g _

-l--gg=

^
%&-arEt'

Cantus firmus in Alto, transposed to

in the Tenor.

major,

@onnterpoint

C.

BS^

3Z=

^
zsz

116..
Cp.

m^

J>-^J ij

k ^ ^-kjr-^^z
J J

i-i i-i

13.

TWO NOTES

IN THE VPPEB FASTS.

33

Cantns firmus in Bass, transposed to 6 major, Counterpoint in Alto.

Cp.

i ^-pr ^^^-JI^^
Pi=

117.

c.

f.

^
*
!

i^1

f-Kf
321

-^:^F=^

=i=

221

Cantus firmus in the Bass, Counterpoint in Tenor.,

m^
h^
118.
Cp.
C.
f.

:sc.

2z:

-2SS1

Pt

^i.
>

J:
|g^

J-J J

J-J

^i ^

01 the succeeding foui bais with a modulatory turning

ZZIZ

121

:c^

*
i

* J^ ^J-J-T^
or also

Aj_^ dt

32::

-J J

W
zsz

Exercises.
Note. Foi alto and to a lower key.
hass the cantos flimus
will

have to he tiansposed

119,

^ '^^

32=

Jadassohn,

Counterpoint.

34

120.

^ ^

CHAPTER
--

in.

u.

<

ia

"^'_d>-l

-'g-

 14.

TWC NOTES

m THE

UPPER PARTS.

35

f=
^

^-^^}^
^
-^

36

CHAPTER

in.

14.

125.

^
P
{

^_
::^=F^-

^-^^-^-

Ff^t^f^f^
i^^
The Cantus
firmus in Tenor.

E^

:^=

^&

Ee

126.

i^

(fe^^
j
127.

d^^

5^
.=fe_

^
T"

122::

-^-g"

^^

^^

S 14.

TWO NOTES

IN

THE VPPEB PABTS.

37

The Cantna

firmus in Alto transposed to

EK
:zc.

;S3t^^ ^g=3i
128.

s-

^^
a.

^r ^
IW^
g-T"
'

s^

^J-i
^'

Wi

^^

ia-=^r^'

IT

Jug::

S^

r?e^

^9=Ue
i J

129.

1^
s
*?

i-i;:^U^

^^3^^^^^
-J

-i^
are to be
treated in accordance with

g
following exercises
in

The
the firmuB

manner shown

the examples No.

122

129.

The

cantus'

may

be ti-ansposed into other keys for bass or

alto,

according

to the position of the parts.

rtj^jC^

Exercises.

=3$ ;r^^^^ <

/<, 130.
131.

=3^

1321

-e>-^

jB-

-9-

^
132.

=i^

38

CHAPTER
If considered necessary

IV.

15.

exercises

may be chosen and employed

the examples 122

129.

some suitable cantns firmus from former in the manner indicated in

CHAPTER

IV.

Counierpoint of four notes against one of the cantus firmus.

15.

cantus firmus,

For the movement of four notes against one of the (four crotchets against a semi-breve,] the same rules

apply for
1.

att parts.

The

2.

first note of each bar must be an harmonic one. Between two harmonious notes, passing ones may be in-

serted diatonically.

"Manual of Harmony", p. 153) are to be would be incompatible with But we will the first rule, in the middle opposed to the second. not exclude them altogether from contrapuntal work. They will find their place in the more complicated exercises of the canon and fugue and can sometimes produce a very excellent effect. Ordinarily speaking, one will do right to avoid them if possible in all contrapuntal work, even in the canon and fugue; as the note of change no matter whether introduced from above or below, will always have the character of an ill-piepared Suspension, and is
3.

Changing notes

(see

avoided

in the beginning of a bar they

therefore not suitable for really "pure harmonic-structure".

(Com-

pare Manual of Harmony 57). In four notes against one, the tie is not permitted at all, the suspension seldom and exceptionally, and in every case its preparation must be introduced by leap.
will therefore not hold good.

The

following preparations

^=
133.

^^^4^
ZSEZ

U^
-T-^

<f.

^^

II

 15.

COUNTERPOINT OF FOUR NOTES

eto.

39

isJ=j=d=
zac

^
Worst of
all i9

All such prepai'ations of suspensions are bad.

the one at
is d,

as here the resolution of the passing seventh (whicli

is

moreover a major one],

Also the Suspension,

retarded in order to serve as a pre-

paration for a suspension.

prepared by leap should be employed

but seldom, for instance:

I
134.
Its

-jM-

mm.a.

^
t

employment will be best suited for the end. Many suspenand interrupt the flow of the movement. Contrapuntal progi-essions of this kind exhibit, so to speak, a more modern
sions disturb

manner than

is

usual in "strict s^le"; for instance:

i:^^E3
135.

'

Hg

f^
It is just

jures the diatonic melodious progression of parts.

for

the necessity of the preparation by leap, which inThe requirements

We

good counterpoint are always diatonic-melodious ones. must therefore forbid in a movement in crotchets, all figures of chords which do not contain at least one diatonic passing This diaseventh, perhaps also the ninth following the tenth. tonic step must moreover be formed by the last two crotchets.
really
Bad.

136.

^^

Good.

=4:

Tolerably good.

5^

40

CHAPTER
Bad.

IV.

15.

^m
137.

Good.

-^

-^

^^
Good.

Such figures formed from the triad as the following are to be

totally abstained from.

m
A
138.
{

^^^:
3Tt
I

WW^-

n^r-tr^

mere circumscription of a semi-breve by four crotchets con-

tinued for several bars, cannot be too carefully avoided.

^ m IS i l^E^^^^S^^f^^
.a

i3SE

L"SZ=

i i i
t'^

-id-

s^^s m ^^m

^^

~S!SZ

S
shows
is

Such a progression as example 138

totally

inapt.

Circumscriptions of a semi-breve cannot always be avoided; but in

such a case a change of the following figures would be advisable, inasmuch as they could be so used to advantage.

139.

i
By an

f=t

interchange of such figures one would be enabled at a

pinch to circumscribe the following semi-breves.

15.

140.

COVNTEBPOINT OF FOVB NOTES

eta.

41

:3sz

Ifa^rzpif^^^^E^^teJ

m
p=^=r^
mechanical
^-

But even here we earnestly warn the student against this purely manner of working these exercises first note against note, and then circumscribing the semi-breve by four crotchets. In most cases such counterpoints show their constrained origin very distinctly. Such progressions, as are most suitable for note against
note,

are not always adaptable in Jlorid counterpoint.

employed almost exclusively for diatonic The use of the augmented second In descendin the harmonic minor scale must always be avoided. ing, it may be used sometimes in very complicated problems (canon But at our present exercises in simple counterpoint, and fugue). we will discard it altogether. In employing the melodic minor scale, we cannot be too careful, that the moving part does not
scale ist

The melodic

progressions in the minor key.

strike a chromatically altered tone,

while another part sustains the

natural note, or vice

versS,.
[i^jf)

and in descending harmonic scale. In employing the melodic minor scale in the moving part, we cannot too carefully avoid using notes which are not contained
scale contains in ascending
(gh)
,

The minor

notes which do not belong to the chords of the

in the

harmony

of the bar.

^^e
141.
{

Impossible.

itE^
fa:

m
V
.

c.

f,

^gE
o:
I

IV

The F^

is

impossible in the second bar,

because the third of

42

CHAPTER
;

lY.

15.

bar, the soprano the triad of the fourth degree is F in the fourth has therefore One G|. sustains tenor the while cannot strike G instance: to arrange the counterpoint differently; for

^^^^^^^^1
142.
etc.
<!

C.

f.

aa=
We now

the

present a few examples of a cantus firmus in minor, counterpoint being alternately divided between the four parts.

Cantus firmus in the Bass, Counterpoint in Soprano:

Cp.

rt^-^MrmvZM^ w
i*
>*-

143.
c.

f.

^^^
C.
f.

r^hrr^-^-ihi3:pj=iM

fe
Cantus firmus in Soprano, Counterpoint in the Bass.

IS:^^

3?Z

ip

144.
Cp.

rb^FtM^=M&-rr

^ T7Tnq^

fe^= s i '^

NVrf^-F1^^^^^=i=^^=^^^

^
COVNTEBPOINT OF FOVB NOTES

15.

etc,

43

Cantus firmus in Alto, Counterpoint in Tenor.

C.

f.

i^

3Z

31

145.
Cp.

m^^
j.j

J
|

Jj^J j,^-^
i |

^^^
2C

(^
U^i^
Cp.

m
f.

ISC

i^ii

^ i^
J

.J

Cantus firmus in Tenor, Counterpoint in Alto.

i 3^
gtat

^^^^mm
31
-<9

146.
c.

I rr^ M^^^^^Epp
Exercises.

-^

/X47.
^t

^^ ^,^.^Ow^

lar

j^

148.

^S
9^Hf^

:s;
.-<?

^{i*j\...,...<<X*. ici'vi

/U\.*vi*~|

V 149,
150.

^E^
3z:

1221

1^
when
allotted to other parts.

The cantus

firmus has to be transposed,

44

CHAPTER
16.

IV.

16.

In the preceding examples, the pupil has bestowed his

attention principally to the development of the part containing the

eounterpoint

he may now advance

to the

following studies which

to

occur often in reality.

The

counterpoint has

be given alterfirst

nately to the three parts in or even

such a manner that

the crotchets;

one,

and

then the other, takes up and continues the motion.

three parts

At

times two

may have

but this must not

occur too often,

trapuntal parts.

otherwise the phrase would be overloaded by con-

No new

rules are required for this treatment

we

wish only to recall to the memory of the student (Manual of Harmony 56 example 291) that when the counterpoint moves in
four notes,

the major

when they
this in

are assisted

and minor ninth may enter freely by leap, and attended by the seventh. We show

example 151.

.Ujg

I
151.
{

Izdfezs

F^
I

^f
I

c.f.

p^

li^ilj

Efe^

fE^gSEfc *= m=i^^=h^=M^4=^M^

^
The

iaj i ^^ iu 3
by the seventh,

Jjj
is

free entiance of the ninth, -assisted

marked hy an*.

As guidance for the treatment we here show the student a cantus

different parts.

of

the

firmus

succeeding examples, with motion in three

Cantus firmus in Soprano.

C.
f.

^^m ^ ffif^
{

-^TtfTJ

^e
^sz

:^

152.

IfefaFf

:^j^i.JjjJ.iJ J4:

 16,

COUNTERPOINT OF FOUR NOTES

eto.

45

i
-9-

^B^^
i-uMU ^^
the

resolution (Manual of

NB. Notes may be inserted between the suspension and Harmony 56 Exercise 289).

Cantus firmns in Bass.

-j^oV-j-u te^^^^ ^=f^=p^

153.
c.

m=^
f.

iiij.,
ize:

Jiuj

ipzzzzp-t^ i^^^^^^^^ ^^^^^

^=3C
Cantus firmus in Alt(

^ijii

C.

f.

154.

46
Cantna firmus in Tenor.

CHAPTER

ir.

16.

I
155.
c.
f.

fe=tj^: ^.
=^

m ^m
g-TT-

4=t

j=i=.

a!sz:

g^r

I2ZI

(*fc

17.

THREE-PABT COVNTERPOINT,

47

U.U m i f^^f
^lAi^ilii
Several successive chiomatlc notes should however he carefully avoided. (Manual of Harmony 57 Examples 301 and 302.)

CHAPTER
17.
worked
so

V.

Three-part Counterpoint.
Counterpoint in three-parts note against note should he
that

the

harmony be

clearly recognisable,

although

there are only three parts available for the representation of fourpart harmony.
progression.
often

This can be easily effected, as the middle part, (no

matter, whether tenor or alto,) affords more room for independent

The middle part will therefore be allowed to move more by leap, especially in fourths and fifths, than was the case in four-part writing; and this is advisable, since by so doing, the The distance of the alto from the harmony can be made fuller. soprano may amount to a tenth, nay, even occasionally to an eleBeginning and end will be best rendered in unisons. The venth. chord of the sixth on the seventh degree may sometimes take the
place of the chord of the seventh.
Similar motion in all the three

parts at once will have to be avoided;

but the chord of the sixth on the seventh degree may exceptionally, descend to the chord of the sixth on the first degree.

But the reverse

is

not so good.

lac

But even

this

gressions as follow,

can be occasionally allowed. Though such prohave to be always avoided, as they are dia-

metrically opposed to the nature of counterpoint.

48
Bad.

CHAPTER

V.

17.

161.^
S
The chord
third.

-^

^
-a-

of the

seventh

may be sometimes used without a

(Compare Manual of Harmony 36, note). Hidden octaves cannot be avoided at the close, when the three parts finish in Moreover the student may be reminded that all kinds of unisons. hidden fifths or octaves will be much more noticeable in threepart than in
four-part writing.

Therefore the treatment of the

will

parts requires more care.

We

endeavour

to

illustrate in the

three following examples, the treatment of a cantus firmus in simple

counterpoint in three parts.

Cantus firmus in Soprano.

C.f.

i^

a
I

, l

rS^2C S==3C
Iffil

rac

&
=a=

es-

162.

P^
~% ^1^ g'g

-^a
I

__ -g-

-O-

P
163.
c.f.

'^^\

<SlB-

*
Cantus firmus in Bass.
"Jfffft

i\>

I
\

-1
_\
'^

I
<
\

22-<S^

tf^

<r

m^.

i
p*i
In the last bar but one,
the cantus firmus,
is

the stationary bass which contains

of the

made good by the decided movement

upper parts.

17.

THREE-PART COVNTERPOINT.
Cantus firmns in Alto.

49

C.

'A-T\'^
f.

164.

50

CHAPTER

V.

17.

m
BF^4fcp;

zzc

f If r
I

^i+^tfin^
f

T^To-

166.

iN^m

f^^^m

~sz

At NB.
in order
to

the proper note

of resolution D,
fuller

make

the

harmony

has been omitted (Compare "Manual of Har-

mony"
C.
f.

56).

Cp.

167.
Cp.

^T
9%-^-^ n:'_\-r

^
r
I

^r-j77[g

^^==F^F^^&4r=^^FF^^^
1

mrri^'^n.anm

i ^^^p^^^f=

.^^

18.

TBEEE-PABT COVNTERPOINT.
The treatment must be the same if the The student may practise
cantus firmus
this,
is

51
situated

in alto or bass.

with this cantus firmus, as also with any of the canti firmi employed later.
18.

The movement

of four notes

*in

the counterpoint against

one of the cantus firmus will have to be considered also by the rules, given for four-parts. Here follow three examples, the cantus
fiimus
is

in the alto.

Cp.
C.
f.

te
^g
fe

EtS
-sz

^^m^E^^
gffi:3
E^fei

168.

'^'^ W P^'
-

...:y

arz=:i

l-s-

~
l

m
C.
f.

169.
Cp.

^^
PJ^gEJ^fe^Ff^^^^f^J^^

f^

52

m^
rNB.
is

CBAPTEB

r.

18-.

tO-t-

:t=^

^ ^

-0f-

^&
NB.

Old authors used

modern.

to

employ the whole tone G; The use of the ge-

mitooe GJl
Cp.
C.{.

170.
C.
f.

p ^m ^
^r^
f -

=t

^^s
-#^

Mm S3E^ S #z]7r^V^-j- jr^^^^

h4-^-j^-

^
0=1=

s
171

U=l m
to

-J~

1 g'

d-

4-

jLt-Ejittx
is

o-

^t^F^=m
the

The treatment has

the cantus firmus

be continued in the same manner when

placed in the soprano or bass, the cantus firmus of the following exercises has to be employed in simple counterpoint,

and also with motion interchanged amongst monstrated in examples 161 169.

all

parts as de-

Exercises.

'^^Tt'

-o'~>^^

^-^--a-.-<s--^-s-.

19.

COUNTERPOINT IN

TWO

PABT8.

53

174.

Se^

ilOL.

175.

^^^
CHAPTER
Counterpoint
in

3C

is:

VI.
Parts.

Two

19.

When we
have
to

have to form simple counterpoint in two

parts,

we

commence
perfect
fifth,

in

unison
to

or

on

the

octave,

by means of the No perfect interval should, be found in unison or the octave. Unisons octaves the middle. perfect fifths, and fourths are thereWe can only employ imperfect consonances: fore to he excluded. the major and minor, thirds and sixths and dissonances, the augmented fourths and diminished fifths. These intervals are the most suitable for making the harmonies in two-part writing most concise The minor seventh and major second are not and recognisable.
sometimes with
the
close
,

and

suitable for this species.

Successions of thirds or sixths,

through

more than two or

contradictory
to

at the utmost three bars,

are to be avoided, as
It is not wise to
;

the

character of counterpoint.

remove the two parts further from one another than a tenth in florid counterpoint however an occasional transgression of this distance to the twelfth may be permitted, and the two parts may only be removed so far, transitorily, otherwise they would not mutually asAll hidden fifths and octaves have to be avoided sist each other. even to approach the tonic from the leading-note by a hidden octave is forbidden. ("Manualof Harmony"59) One cannot therefore write thus:
.

The

close will

have

to

be formed by contrary motion; viz:

i tr
We
176.
c.
f.

zssz
-esr

give

now an example

in simple counterpoint:

Ite

ISC

IS=

ZSl

54

CSAPTER

YI.

19.

We
breves
:

give the subsequent rules for

florid counterpoint in

semi-

1.

the third,

One can make use of the suspensions of the fourth before the fifth before the augttiented fourth, and the seventh

before the sixth.

2.

of the bar

The perfect and diminished fifths on the second beat may be used, after the sixth. This passing fifth takes
and has
to

then the character of a passing seventh,

tonically; viz:

descend dia-

177.^
3.

^ ^
by
leap,

The

fourth below, following

Bad.

must be avoided.
Bad.

Bad.

178,

ir

^"^yr

^
is

In return the diatonically descending fourth

it

allowable,

as

bears the character of a passing seventh and

wards, for instance:

m fjy^jj^
4.

The

fifth

and octave taken by leap on the weak beat,

^
Good.
is

is

dissolved,

down-

are permitted.
Good. Good.

Good.

180.

m
5.

^
prohibited.
is

zzz

f
beginning,
for

Succession of two major thirds

6.

The passing seventh

allowable at the

Instance

181.^
point

Here follows an example of this kind; it contains a counterin soprano and one in the tenor, both treating the same

cantus firmus.

19=

182.
Cp.

^
-J--

COUNTERPOINT IN TWO PARTS.

55

C.

f.

mB^
S: iBz

3C

ia=

Cp.

^ggg
^^

7g

^^

1:

^^

S^

i^ ^
third or a fifth;
viz:

EE

cantus firmns, the movement

Concerning the counterpoint of four notes, against one of the may foe sometimes commenced with a

183, ^

&
for the rest,

s-

s-

we

As

all rules

already given, also apply here;

show such a treatment under No. 184.

184.
Cp.

fe^ m
P^^rtr-^

t=t=i=

^^s

t=:=t

C.

f.

Cp.

56

CHAPTER

^ 1^^
tt^#-^'^

YI.

19.

^^

# # ^ acrrfra:

PART SECOND.

Double Counterpoint.

CHAPTER Vn.
We call a counterpoint double, when it is formed in 20. such a manner, as to allow its removal an octave, tenth, or twelfth, above or below the cantus firmus. We have only to deal with
three kinds of double counterpoint:
that in the octave,

the tenth

and

twelfth.

Older treatises

also

contain

rules

for

the

double
;

counterpoint in the ninth, eleventh, thirteenth and fourteenth

counterpoints, suitable to be inverted into so
vals,

such

many

different inter-

can only be formed under such very limited conditions, that

they will very rarely,

practice.

perhaps
the

never,

find

employment in actual
in the octave.
for

We

commence with twp-part counterpoint

rules

We

need only add to

already

known

the

treat-

ment of two part counterpoint that neither part should be removed from the other more than an octave, as the effect of the
inversion
is

then

lost.

An

inversion of parts into the double octave

would separate both parts too remotely from one another. We give an example of a double counterpoint under No. 188, which could be placed to the cantus firmus in alto, as a soprano and also as a lower part. We will not in future give the cantus firmus only in notes of equal value, as has been hitherto done in simple counterpoint by so doing the cantus firmus will become less rigid. We shall however have to bestow especial attention on the formation
;

of the counterpoint, so that

it

is

as

much
firmus,

as possible rhythmically

contrasted with the cantus firmus.

In this kind of florid cantus

a binding

is

allowed

between two

crotchets.

crotchet,

entering by step of second,

may

also

serve as a

suspension.

It is quite

another thing when

58

CMAPTEB

VII.

20.

we have minims
in the

in the cantns firmns,

to the

as the crotchets then stand

to the

same proportion
all

minims, as the minims

semi-

breves in

the previous canti firmi.

188.
Cp.
C.
f.

^i Ii3^ ^^M ^
ZSSIZ

m
2

^ ^rr

&:=^

Inversion.

m
One
Intervals
will perceive,

g >^ ^ f r r

^
'

that only those intervals

and progressions

are possible which were available in

two-part simple counterpoint.

such as the augmented sixth,

which are disallowed in

simple counterpoint, must be excluded in double counterpoint.

give under No.

We

189 another example of

this

kind of counterpoint.

The

student will perceive that modulations, which do not lead too

far from the principal key, will be serviceable.

189.
Cp.
C.
(.

i=J=J= i

uU^a=^ ^^?Tfr=i^
'

rr
InveiBlon.

Try-^r^r
W3.

r
r

"

rrrr'^^fr

I^JJ J.~^^?3^
|

r'^

^r'^t^'HrVV^^'M'

DOVBtE COUNTERPOINT.
Exercises.

59

jS^fz^z^f^tlr^
To
this cantns flimus

?5-

the \owex, pait has to he added;

in the

inyeision

the cantus flimns is placed in the lower octave, the counterpoint remains.

il91.

ZE1_S

^^^^m^

i=M^d^

To this alto the Eopiano has to he placed as counterpoint, and to he removed to the lower octave, the cantus flimus remains; similarly in 192 and 193.

192.

^ i ^
^=^^F^^ Itt
21.

^^

193.

S 33^
in

^-^-

S^ise:

Double counterpoint

the octave, in three parts.

When we

place a soprano and alto to a cantus firmus

lower,

manner that the soprano, removed an octave be used as tenor to the bass and alto^ we must adhere
in such a

can

to the fol-

lowing conditions: 1. Soprano and alto must not be separated from one another more than an octave.
2.

form parallel

They must not move in consecutive fifths when inverted; viz:

Inversion

fourths,

which would

194.

i^
when

Inversion

m
Inversion.

4-

Parallel fourths of this description:

will be al-

lowable,

the bass moves in contrary motion; viz:

^^^
195.

i2e:

:?5=

60
3.

CHAPTER

VII.

21.

an octave,
the bass.

The soprano cannot approach nearer to the bass, than as it would, when inverted, be placed underneath

t
196.
4.

Not

Inversion.

Likewise the real suspension of 9

]Je,

8 ought
to one.

to

be avoided,

as the result in the inversion would

two

 22.

DOUBLE COVNTEEPOINT.

61

-r

rrr
Inversion

a-*

Ma
fI

^
^
I

JJ i g^E^^^^iz^

n=^

^-J-i-

^^==3=^=^=

^^;
It will evidently

^.^^
remain exactly the same, whether tenor and
as the tenor
It
is

alto are placed first to the cantus firmns in the bass,

by inversion

into

the

higher

octave

appears as soprano.
as

only necessary to pay the same consideration to the progression of

the tenor with regard to

the
first

its

melodious formation,

was done in
the same

instance concerning the alto.

If the alto has to be changed with the bass,

22.

have to be regarded as those given for the inversion of so8 will prano and alto; with the exception that the suspension 9 have to be altogether excluded between bass and alto, and bassand soprano, as mistakes against the rules for the use of suspension would always occur at the inversion. One should therefore abstain from writing:
rules

62

CHAPTER
The
Inversion would be;

YII.

22.

^
^1
The

-4-

^s^

tTTT
^
wrong:

following suspension would be equally

m a
9

id=ip=j-=i
-
8 7
8

We

therefore alter the counterpoint of the alto in this manner:

-er-

^-TTT

^m
We now
reproduce the example under No. 201 with the cantus
firmus in the alto.

firt=vfa
C.
f.

^^^=^

^'^-^-j=

201.

ffTT

22.

DOUBLE COUNTERPOINT.

63
effected in

An

inversion

of the bass

and soprano would be

the following

manner:

i
202.
c.
f. {

itt-(h

-T^

'i

i^

S=g

g^
r

^
the Bass
is

ri#4

ip=f"
-r

r f

ai
First

manner of inversion;

placed two octaves

higher; Soprano and Alto remain.

203.

ntz^

^-^
T
the Bass
is

s>-&-

Second manner of inversion;

placed two octaves

higher, the Soprano an octave lower.

Si
204.

^^^^

T=r
S=&
r r

CT^
i
.

^
the

-r

^^
the Bass an octave higher,

Third manner of inversion: Soprano an octave lower.

64

CHAPTER

VII.

22.

205.

^
^i=^
NB.

3 rrrr
p

g-

l^g
-5W-

i ^rrrr

^^
in

prefer
to

Shonld we

avoid

the slight crossing of parts

at

No. 205, (which by the by is quite beyond objection) would alter the alto, which is a free part.

NB.

we

=^
206.

^
94jf
lE
In
all

i\,

'-

e^=:

^m
immaterial which part reare treated

these

examples

it

is

quite

ceives the cantus firmus originally.

All exercises

by

the foregoing rules and principles, laid down above. In triple time the same rules are to be enforced.
better comprehension of the pupil,

time
ing

For the an example in triple he ^AU learn from the preceding as well as from the follow-

we

give

examples, that the fifth of the triad is introduced in all places, with great care, and in such a manner that there may not consequently appear in one of the inversions, an objectionable

22.

DOUBLE COUNTERPOINT.

65

I chord.
exercises.

This point should also find due consideration in these

.^

207.
c.
f.

^^-

^^
^
First

^
of inversion:

E
The Soprano
is

kind

lowered an octave,

Bass and Alto remain.

ffc Se ^3

208.

^-^^zrrz^rj

^^
i^^^
p
I

E^

i # rj
3

f^

k^jr:^=J=^

^^E
Bass

:3Z=

The same kind of inversion will remain, if the Alto be placed an octave higher and the Soprano remains as before.
Second kind of inversion.
octave, the Soprano remains.

and Alto

are

inverted

an

=^^^M (^3 I r-i:r^~^

209.
{

n^ff-r^^
E^
=?c:

^ J-J-.^j---^ i
E^

^^ ^t^
JadaaBohn,
Counterpoint.

66

CHAPTER

YII.

-22.

i^=U^

m
fT^
razv

s
:~7y

s *
Third kind

of inversion.

The Bass

is

removed two octaves

higher, the Soprano an

octave lower: the Alto remains.

I
210.

fet
b-^^

J'A

i^S^
f^^^

-(*-

i^^ *
i Im
tq==]; ^^^^^^^ r r

: 1=

^
-^

m
now
the

A r
of inversion,

We
crossing

give
parts

the

fourth kind

and

to

avoid
the

we

place the Soprano two

octaves lower,

Bass an octave higher, the Alto remains.

(l

^+^^f^F^
-^ 9
\}

211.

f r

r
=2^

s fstti^

DOUBLE COVNTEBPOINT IN THE OCTAVE.

Exercises.

67

212

.^^^
^t
Note.
isz:

^?=r-F=#f^^^
1^

213.

^p^f^rtri^-i^nrf^E^fe^

214.

E^

215.

gfcl SE

201a and 207

For the sake of saving space, we have woiked out example 199, in such a manner, that the various inversions of each could he

shovrn in connection vrlth the original position.

follow out this method,
as he

The pupil

is

not required to

would therehy only involve himself in unnecesAs accompaniment to the two porta in double counterpoint, sary difficulties. which are to be inverted he shall add to each exercise a third free VOice which need not be inverted, and which must appear in a different form in
,

the

first

position of each example.

CHAPTER
Double Counterpoint
in the

VIII.
in

Octave

Four-part writing.

The student can produce the simplest kind of Double 23. Connterpoint in four parts by forming a movement in such a manner that tenor and soprano can be interchanged.
are required for
in force here.
this.

No new

rules

Here

Those given at 21 and 22 will remain follows an example in which the tenor is

so placed to the cantns firmus in the soprano that both parts

may

exchange places.

The

alto

and bass may be regarded as

free parts.

C.

f.

f
I

fcsi

iJ=;=teH-az

216.
Cp.

"fT-^TfSpf
J.

-2ffl-

iUi^^^

1^5*

68

CHAPTER

Yin.

23.

J-

rn^rrrrr

^^
point in the Soprano.
Cp.

ii
?E
^is

at-

31
in the

In the inversion the cantus firmus

Tenor

the counter-

Both parts are inverted in the octave.

Inversion of No. 216,

i i
I

217.
C.
f.

.;

^Etd^ 3 =5=P= :M^^ ^ i JiI

a=3=

:^
=^
to

r r

rr

^^
,

:2x

In example 216 however, the two parts which are not meant be inverted, are nevertheless also treated according to the rules of double counterpoint. We are therefore able also to interchange them,

soprano and alto, and lastly bass and soprano, by which proceeding we gain still five more inversions of example 216. But we must here expressly remark that the pupil is not at all obliged to work his exercises in this manner; this would cause him a great deal of unnecessary difficulty. He is
(besides those inversions already demonstrated)
alto

and

tenor,

alto

and bass, tenor and

bass,

only required,

at

present,

to

work but one contrapuntal part

to

the cantus firmus;

the other parts which have not to be inverted,

free.

he

may consider as He must work

;

in another part

examples by placing the cantus firmus and in these exercises he will only have to treai
several

two parts in such a manner that they can be inverted, any regard to an inversion of the free parts.

without

23.

DOVBLE COUNTERPOINT IN THE OCTAVE.

The
student

69

at example 216.

may practise this problem in the order indicated He will perceive by the inversions, that the fifth

of a chord has to be introduced with especial care when it apIn like manner the pears in the bass in one of the inversions. Altogether always unsuitable. almost eight is suspension nine to

the introduction and resolution of suspensions requires the greatest

care.

The employment

of the

augmented
itself

sixth

will

prove alike

difficult.

This interval will present diminished third, and not only prove

may

as a a harsh dissonance, but also give rise to faulty progressions; for example: at

the

inversion

itself

Inveislon.

$m
therefore avoided
,

1^
of
in a 5

^^
the

Inveision.

-^5S=
23C

"#
have to be

The employment

augmented
,

sixth will
as in

chord

as well

the chord of the

sixth. The altered fifth can occasionally be used, as is shown in .^\ example 216, bar 5. Here now follow the inversions of two other parts, which we will demonstrate in further inversions taken from the example 216. The cantus firmus in the Alto; the Soprano takes over the

counterpoint of the Alto.

To

preserve the voice-parts this exercise

has been transposed into

keys,
(as

major.
are

Such transpositions
often
to

into other

before

remarked,)
is

neoessaiy

in

certain

in-

versions

when

the phrase

meant

remain within the compass

of the singing voices.

1^
218,
{

i r

4=
-g^

^^ g s^ nf r^=frf-^

m^
^y^

AML^^ji-sqrtj

iAl
^

.ffl

i d

.A.> *

l^^

70

CHAPTER
The cantus
firmus in Soprano
;

nil.

23.

poiht of the Tenor,

the Tenor that of the Alto.

the Alto replaces the counterThe inversion

has been transposed into

major for the sake of keeping the voices

within their respective limits.

i
219.

&r^""-=Pfif^
ij

^
2ZI

ptt

^E^
i
--f=^

jti^^
I

-f

S^fS

mT
The

cantus flrmus in the Soprano;

the Alto

takes over the

counterpoint of the Bass, the Bass that of the Alto.

E
220.
\

=a=

ZSl.

T^

3=
^3^

^-=^ id=

J:

d-feti

^
3^=
:?=hHK

--=-

p^^
The

^^m
the

^^

cantus firmus in Soprano;

Tenor takes the counter-

point of the Bass, the Bass that of the Tenor.

23.

DOUBLE COVNTERPOINT IN THE OCTAVE.

71

221.

'

t>

'

^r^

i
^
fO

eJ

T^
B>-^

^f=&=^f
;

^^

frmrr
r1

3iSI

The

cantus firmus in the Bass

the Soprano replaces the coun-

terpoint of the Bass.

%
222.
\

f-^

J.

A
.

,.

J E^fc -UJ J J
.

JjJ

r
J

frP^

i
-U-.

ffln^
^
:t
for in-

In the same manner other inversions can be worked,

stance
bass,
:

the

change of the bass

into

the

alto

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
will

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

72
that
JBxperience

CHAPTER

VXII.

23.

may be
and

gained of the real

of writing.

eflfeot

of

the double

formations of this kind

They

will

often

give rise to
to the inde-

many

corrections
all

alterations of the original work.

Above

the

student must* give due

attention

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

Exercises.

We

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

The cantus

firmus

may

cantus firmus from No. 224.

Cantus firmus in Soprano,

Counterpoint in Tenor;

Alto and

Bass are free parts.

i3b^
223 o.
<

h^
ISZ

^
I

iAUAihlsUiMA^ ^m. i^ rTrry+f

I I

Inversion.

i-U

I
J.
is::

11

^-

li-

^^
i
I.

js=UU=i=l J.

Ian

f=F=P^=rF=r*^^=^
Cantus firmus in Alto,
Counterpoint in Soprano;

iJjj

Tenor and

Bass are

free.

2236.

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

^^^fTf
I

jAgJ^lL^

 23.

DOUBLE COUNTERPOINT JN THE OCTAVE.

InveiBioii.
1

i s-

Ft

Cantus firmus in Soprano, the middle parts are inverted.

223c.

^ U ^^
^
{

^.-jij3X4^ ?^0ff=%

Edq-^

^m

pf^

73

i^E^
3?=

?=^t3

f#^
J

lA

^if^mHir=

12^2=*

J-

4-

i^
J,^-

j^pO-j^J^ ii jii

^rV~^r-^ ^i
.J
-J
-^7-^

4-^:4^

Cantus firmns

in

Soprano; Tenor and Bass inverted.

I
223 d.

iz

^=d^=i=
=^=F^
i

^^^^^^^^p
*

iji

r etc.

J^i--i^ =

JJl <

^ i^^
IS

^
etc.

iES

74

CHAPTBB

VIII.

23.

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.
1^

^Es

^=J=^
Ttf-

i^i~J ^E^
224.

^
^^ i

^
J

^
I

-^ -

3S=

225.

^^^^^1^^ =F==^
-TP

226.

^-

:S

227.

^^
Remarks on these Exercises.
It does not matter
if

|5=

finishes with the chord of the sixth.

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

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
fifth of a chord,

 24.

TRIPLE COUNTERPOINT JN TBE OCTAVE.

when
inverted,

7&

trhicli

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.
avoided altogether.

CHAPTER

IX.

Triple Counterpoint in the Octave in three and four parts.

24.
If

in

three-part

writing

all

the

parts

have

been

treated

by

the rules of double counterpoint,

it,

five inversions

can be

formed from

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.
3.

Tenor.

1.

Soprauo.

S.Alto.

1.

Soprano.

In these inversions one can, ordinary inversion

sionally
in

(to

avoid disagreeable crossings,)

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

the

In the
if

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

octave

does

not

matter,

wise the effect of an inversion would be

the lowest part representing
it,

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

the
all

movement with the

| chord.

In

the middle

of the exercise,

the rules formerly given regarding the position and introduction

of the I chord, are to be observed.

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

counterpoint with

all

the

inversions.

The oantus

firmus

first

placed in the bass.

76

CHAPTER

IX.

24.

228.

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

I

8.Cf.

^^

f:'

-^-T^fA-

^^^^
s
tFirst inversion.
the Bass.

1T9

'^Y
The Alto
is

r-g

placed an octave lower and forms

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

^^^^^ fTrrt^ ^ti

fTrr ^^

^^E?N^=^^^^^E|^^gEg
rrr-rr

^^i3^
^bjzr^fj^-j
rrr
_
=2:

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

-a^

ffff

24.

TRIPLE COVNTEBPOINT IN THE OCTAVE.

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.

,;td2:

1..

I^^^^^P^
J
-j

.nJ-Jj

230.
3.

^E6

m.

e=J=feM te m

iSEES m f=r-fyr-^rTT

#--<s--

^. E

E^

jEteE

Third inversion. The Soprano is placed an octave lower, Baas and Alto an octave higher; the Soprano now forms the Bass.

fa^^d-j
3.

J -^^=J ^

=5=P=Hs:

231.
1.

E^

i .M^^^^^^ i 9^Ei^^

^
i

-(^

78

CHAPTER

IX.

24.

-^

^^^H^fTf
ig3r-

^-g'g -

^E^

F~-<s^

3
the

The Bass is placed an octave higher; Fourth inversion. Alto forms the Bass in this inversion.

^^
232.

i^ElEg

^^^,-^4^^^
m^f=m^
itn^

^^^ p^^ -^^^ Tt

-^

^^
|Lj.j^LU^;a
rttPfc:

E^
^

g^i =a-MpE^^
^^f?

P^^ i^

Fifth inversion.

Soprano an octave lower.

The Bass is placed an octave higher, the The Bass is Soprano, the Soprano Bass.

3.
2.

233.
1.

^iij
.^fc^Efc

O
EjE

'

ff
r
i

riTT-

f r
i

ft'^

^g^

u.

TRIPLE COUNTERPOINT IN TME OCTAVE.

79

fe

f=F=^E^^ ^ Ib:^ ^^
^f:

k=^

^rj-^^

:^

UL

j_J_

f=n^r

S
r

f r

^
r
i

^^rf^R^=^
Exercises.

234.

i^
9n[tr-^FF

rf ff f

l^
-(

235.

^ ^1= :^ t=t fe:^^

236.

ig$E

4^M-f|f
five inversions.

rr^Tir

After the student has worked out the cantus firmus of these exercises, he may try to invent by himself similar phrases which

would allow
If
it

be intended in four-part writing to place the three upper .parts in triple-counterpoint in the octave to a cantus firmus, the task would be in some respects rather easier than in the foregoing
three-part exercises.

As none of the three upper parts would have to form the bass in any of the inversions, we could introduce the fifths everyEven the suspension of the ninth to the octave can be where. brought into requisition, as we show in the subjoined example,

An occasional crossing of the parts quickly bars five and seven. passing in one of the five inversions would not be of any moment, Occasional transposition especially if it were in the middle parts.
will be

found necessary when the exercises are meant for voices.

80

CHAPTEB
The Cantus
firmus in the Bass.

IX.

24.

8.

^ ^^^ p^^^i^^^
\

=0:

237.

c.

f.

^
I^

-U-^
^-j^ ^^

H
U=A.

ill Ji

^
First inversion (transposed to C),

fe^

s^

238.

c.

f.

at

ip
^

*^fes iE w^

^
i

Second inversion.

1.

239.
3.

rrr
i-J-^i

^^^^^
^

C.

f.

^r$

=p

'

24.

TRIPLE COVNTEEPOINT IN THE OCTAVE.

81

fel

g^gj

^-H9-

-P
Third inversion (ti-ansposed

r^

240.
1.

^m
^p
I^J

to D).

ti^UU
-i

i iti *

c.

f.

r
E^=dEij^
f=f
JZZ

I-^-p-r-r
9ii

J.

-i j

i
(w)

r^
ji^'i-'

Fourtli inversion.

s.

ii

i>-

5* fe e^ee^ f
i4
221

241.

c.

^ ^^
!
f.

ijJfi^

=r

^
^'

Es:

^-

i--i

Jadassohn,

Counterpoint.

82
Fifth Inversion.
s.

CHAPTER

IX.

25

[i
242.
2.

5E^{^gj^
f=rrf

C.f.

iS=

liMd^U T

Exercises.

o243.

S 25.

TRIPLE COUNTERPOINT IN THE OCTAVE.

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

the pupil not to stay

too

long

at in

this

counterpoint.

We

urgently recommend practice

triple

kind of double

counterpoint;

we

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.
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 ^^Ef^=f=^^^^^^
:l
6*

J U

84

CHAPTER

IX.

.25.

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

245c.

fe^^sbi:^
1.

-O-

^U^^rm

Hb
J
J

1^^

:&::

P^^^^^^^^Eig
4:

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

J:

245 c;.

^Uij^iJii

1.

25.

TRIPLE COVNTERPOINT IN THE OCTAVE.

85

i=s=j-h^

g^^^jf=l^^
W-drfe

s;

245 e.
*. C

3^==^

^^=g
d=T^
--

i.
H

s~

iii

^^-fm

TT

-0-0-

1-^ f^^te^^^^

^=
f^

^
-i

:i

rr-

86

CHAPTER

IX,

25.

We
245/-.

show here

also

example 216 in the inversion |

'1*3

1.

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

3ISI

^r-fe^ gs^t^^AM^^^^^ ^ P
fc^^
Eigrcises.

246. 9-^^^

r^^

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

^
E

247.

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

^ ^^^^^
248.

a^=^=^^
student

^tf^^3^^=p=^ tril3*z
It

-*
movements as can be worked

The

may

also invent such

in quadruple double counterpoint.

 26.

DOVBLE COVNTEBPOINT IN THE TENTH AND TWELFTH.

87

CHAPTER
Double Counterpoint
26.
in

X.

the Tenth and Twelfth.

is

In double counterpoint in the tenth the question

to

invert a part a tenth or third.

inversion,

The

intervals

which appear in the

10

are

shown
10

123456789 987654321

in the following table of numbers.

It

is

evident that in this kind of counterpoint the succession

tenths, or sixths should not take place.

of

two

thirds,

They would
fifths.

result,

in the inversion in parallel octaves,

unisons or

InTersion.

such a

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

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

Inyerslon.

m m yr=r ^ iAai 'im ^m T=^

^-^-^-i-ri
e

InTeislon.

% r^^ rf Pi^

rT

88

CHAPTER
of the ninth
is

X.

26.

The suspension

resolved in this

way:

i
IiiTeisions.

^f^=k=

^^m
;k

^d-ri^LU-^
:fefe=
It is

imrr

EE

clear, that in the double

counterpoint in the thent only

contrary
tenths

and

oblique

intervals generally

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

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

this contains all that is required for its formation.

To

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

all

in thirds.

The harmony
natural.

of

four parts as a whole must be clear and

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.

i26.

DOUBLE COVNTEBPOINT IN TBE TENTH.

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

it

will

with the cantus firmus,

parts are treated according to the laws of

double counterpoint in

the octave,

we

shall

now be enabled

to invert

each part a tenth or

is

what

is

equivalent a third.

We

show

this in the following examples.

First kind
(or third)

of inversion.

The upper part

placed a tenth

lower, the lower part remains.

^cz^B^^E^=-T[^^J^
250.
{

^^^^= f^j^^^ gg^^LLCjl^^^

To
this

0-*-

^g
one or two free

and

also to the succeeding inversions,

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

90

CHAPTER

X.

26.

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

Both parts are placed a third

(or

higher.

252.

Il^^t^^
E^EEE^

^
W^^
The upper

^
A)^ ^

=^^

s ^^i fe l^i^
Fourth kind of inversion.
part
lower, the lower one a tenth higher.

^
^
is

^^J-JJTt=tr^

placed a tenth

fee
253 a.

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

i^^S

S^2J

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.

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

We

 26.

DOUBLE COVNTEBPOINT IN THE TENTH.

91

First manner.

^3B^3S l=y
2536.
I

^
etc.

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

-:^

^r
253 c.
.

jTJ

i^

^^
It
is

M
^

^
^
l

etc.

f^ff

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).
free part,

m
253 d.
<

^S
9\
i

r 3=^^ ^ ^^
p^P-F

J JJ

^gj^

^F^ 3^

92

CHAPTER

X.

26.

We

transpose

the

inTersion

of 253 a

to

minor as

more

adaptable for voices.

253 e.

^E

7=^=m

fS^^
Ifttlt

^
-^

jg-

-^B--!-

:t=R=

^ s
Hfi

^^^^
-(=-

g^^=^ S^Tf ^ it^S^ i

g^=g^r=?f^^^
-

EEt

SEte f

-#-

itn4

It is self-understood that this

also

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

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.

26.

DOUBLE COUNTERPOINT IN TBE TENTH.

9a

4-s:J
255.

iJ^i

.S^
^

ii^^

fi

i=E? Pft=E

^
256.

M^^Mm^^ m^^'^'^w
*?*
^afc-i-8'.^^^^

g?f=??=^ ^ ^^==^
^rg:

atznr^^^^^
*.>*

(|i^
257.
{

^^^^^
S^ S^S^B S^ ^g^g^r^
#-
^-#-

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

^^^^^S ^

^
h

HIP^tg^^^

94

CHAPTER

X.

27.

We

here add another example of

the

employment of such
II).

double counterpoint.

This

is

the "Stretto" (Engfflhrung) in 8eb.

Back's fugue in

flat-minor

(Wohltemperirtes Clavier, Th.

The

student

may now endeavour

to

compose

little

movements

in double counterpoint in the Tenth on his

own

account.

Double Counterpoint

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

eleventh

into

the second,

the tenth into the third, and vice versa.

18.
Inveision.

Jnversion.

27.

DOUBLE COUNTERPOINT IN THE TWELFTH.

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.

^* ^
InTeisions.

Sr

IE

-^

i!^

e
tenths.

ItJfc:

iiJ ^

The double

counterpoint in the twelfth

the progression of thirds or

is based essentially on This monotonous combination

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.
f.

iip$=

g^
is

^
is

^J
I

^-=1^
much
as
possible

Therefore the counterpoint

the

formed in such a manner, that

as

progression

of

thirds

and tenths

covered; for instance:

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

^^^s

^
35Z

^^

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

96

CHAPTER
From
Ifirst

X.

27,

this

little

phrase

we

could be able

to

form the four

following inversions.
inversion.

The counterpoint

is

placed a twelfth lower,

the cantus firmus remains.

C.f.

[^^ i

261.
Cp.

^t^F-fft-r^W^-Hfg?
-hrT^hi-3
=t=^
#-#-

i
ii
Second inversion.

m^^rf-w
The cantus
firmus
is

:^
placed a twelfth higher,

the counterpoint remains.

C.f.

262.
Cp.

1^
W^-,'i
'^

\'

i-jp

j^

iJi^

i
fifth

#f-f^
'

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

^^"
C.f.

TtnTT
1^

tHt'^^t

pztll^

ISIZ.

263 a.
Cp.

^.lUl ^ rTf-f^^li^fc^

i
27.

DOVBLE COVNTEBPOINT
The
fourth

m THE TWELFTH.

97

manner of inversion corresponds with the second

is

the Cantus firmus

placed a

fifth

higher, the Counterpoint an

octave lower.

C.

f.

264.
Cp.

^ ^
To
these
illustrate

-^=-

f= C/
two-parts can be added
this

f.frrjf it^'
'

We

in in

middle

part,

and

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

example 260

a,

to

free- lower parts.

The Cantus

firmus

is

placed an octave lower to leave room

for the free-middle part.

'-

ferr^

i-i-rn<J-

IJ.^Jjii^JJ-

2m b.
C.
f.

rrt

1^

m^

-- i
-zr-211.

^^U^-j-^E=^JJ =Qrr-j-T^ T1-^T^ ^-frr~i riffffi

2636.

r^^f^Wf^ i ^j i^^ H-F

^j
j

m.

i
J
J

3C

J,

F-

JadasBOlm,

Connteipoint.

98

CHAFTEB

X.

27.

f&E*;

LuA
^T^Cf
nJ
f

If

'

rr^
will

B^fffTf^^
able for the inversion of

These two free-parts placed a fifth higher Example 262.

be also avail-

Triple or quadruple counterpoint in the twelfth does not exist,

any more than

If

in double counterpoint in the tenth. one wished to add to a double counterpoint in the twelfth one or two invertible parts, one would have strictly to follow those

given in quadruple counterpoint in the octave, which we have already worked in Example 253. All those suspensions and passing dissonances which had to be evaded there, have also to be discarded here. The pupil is recommended to commence his
rules

^n the twelfth, only in two parts, and that even without especial regard to two-part writing. To each example he can add one, or even two free-parts, as we have already shown in Example 260b and 263 b.
studies in counterpoint

PART THIRD.
CHAPTER
Counterpoint
in

XI.

Five, Six,

Seven and Eight real Parts.

The more conscientiously all the rules and principles 28. of the "strict style" have to be observed in three and two-part writing, (if the pupil makes any pretention of producing a good
effect,)

the

less strict

one need be in movements containing more

the parts are, the more and octaves, doubling of the leading note,
etc.

than four parts. freely can hidden

If in

The more numerous

fifths

be treated. than four parts, the voices be reduced temporally to four, three, or two parts, all the rules and principles of this style will be again available. In seven or eight parts, it is occasionally allowed to take the two lowest voices in octaves or unisons, for instance:
the

the preparation, and resolution of the sevenths,

course of a vocal composition

of more

J.1

265.

100
Let us
first

CBAPTER
elucidate the
in
this

XI.

28.

laws

of Five -part

counterpoint.

Though one could

double any of the four parts, still it would be better to write two sopranos, alto, tenor and bass, or perhaps: soprano, alto, tenor and two basses. Experience teaches
species

us that in Choral Societies soprano -voices are the most abundant next to these the basses preponderate above the tenors and altos.
a better effect would be produced by more numerous sopranos or basses into two distinct groups, than by splitting up the scarcer altos or tenors, whose For this reason one parts as a rule, are not so easily heard. would place the cantus firmus mostly in the bass, not so often in the soprano, and still more rarely in the middle parts. In florid counterpoint it would be most practical to divide the movement amongst the different parts, and allow it to alternate amongst them.

Naturally, therefore,

dividing the

To

give motion to one part alone,

first

is

not

advisable in this case.

alto,

Five-parts, composed of
bass,

and second soprano,

tenor and

would

in

clever

hands produce an

excellent

effect

by

its

remarkable fullness of sound. We give an instance in florid counterpoint of Five-parts the cantus firmns being in the bass.

266.
Sopiftno
I.

tlT"^

'--^

_^^:^_:^_:^z=::

Soprano

11.

Alto.

Tenoi.

Bass,

28.

COUNTERPOINT IN FIVE REAL PARTg.

101

of

The same cantus firmus might be treated in a counterpoint two notes against one in the following manner:

267.
ji^

gopnno

I.

&

fi"

Sopiano

II.

Alto

'

Tenoi

Bass.

102
-

CHAPTER
' 3-^ #-^-

XI.

29.

E^^
1^
J

^Eg

29.

For Six-parts, the

division of

two voices each in ex-

treme part would be most advisable. We then write for I'* and II* The cantus firmus of soprano, alto and tenor, P' and II"* bass.

Example 266 would be represented

manner.

in six-parts,

in

the following

269.

COVNTERPOINT JN SIX REAL PARTa.

The same cantus
270o.
Soprano
I,

103

firmus more elaborated in the middle-parta

^
3^

SopianoII.

Alto.

iBt
:^

g=rrt^

Tenor.

ii^^S

Baas

I.

^rf^^
^s^
c. t

Bass U.

i
ff^

^
1*-!-^=^

^g=^

^
zsn
It will
all

be perceived that

it

is

not at

all

necessary to engage
eflfect

voices permanently.
if

On

the contrary,

the

will be at

more

beautiful

now and

then some of the voices pause,

suitable

places, or if the parts enter one after another as in the following

example

104
270J.
Andante
Soprano
I.

CHAPTER

XI.

^
-^-TB-

loatenuto.

=P=^c^
Com-fort,
dolce

^^
com -fort, com-fort my
peo
fort,

Sopiano

II.

EE
Com
dolce
-

^
-

pie,

com-lort

com

fort,

com-

Alto.

^^E
dolce

3C

Tenor.

^Sz
dolce

^m
g=d==M
Com-fort
dolce

Bass

I.

ife^

my

peo
dolce

pie,

com-

Bass U.

m^^
ZSiT.

Com

feg=t!=it
oom-fort,

fom-fort

my

peo

pie.

fort,

/i/\Yirt_-fnT+

com-foit

mv my

-nAn-nln people, p.nTnfnrfc comfort

Tmw my -nnrml people.

^= ^r-i
fort-,

r
|

iSZ^a^gC
>.

^
i

^^
I*
I

i^3^
r

gfort.

f^

e^^
3^
pie.

^
fort

com-fort

my

peo

30.

COVNTEBPOmT'-m SEVEN REAL PARTS.

30.

105

the

assistance

The
271.

we give the two sopranos and alto choruB of two tenors and two above cantus firmus would then appear;
In Seven-parts
of a male

Soprano

I.

3t

3C 31

SopranoII.

3^

Alto.

^
.

Tenor

I.

^-

Tenor

11.

^
-a

Bass

J,

ie
iiE^
C.
f.

Bass

II.

The same cantus

272.
Soprano I

firmus with two notes against one

NB.

W^
:^

w^
32=

Soprano II.

^=^

Alto.

^
"

-^
NB.

Tenor

^^

I.

Tenor

II.

^
3e:

Bass

I.

Bass

II.

^
C.
f.

EE

106

CHAPTER XL

30.

suspension resolving a whole tone upwards, in conjunction

with a suspension resolving downwards, (as demonstrated in the alto at NB. last bar but one) is allowable in pure writing (compare

Also the hidden octave above the Manual of Harmony 55). seventh, between the P* Tenor and the I^' Soprano (at NB. last
bar but one) will be permitted in seven parts as well as all other succession of a diminished and perhidden octaves and fifths.
;

fect

fifth,

forbidden in four parts,

/^

is

permitted in an ascending
are allowable in

direction

contrary motion.

f^

Also octave-parallels

m
3

:/SfS-

The above mentioned hidden

third in an under part,

the third in the uppermost part,

and and between the root and the could however be easily evaded by placing
octave, between the seventh

{D instead of G)

in the I^' tenor, as last note but one.

We

here give the same

cantus firmus,

with a more florid

counterpoint.

273.
Sopiano
I.

Soprano II.

^^m ^

X-- f

==F=t

Alto.

^
+^

^
<s>-

Tenor

I.

--T--

Tenoi

II.

^&

ZS7-

Bass

I.

^Ja^
i!^ IZl

Bass

11.

30.

COUNTERPOINT IN SEVEN SEAL PARTS.

107

(i
ff3=
^iS-

=?=

ii=fr-rfTf

=t^

r^^^

E^

^
more practicable, in a composition by a double chorus, viz: female chorus with two sopranos and alto and male chorus for four parts. It is advisable to employ the two choruses at first
find
it

One would moreover

for seven parts,

to imagine

it

as represented

alone, afterwards together, as in the following example:

274.
Andante, iolat
Sopiano
I.

i^
How

F
fair

fP^
Sa
-

are

Thy dwellings. Lord

ba-

iolet
'

SopianoII.
iolct

=?Z=

l=q=4; S^
-,

Alto.

*-\-S'-

3
~ iin7,(;t|
I

Tenor

I.

How
Tenor
II.
ijcilce d

Bass

I,

iolae

Bass

II.

=^l=:
ioUt

108

CHAPTER

XI.

30.

^E
oth

=1=^

^^1^^
how

*=t
fair

r^

-=
Thy

aie

ElE

3^#
=1=^

^^^^
^^^
how

i^
Xfair

W^^-

Thy

^g^^::=p-:^P=N^g^
fail

-^
Loid

aie

Thy dwellings
-

^^
Sa - ha :z

oth,

=t how fait

E^
^

EiiEE

aJ-

&

^ ,J_j_

^^
i
EE^

s^g
_,_.
lings

^^m ^S^ ^S
:
Lord
Si
-

how

=1=^

^
ate
fair

dwel

ha

- oth

=P=^
-

dwel

lings

Lord

Sa -

ha

- oth

m^ k^^^
Thy dwellings
Lord

^=t
Sa
-

ha
I

- oth

m
are

a
Thy dwellings Lord
Sa
-

ha - oth

etc.

W^

E^^^
how
fair

Lord

^
Sa Sa

ha - oth

ajA;=aJu:fM f^fe3
I

Thy

dwellings Lord

ha - oth

is^ ES
how
fair

^
Lord
Sa
-

ha

- oth

30.

COVNTEBPOINT JN EIOBT SEAL PABTS.

In eight parts,
every voice
;

109

one chorus for eight voices

act,

is doubled. One rarely employs (wo choruses of four voices each, which

in part alternately, in part

written.

One may sometimes allow

octaves
or unisons;

simultaneously are more usually the basses of both choruses to

also

move
are

in

the sopranos of both choruses

sometimes both choruses are written in such a manner, as to form only one four-part chorus. All these concessions are necessary on account of the extreme difficulty of manipulating eight perfectly independent parts for any

occasionally

written in unison;

We show the way in which the pupil shall practise by an example in note against note, making use of the same cantns firmus hitherto employed in five, six and seven
length of time.
this species

parts.

The

student
fifths,

may

carefully observe that none of the parts

form parallel

or octaves with one another.

275.

Sopiano

I.

^
P^

-r9-

Soprano 11.

Alto

I.

^
tes

a.

a.

Alto II.

Tenor

I.

-C

^
-s>

Tenor U.

i^

Bass

I.

Bass

II.

no
The same cantus

OBAPTEB

XI.

30.

firmus with a counterpoint of two notes.

276.

Sopiano

I.

^
ft3^

^
f^-rjuTT
a. a. a.

SopianoII.

^
a.

^^;^
^F^F^t

Alto

I.

i^^
lE^
=i&-(a^

Alto II.

S
*=t:

Tenor

I.

E^

^^i^
^
f_pL-|

Tenor

II.

O^: ^

Bass

I,

Bass U.

^ ^
C,
f.

piip:

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.

 30.

COVNTBBPOmr IN EIGHT SEAL

PARTS.

111

277.
Soprano
I.

Soprano II.

Alto

I.

Alto

II.

Tenor

1.

Tenor

II.

Bass

I.

^^ ^^S
i^
G.
f.

-^^

^E^

Bass

II.

-*

m-Pf-^^ P-^

^f
l^e j^^
i

f-

^i

112

CHAPTER
All the foregoing liberties

XI.

30.

can be used in free composition,

or tenors

allowing the sopranos and altos,

in unison,

and basses

to progress

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

is

Here
278.

an example of

this kind.

Sopiano

I.

and

II.

^^^^
dolce

i ^

Alto

I.

and

11.

^P=^=^

^-s2=
;

fdolce

13 -m ^

Tenor

I.

and

II.

^^^ ^
.ui

dolce

Bass

I.

and

II.

^^^
men,
a
-

^^N^
molt' espr.

men,

^
3-ff

molf

espr.

f==i=
etrpr.

^
^
=F J.
.-.

^i-U'

molt'

4^L^
moU' upr.
fSfS

r.-yr

fwt^
I


30.

COUNTERPOINT IN EIQHT REAL PARTS.

doleisi.

113

iM*fe^J'^ g^^^^pfl^g6
men,
a

=F=F

ijA
fert:^

doleiis.

-g- fig

^^
i^d: ZUSi

(ioJciss.

^E^
doJci'ss.

5* =L^

3=

men,

men,

a
^

men,
^_l

W ^=^^f^^n^.

^=^ ^^^-

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

^
mf
a

tjz

Pfe=*
men,

3
/
jb

_-ia_

4^
men,
a

i=^

SE
a

1&

S^

-men,

m
PP

-is^ men.

#---

^s--^-

#-

E
ii=g-d-t
a

s>\

S'Ta^

T-

py

-men,
.

=^ f-men,
a
iff
r

g^'

'
i

g^

fe
-tSl=-

9^

ff

T^/ ;=?== - g S'

.2_

=^

Jadaasohn,

Counterpoint.

114

CHAJPTER

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.

Soprano.

fU-^
Praise
ye,

IT7]^
\

(g

M-

praise

ye the

Lord,

Alto.

^EZI^Efe
Praise
ye,

praise

ye

the

Lord,

Xenor.

^^
Praise
ye,

praise

ye the

Lord,

Bass.

a tiT r
Praise

Mye,

praise

the

Lord,

Soprano.

P^J
ff

yw

Jpraise

^
ye
praise

Praise

ye,

Aito.

13
a "
02

^
Praise

r^^ye

ye.

WW,

Tenor.

^^ ^S
=
Praise
ye,

f=g=^
praise

ye

Bass.

aE^=^^
Praise
ye,

^t=:
praise

ye

30.

COVNTEBPOINT IN EIOET REAL PARTS,

cresc.

115

tf

i
u
fi

-(-

^
pisiae

-^
ye the
Loid,

#^#P=^f^
praise

//*

ye the

Loid,

^Tt-f -t Ji E
s
praise

tf.

ye

all

ye

lands,

^
praise

^ e
ye
all

//

ye

lands,

//

[fjlr rp
praise

f-TTp

I'

-ULl:^
all

ye the Lord, praise

him

^
ye

^
praise

//

F
all

Fye

ye

the

Lord

fe

//
1321

rf?==e
ye
the Lord,
all

praise

ye

lands,

P^
praise

H^
ye
the Lord,
all

//

ye

lands,

all

8*

116

CEAPTEB

XI.

30.

(rts

f-f-f-r >

r
ye

ftr

-no:^
all

praise

the Lord praise the Lord

ye

lands.

t^
praise

feS^
ye
the Lord praise the Lord
all

lands.

^m
praise

^
the

Lord

all

lands.

m
praise
lands,

^1^
the

^
all

Lord

lands.

t^
all

S^L^M-ff
ye
lands.

rl |&=^=2z
lands,
all

=s=p=
ye
lands,
all

ye

lands.

praise

all

ye

lands.

^
praise
all

lands.

It

is

as

well
first

in writing for a double

chorus, to regard the

I=*

voices

of the

chorus as

I^*

Soprano,
Alto.

Alto

etc.

those of

the second as

IP* Soprano, IP* The student may work for

his exercises in five,

sis,

seven

 30.

COVNTEBPOINT IN EIGHT REAL PARTS.

or another
is

117

and eight parts one

Later on he
Motets.
will

cantus

firmus

from the former

examples, best suited for this

may

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

dent, poly-part movements,

and

to give

them the form of small

rules of

After having

now acquired

the

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
beneficial results.

Explanatory remarks and hints

for

the treatment of the Exercises in the Manual of Counterpoint

with especial regard to

self- instruction.

2,

page 8.

It is

evident that the cantus firmus of No. 34

fifth

has to be worked in

minor, on account of the d^ in the

as follows

bar.

We

34.

^m
^E^

work the example

^
6

'JSZ

lEm

s
6

-4VI
11O7

IV7

i
A
C.
f.
.

ZIZZ

-^r:^
8

zsz -^

-A.

6 5

1.0,

IlO, "7

*7

'

in the following

4Uti-

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

35.

^ S

E^IE
I

,
is=

..

g-

4IV
I

IV

Vt

117

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

takes Its natuial tone of resolution.

EXPLANATORY REMARKS AND HINTS.

119

:;s:

-#-

32:

rsz

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
fifth

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

^^S gP^T*^
When
breves in the cantus firmus,
following manner:

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

^^ ^^^
To 12, page 30.
No. 108,
requires two

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

120

EXPLANATORY REMARKS AND HINTS.

C.

f.

I
{

xJa

sn i^s^

NB.

-'g ^=^-

108a.

T:
of

SeSe^
NB. See Manual
Harmony
53, pag. 131, Ex. 257b.

EXPLANATORY REMARKS AND BINTS.

121

i^ m

i=J

^^5^
ISC

J.

^3E
-wI2Z:

32=

The hidden

fifths

between

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

^=m

-^

st iE

122

EXPLANATORY REMARKS AND

BINTS.

J^J
A

C.

f.

I
}

eJis-

'LiXljJt
zsz

,_.

JMiJ:
. !

108c.

Z
i

1^^a^^s-

3ZZ

i
C.
f.

^
IB2Z

^^
'^^-rd..'
I

^^
fe

:s i^

J J

108d.

iSE

li

3=

fet

^^d=^
J
1S=^=

plEE^

c.

f.

108e.

^
i!te

^
22

i=J=iJ:
01

[a)

()

EXFLANATOBY REMARKS AND

HINTS.

123

^
JS-

S
12=

3!^

^^
ZSZ

ZSZ

J
C.
f.

fri^^-4!Pi-i

J J

jrpg-j

los/-.

l^^
i
We
:^

Ljrpj j^-d-ri E^^

zsz

add a working out of the cantus

firrnna

No. 100 in the

form of a sequence.

100.

c.

f.

i
-^

J.^T^,i+.i
jBZ
NB. 32=
of

^^tU^_^
pag. 131, Ex.

NB. See Manual

Harmony 53

257 c.

To 15,
harmonic ones.

Ex.

134 and 135.

Both notes of a leap must be

124

EXPLANATORY REMARKS AND HINTS.

To 15, Ex. 136.

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:

jE
I

r~

chromatic progression after three notes of

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

i
^i:
zsz

:4=t

m
fifth

^M
may amount
of the major
will

ii^
Fx. 201.
It

To 22,
to

will

be

perceived on observing this

example, that the distance of the bass from the alto

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
It

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

visable to introduce this interval,

either as passing note (best

of a

full close.

In Ex. 201 the

note [A]
sustained,

fifth

of the dominant [A,

C*, E,) appears

(in

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

is

The fundamental
and being

struck in the soprano on the

serves as a preparation to the

first
fifth.

crotchet,

The

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.

a passing note.
first

In the fourth bar, Z>

the

crotchet;

Example 202.
the soprano the
fifth

The inversion

of

soprano and bass shows in

(e,

of the chords on the second degree,

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
it

fifth

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

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)
is

prepared.

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,

To 24,

bar

3,

between tenor and

alto.

One

will observe from the pro-

gression of the soprano,

(bar 2) that the altered fifth

can be em-

ployed advantageously.
of the major
in

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

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

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.
first

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

If the student places the first 6 notes of

-9+If

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,

88.

Counterpoint^ simple,
florid, in

1.

in in in in in in

minims, 10. the bass, 11. the soprano, 21. the middle parts, 30.
crotchets, 38.

three parts, 47.

two

parts, 53.

DoMe,

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.


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.
in triple counterpoint in three parts, 79.

two

parts, 59.

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

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, 4447. 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, 6774. 79. in triple cotmterpoint in three parts, 75 in four parts, 8082. 86. in quadruple counterpoint, 83

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

in double counterpoint in the tenth, 87 in the twelfth, 9598. 102. in Jive parts, 100

94.

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.

128
Free-parts, 67, 72. Inversions, 57, 74, 82, 87, 94.

INDEX.

Melodies,

1.

Minor

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.

6 11 16 21

38.

2 page
7

6.

3 page 8.
8
-

4 page

10.

13.

14.

15.

25. 44.

12
17

28.

13 18

30.

47.

53.
67. 98.

9 14 19

20.
34. 54. 75.

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

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

24 29

105.

25 30

82.

107.

Part

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.