The Art of Counterpont
GIOSEFFO ZARLINO
PART THREE OF
LE ISTITUTIONE HARMONICHE, 1558
translated by
GUY A. MARCO
and
CLAUDE V. PALISCA
GIOSEFFO ZARLINO
YALE UNIVERSITY PRESS, NEW HAVEN AND LONDON
1968LE ISTITVTIONI
HARMONICHE
DI M. GIOSEFFO ZARLINO DA CHIOGGIA;
[ele quai; ola le materi ppartenentt
ALLA MYSICA;
Si eouano dichisai mol luoghi
Sameadlgge f pniciomet doe,
£08 ina retin
‘Con Priilegio delat Signerisdi Venetia,
peranni X.
IN VENETIA MD LVIII.
CHAPTER +
Wat Counterpoint Is and Why It Is So Called
L147] have given sufciene atenton inthe two preceding books co he
firs par of maic—the theoretical or speculative—and have covered
‘hing tha are pertinent and necesury tothe musician. Thece remains for
sme to dicusin the two books tha follow the second oe practical par of
:music, Ths consists of che composition of songs ot melodies for two of
more voices Practiioners cal ithe at of counterpoint
Since couteepoint isthe principal subject of this part, we shall Bes
see what i sand why isso named. I consider counterpoint tobe that
concordance o agreement which s bora ofa body with verse parts, ts
various melodie lines accommodated to the total composition, arranged
so that voices ate separated by eomnensurile, harmonious interval
“This is whac in Chaprer 12 of Bae IIL called “proper harmony." fe
anght so be sid tha counterpoin is kind of harmony tha contains
diverse varaons of sounds or steps, using rational intervallic proportions
sav temporal mesurements; or that isan aeful union of diverse sounds
reduced to concordance From these definitions we may gather that the
sat of counterpoint isa dicpline which teaches one to recogaize the
1: “Proper harmony (hermomi propria «isa composton or mitre of high
and low Sounds, mediated of not [by other sounds), that sles the hearing
Sooty, Tir kind! of harmony ace fom the pars Of «voce eompsicon
they proceed in concardince frm the beginning tothe en, sd cha he owe
{o induce dhe mind to vasiows pasions Te arses noe only from consonances but
to from dizanances for good misc in hie harmonies eer every efor fo
‘take disonances second and be contoninc with marvelous eect. Ths we may
‘onider prope hatmeony fom ro apes pefec and imperfect. ‘The perfec
that in which many pare sng together ins compostion in sich + way tht the
futer pars ae mediated by other and the ingerfece that in which only «wo
ft sing together withouteing mele by anyother pare
“Improper larmony (Berman non propia) tay beter be called harmonious
consonance than harmony, beast dacs ot conan any part movement (mad
Tein), despite de fac hati ns the ater sounds mined. This hind of har
mony humo power to move dhe mind to various pusions as dos proper harmony,
‘which consis of many inoper harmonies” (Poe I, Chap. 1)2 The Art of Counterpoint
various elements in a composition and to arrange che sounds with pro-
portional ratios and remporal measure
‘Masicians once composed with only 2 few dots or points. Hence they
called this counterpoint, They placed one aguinst another 48 we now
place one note against another. A doc represented stone: just 25a point
is the beginning of a line as well as its end, a sound or tone marks the
beginning and end of a melody and forms the consonance out of which
‘counterpoint is made. Perhaps it would have been more reasonable to
name this countersound rather than counterpoint, since ane sound was
placed agains che other. Not to depart from popular usage, I have con-
tinued to all it counterpoint, by which we understand point agaist
point or note against note.
‘There are cwvo kinds of counterpoint: simple and diminished, The
simple is composed solely of consonances and equal note-values—what-
ver these may be—placed against one another. Diminished counterpoint
has dssonances as well as consonances, and may employ every kind of
note-value, asthe composer wishes. Ie proceeds by intervals or singable
spaces, and its values are reckoned according to the measure of is
tempus. Iti in the nacure of counterpoint that its various sounds oF
steps ascend and descend simultaneously in contrary motion, using inter
vals whose proportions are suited to consonance; for harmony has is
origin in the joining together of a diversiy of opposed elements. Coun-
terpoint is considered best and most pleasing when the bese manners,
‘ornaments, and procedures are gracefully employed, and when this is
done according to the rules that the art of good composition require.
[gH] Ie should be observed thae by melodic interval is meane the silent
passage made from one sound or sep to the next; iis ineligible though
inaudible.
2. Tempus ie the scheme of tine measurement that defines the number of se-
reves in reve.
CHAPTER +
The Invention of Clefs and Written Notes
[Every mathematical science relies upon demonstration rather than argu>
‘ment and opinion. Certain principles, called premise, are granted, and a
demonstration is made which resolves everything easly and clearly. To
arrive at such a demonstration the means must be found for making it
accesible to our judgment. Mathematicians, understanding this, devised
signs, not separate from matter except in esenee, yet distant from it
“These were points, lines, planes, solids, numbers, and countless other
characters, which are depicted on paper with certain colors, and they
used these in place of the things symbolized. In the same manner musi-
cians, to make thei specalations and demonstrations evident and suseep-
tible to judgment, realizing that sounds could in no way be writen or
otherwise depicted on paper or other material, devised certain signs or
characters which they called fgares oF notes, and named them as we
shall sce later
“They named the strings of their instrument and steps of vocal melo-
ics with these six syllables inthis order: ut, re, mi so, la, a8 T have
shown in Pare Il, Chaper so. They called this series a “deduction” or
“reduction,” that is, a leading of the voice from one place to another.
“They considered it a natural progression ofthe six syllables. Because this
eduction may begin in any of three places—on the degrees C, F, or G—
Guido divided his Introduction "into three parts. He applied these sl
1 What is meant by the “Inrodacion" (Inrodutori) of Guido may be
dened evoogh a cotespoadence Zino lad with Giovanni Vincenzo Pali
in Padua Pinel soughe trough his correspondent to obtain a fll and correc
upy of Guido of Aren'ta on music. With a leuer dated Venie, 30
‘Okober sy, Zaling sere Pal is copy ofthe “Tncodutorio ct Gulden”
pnting out tate wa incorret and incomplete, purcalay dhe wong Gliscune
onde ms amino melita came, whic, he Sas." very longa contains
Seber of nase of his se (Man, Biioree Ambrosana, MS. #19 sup
{ot na) Bn asked Girolamo Mei eo compare Zt’ copy to Mell.
fepored thar hs copy of "Lnzedutorio di Guidoae” begs: “Temporar
Taber "and ended "ed ae plsophise peropimus est” alter whch fl50 ‘The Art of Counterpoint
Example 36
=
example, when the substitution ofthe § forthe b reduces che interval by
small semitone. The same effect may be guined with the, Inthe fist
‘example of the next illustration [Ex. 37] there is a whole tone; in the
second there large semitone.
Example 57
——s
All this has related to the diminution of the interval of a whole tone
through the subtraction ofa small semitone by means of the signs illas-
trated. The same signs may be used to augment the large semitone by
adding a small semitone o it, as shown in Bx. 38
Example 38
A. word of advice: to make 2 melody easy to sing, the note marked
with ab should be preceded by a lower nore and chat marked with & or #
should be preceded by a higher one. This is to make the parts as I suid,
ceases to sing, for these intervals are simpler to produce, a experience
has shown. It would not be 2 great error, however, to use these signs
otherwise,
CHAPTER 36
What ls Required in Every Composition:
First, the Subject
We now come to counterpoint. Before beginning i i mecessry to
esuablsh whae ate the essentials of every good counterpoing, indeed of
very good composition, those features whos omision would resule in
an imperfeton. The fst the subject, without which nothing ean be
‘made. Just as the agent in any operation has regard for the end tat moves,
‘im to aeton and bass his work on certain mater called the subject, 0
‘the mosician in his operations, considering che end which impels him «0
‘work finds che mater or sbjec upon which he bases his compost,
He then proceds to perfect his workin accordance with its proper end.
His nd isthe ame ar chat of the poc: to serve and to please, as Horace
early pots it in his Are of Poetry: [178]
‘Aut prodesse volunt, aut delectare porte:
‘Aut simul et iucunda,etidoneadicere vitae!
“The poee’s subject is [an incident of] history oF a tle. Whether the
sory is of his own invention or borrowed from others, he adorns and
polishes i¢ with vations embelishment sit pleases him, He omits noth-
ing fi and suitable to delight the minds of his listeners, achieving thus
something that is magnificent and marvelous. The musician has the same
‘end, namely to serve and to please the minds of his listeners with har-
monic accents, and he also has a subject upon which to construct his
‘composition, which he adorns with various movements and harmonies to
‘bring maximam pleasure tothe audience,
‘The second requirement of a composition is that it be composed prin-
pally of consonances, and thac it contain incidentally (per accidents)
1. Art poetics, 33-345 "Post si ster eo benef orto ames, oF ter
won ac ce oth plang snd elu o fe Tram. by H. Raseon Ficlogh
in Horse, Siren, Epinler and rs Poctie, Loch Canis! Library (London,
1939).5 The Art of Counterpoint
also many dissonances so arranged and placed as to conform with the
rules which wil be given later.
‘The third requirement is that the voices of a composition proceed
properly, tha is, through true and legitimate intervals born of the sono-
ous numbers, 0 that by their use good harmonics result.
‘The fourth condition to be me i that of variety in the movement of
‘the parts and inthe harmony; for hatmony is nothing other than diver-
sity of moving parts and consonances, bought together with variey.
‘The fifth is that a composition be ordered under a prescribed and de-
termined mode, or tone” as we like to call te must not be haphazard.
‘The sixth and last requirement, chough others could be added, is that
4 musical composiion shall complement the text, that isthe words, Wich
say texts it should not be plaintive, and vice vers; with sad subject
should not be gay.
‘So that everything will be understood flly, I shall speak of each re-
quicemene individually, in order of convenience and need,
Beginning then with the fist requirement, I say that the subject of
every composition is cha pate of a composition upon which the com-
poser exercises his inventiveness to produce the other parts, however
‘many voices these may be. The subject may be one of several kinds Ie
may be a creation of the composer himself, a product of his genius. Ie
may be taken from a composition of another, fitted to his ow and
sudorned by varius parts, as he pleases to the best of his talent. Such a
subject may be of several kins: it may be a tenor or other plain-chant
part, ora par from 2 polyphonic composition [canto fgurato]. It may
also consis of two of more voices, one of which may follow another in
1 fugue? or consequence, or be organized in some other manner. Indeed,
the types of such subjects are potentially infinite in number.
After 2 composer has found his subject, he proceeds to Write the other
‘parts in the manner we shall investigate. This proces is called by musi-
2. Ton, easing oe ofthe eight Gregorian tons o modes,
5, Fuge bere elated as “gu shoo in Zari does aot have the
snadern messing bat nthe eof our “canon See the dein of fog (age)
tnd conssqaence (comequeas) below, Cap.
Consonances snd Dissonances in Composition 8
cians “making counterpoint.” Bue should he not have subject to begin
with, the pare that sounds first, or which he writes as a begining, what
ever it may be and however ie may begin—whether a high, middle, or
low part—ths shall be the subject. Upon ithe will adapt the other parts
in fugue, consequence, of however he pleases, suiting the muse to the
words and to the meaning they contain. Bue when a composer derives
his subjece as he composts the parts of a composition, cha is, when he
. Pare Il Chap. 4 Zalino means tha che 6th wil be cempered in ceria
‘mings bur ever in st intonation, which he sues for ocd ssi.7° The Art of Counterpoint
placed differently within the fifth, I do not mean tha such thirds difer
in proportion but in location. For, as I have suid elsewhere when the
major third is below, the harmony is gay, and when itis above, che har
mony i i, So from these diverse positions of the thirds placed in coun
terpoint between the extremes of the ffth—or above the octaye—comes
harmonie varie.
If we want to vary the harmoay and sil observe as far as posible the
rule given in Chapter 29, we must write the thds in the following
‘manner, Having first placed a major third, which forms the harmonic
‘mean we then plice a minor third, which forms the arithmetical division.
[182] However this is not so binding in writing for many voices as for
two. We could not observe this alternation so easily if we were preoceu-
pied withthe (Fae) relations mentioned, for while erying to avoid them
‘we would be continuing for sometime one of the 6W0 divisions without
relief. The result would be a composition in which at times sad music
‘would be set to happy words, oF vice versa, without justification. L do
rot mean that a composer may not write two consecutive arithmetical
divisions, bu that he should nor write many one after the othe, at che
risk of ending the ensemble » melancholy air. But writing many con-
secutive harmonic divisions does not give offense as long as they are
formed on the natural steps of from justifiable accidentals, because then
the harmony has is parts arranged in order and achieves its ultimate end
and the best posible effect.
‘Yee when two parts ascend oF descend either by one or two step the
snean should vary, parculaly whea the (False] relation ofthe trtone or
semiiapente might occar between the two parts involved. This would
happen in the ese of a single step with two consecutive major thirds,
and inthe case of two steps with two minor thirds, But when the rela-
‘ioaship is tha of the semidiatesaron and berween accidentals such as
band f, or when only one of these signs is present, we need not avoid it
a all. Since they are both harmonic means, they will obviously give a
‘good effect, despite their lack of variation.
'No one ought to be surprised at cis. Diligent examination of the
4 Cap. a,
Permisible Consecutive Contonancet ”
consonances arranged according to the one and the other methods will
reveal that the arithmetical order—that resembling the arithmetical pro-
portion-is somewhat removed from perfection of harmony, because its
clement are not arranged in their natural locations. Oa the other hand a
harmony resuking from harmonic division or resembling itis perfeely
consonant, because the parts of this division are collocated and ordered
sccording to the proper gradation of this proportion, and according to
the natural sequence ofthe sonorous numbers. This may be sen ia Chap
ter 15 of Part L? Of this enough for now; I may return to the subject
later co laity i.
5, ose above, Chap. 10,
CHAPTER 32
How Two Perfect or Imperfect Consonances of
The Seme Ratio May Be Written Consecutively
Although forthe reasons given above two consonances of similar propor-
tion should nor be written ascending or descending together, it is posible
‘o write consecutive perfect or imperfect consonances of the same ratio,
namely two octaves, two fifths, wo ditones, wo semidixons, ete. This
can be done when the two voices involved exchange pitches, moving in
contrary motion (Ex. 50]. In such an exchange of steps berween the
voices, the consonance isnot ried from a high pitch toa lower one, oF
vice vets, but remains in its fist location, changing nether postion nor
sound. Therefore no varity of pitch is heard. Since no variety is audible,
Example 50, Allowed progresions2 ‘The Art of Counterpoint
ie eannoe be suid that there are ewo consonances of the same ratio used
consecutively in the manner described previously. Rather ic is but one
consonance which is duplicated on the same steps, a i clea tothe ea.
‘Whenever parts exchange pitches, ascending or descending, and vary
their melody by this contrary motion, thei sounds are unchanged. Of
course there may be a diference audible when slow voice sings a higher
pare and vice versa, but nota diference in the sense that concerns us
row. As may be seen in Ex. 1, were the pars to retain eheir original
positions, the melody of each sould consist of a monotone, [183)
Example 51 lustration of al eat i stated above
CHAPTER 55
Two or More Perfect or Imperfect
Consonances of Different Ratios
May Be Written Consecutively
Ie was esenil to observe the rules jst given so that sweet and deight=
fal harmony might result from variety and order in arranging conso-
‘ances in a composition. Having observed these rules, musicians were
then free wo write in theie counterpoints whatever consonances best
suited che situations at hand. They did nor hesitate to write succesions
of perfect or imperfect consonances, unmediated by other consonance,
provided they were of differen ratios. We shall follow this practice,
because its both convenient and reasonable. We shall when convenient
‘write an octave immediately after a fifth, or vice versa; and a major or
minoe third after each ofthese. Similarly we may write hexachord after
a third, and vice versa, as seems suitable, always varying the consonances
asin Ex. 52. The parts should always proceed by singable intervals and
with besuiful line If this is done the harmony willbe good and pleasing.
Perfect and Imperfect Consonences Altrnsted 2
Example 52
CHAPTER 36
After a Perfect Consomance It Is Well t0
Write on Imperfect Consonance, and Vice Versa
In the naturl series of harmonic numbers the ratios ofthe perfect con-
sonances appear in succession, uninterrupted by any imperfect conso-
nance, as may be seen in Chapter 1 of Pare I. The imperfect consonances
then follow in sequence, uninterrupted by any perfect consonance. We
‘must not imagine thatthe ancients ordered the Consonances in this man
ner in their compositions, although we ought always to be guided by
these numbers. They knew well tat such sequences of perfect oF im-
perfect consonances would have broughe them not only a certain annoy-
ance but also difculy. In fact, ic would have been neatly impossible for
parcawriting to reach the perfection desired and to give the voice-lnes
that beauty esential to 2 composition. To avoid this dfficulky, let us do
in our counterpoint as they did: (184) place an imperfect consonance
after a perfect one and vice vers, a third or sixth or their compounds
after an octave or fife, and vice versa, in the manner shown in Ex. 53
Only good, graceful delightfl, and perfect harmony can result from
Example 53.
SSS
‘Sit eros” The Art of Counterpoint
this kind of variety. OF course we muse always watch, as I have sid,
that we make the parts singable. Only from a well-planned combination
‘of so many things shall we get the most good out of perfect harmonies
‘CHAPTER 35
‘The Parts of a Composition Should
Progress in Contrary Motion
Te was sid above that harmony is made of opposites or contraries. This
applies also to the simultaneous movement of seversl partz. Whenever
possble—and this conforms to ancient practice—when the part on
which the counterpoint is written, chat is the subjeet, ascends, the
Example 54.
counterpoint should descend, and vice versa. It isnot faulty, however, to
lec them move in the same direction on occasion for the sake of smoother
voice movement. If my suggestions ae followed, there is no doube that
the simultaneous motion of the parts will have a good effect. This may
be seen in Ex. 54.
CHAPTER 36
‘The Parts of a Composition May
Ascend or Descend Together
‘I mast not be thought, though musicians are convinced about the ob-
servation of this rule, that i is fata to deviate from it, Ifthe rale were
albvays binding ic would be a needless restrietion on a musician, prevent
Peralel Motion 6
ing him from achicving grace and elegance of line and a full harmony.
He could not if compelled to observe the rule invariably, write when he
‘chase in fugue or consequence—admiable procedures for a composer in
‘which one past imitates another, as we salle later.
‘While we should observe che rule whenever possible, when the voices
do ascend or descend together we mus seek co organize the woice move=
‘ments in such a way a8 to avoid unplessantnes co the ea. [185] ‘Thus
when writing wo consecutive perfect consonances, we are careful t0
have the parts proceed one by leap and one by step. In ths way we can
alternate large and small intervals such asthe octave and fifth without
“offense tothe senses, as may be seen in Ex. 55.
Example 55. Tolerable progressions
Descending parallel movement of the parts is best in the Jow register
for the movements of these low notes are necessarily slow; and the lower
the register the better. The slowness makes it easier to gasp che diversity
of the species than is possible in higher sounds, which aise from quick
movement. Among the high sounds there is 2 tendency for species ro
sound alike, especially when che parts ascend together from a smaller
perfect interval co larger one. But musicians today do not bother about
‘these things, and they ‘write such parallel pasages without hesitation,
“Therefore, I shall only recommend that they be used sparingly in two
voice writing, where the ear notices them more readily than it would
among many voices, in which sch effets are obscured by the number
‘of voices and their movements.
Ieis also nor laudable in ewo-voiee counterpoint co hear an ascending
progeesion from an imperfect consonance t0 a smaller peefecr conso-
nance with the voices leaping. Nor should two parts ascend or descend
together in this way from a perfect or imperfect consonance of large
ratio to perfect consonance of smaller ratio, sch as third ro unison ot
tenth to octave. The sensitive ear wil always be bothered by such pro-6 The Art of Counterpoint
sgressions. Another undesirable effect is that of the sith preceding the
‘ith with the voices moving up or down together, even with one voice
‘moving conjuneely and the other leaping, as can be seen in Ex. 56. Ex-
perience has aught us the effect of these movements upon the ear. For
nature abhors anything without proportion oF measure and delights in
those things which posess chem,
Example 56. Probibited progressions
=
(n he comer permis owe a ge imperfect consonance
fawed by a smaller perfec one when the pars acento, pro
vied hac th per pareve yap andthe owe y lap. eo
permed ve fom s smal inpeccononmce ta ger
fet easanane whe he lowe ve noes up by sp ad the pet
voi sup, ie ve (6) isa aan fer an imperect
ononatce of salle than the ner that flows go's the
cctv in sina msn, if oer moves conjunc by «he se
‘tone, as in Ex. 57, ee
Example 57. Tolerable progressions
A perfeer consonance may go to an imperfect consonance with parts
ascending or descending together, if one part moves by sep and the im-
perfect consonance is of larger ratio than the perfec. It is also permitted
to write two consecutive consonances with leaps in both voices if one
voice moves by a semitone (Ex. 58]. Both voices may move in the
same direction when the upper leaps a thd and the lower a fifth to go
Leaps n
Example 58. Good progresions
feom a third down eo 2 fifth or from a ith up vo a thd. Te sere,
though, thatthe lap of a diton, epecilly descending, sounds some-
what bine and is beter avoided, a experience shows. But to ascend
fom the fifth tothe dtone is allowed (Ex. 59], bese the voice pro-
Example 59. Tolerable progresions
_gresions involved are not only supportable bue actully very pleasing.
‘This produces s most sonorous effect because the pars proceed toward
the higher notes, where the quik movements are generated. These quick
‘movements obscure that harshness made manifest by the slow movements
of lower notes
Tc would be overlengthy co give an example for every posible contra-
ppntal movement and progeession and to asign reasons for exch of them.
‘What has been suid will ave to sufice and serve as a guide for distin.
guithing good progressions from poor ones. [+87] The ability to make
such distinctions will not be difficult to acquire if the rules given here
axe diligently observed
CHAPTER 57
Leaps and Widely Separated Voices Should
Be Avoided as Much as Possible
Above all let us see thatthe parts of a composition—in contrary a8 wel
4 siilar motion-—move by sep at much as possible, and chat they do
‘not become roo widely separated fom one another. This eccurs when
fone leaps an octave and the other a fifth or fourth, or the lke, as ils-8 The Art of Counterpoine
trated in Ex, 60, Such distances are no only dificult co sing, for i is not
so easy to intone the pitches and judge the intervals and consonances in
leaps of this kind as in those involving a conjunet coupled with leaping
‘movement. Moreover, they produce certain effects noe pleasing to the
car, Te-should be noted tha che mote confined the movements are, ain
stepuvse movement, the more singable they ae. They ae also more con
Example 60. Probibited progrestions
dducive to & delightful harmony than ate leaping movement, for the
conjunct movements are more natural, asthe natural way t_pass from
‘one extreme to another is through the proper steps. Thus we admit this
closeness as most nearly resembling the natural state. Augustine observes
in Book Il, Chapter 10 of his De mausica that the neater ovo pats ap-
proach equality the worthier they are of approbation, though he was
speaking of other matters (chan music}. Wide distances are not actually
dissonant. They do produce, as I have sid, a kind of distress inthe er.
Lotus therefore avoid these distances to make our counterpoint pleasing,
sweet, sonorous, harmonious, and full of good melody.
CHAPTER 38
Horw to Progress from One Consonance to Another
‘Many belive tae merely to avoid the disorder that results from violating
the above rule certain musicians decided that in moving from one conso-
‘nance ¢o another they should alvays goto the nearest one. So from the
‘unison one goes othe tied, from thitd to ith, from fifth to seth, feom
Progress from One Consonance to Anotber ”
sixth to octave, and likewise in the opposite direction. Dist movements
are thus avoided, On the surface an obvious rule it does require explana
tion in that it contains axpects that are not only useful but also necesary
to those who would write good harmony and bring their works ro per-
fection. [188] These are not purely calculations of seience or art; they
are observed naturally by many.
“They say, then, that one should proceed from one consonance to an-
other by means of the nearest. By this should be understood that the
‘composer moving from an imperfect to a perfect consonance must be
certain the imperfect one ie actually the nearest, Otherwise he would
fail to observe thi very necesary rule, So, to go from a sinth to an
coetave, the sixth must be major, because the major sixth i closet to the
fctave, and we must aot write the minor, whichis more distant from it,
ts we shall se, This rule mus be observed noc only when the pats move
in contrary motion, but also when one voice remains stationary and the
‘other ascends or descends two steps Similarly when the sixth isco move
to fifth, it must be minor; for the minor is closer than che major. This
is particularly important when one voice i stationary. When we wish to
progress from the third to the octave, we must use the major third, be-
tause itis closer to the octave than the minor, and the parts mast move
in contrary motion, one conjuncely and the other by leap. Moving from
the tied tothe th when one voice stands stil the third mast be major.
But the third will be minor especially in ewo-voice writing, when the
voices move in conjunct contrary motion, or when both descend, one by
leap and the other by step. In the frst case, the minor third, although
more distant, is used to avoid the relation of the srtone between the
pars.
‘When from the third we wish co arrive at the unison (which is the
basis ofall the consonances, if not actually numbered among them),
the thitd should always be minor—this being closer—and the parts
should more in conjunct contrary motion, Ifthe parts are to ascend
together, one by step and the other leaping, the third should be major.
‘When one part stands sil, and the other laps, the third will always be
minor. Tsay these things, always keeping in mind the different tonesfo The Art of Counterpoint
‘upon which we should we a peefect consonance a termination, a may
be seen in Bx 6 :
When moving fom a pefect to an imperfect consonance, this rule
[concerning the nearest consonance) necd nt be observed, provided
thatthe movements ofthe parts are governed by the rules given eae.
say this sbout che movement from perfect to imperfect for a reason.
Each thing natrally seks its own perfection and the quickest and best
route tit, Perfection in this dzcussion i aributed tothe perfect conso-
ances. As everyone knows anything ea easly pas rom perfection ro
imperfection, bur the oppose isnot so easy. For i s more difial so
make something than to destroy of ruin i! Therefore when we do
‘otherwise than have describe, ici contay to the natural order of
things, inasmuch asthe imperfect consonances participate mos in pet-
Tena hy dw etc the neighboring perenne snd
thus become sweeter ad softer to thee.
Example 61. Good progressiont
a2 25 =
Someone might object: since the major sixth is closer o the fifth than
to the octve—which is plin—why do we usually put it before the
‘octave rather than before the fifth, if we should go from an imperfect
‘consonance to he nearest perfect? [18g] My answer would be that al-
though the major sixth i nearer to he filth than tothe octave, iti aot
closer tothe fifth than the minor sixth. Also we must note that just 25
among the perfect consonances the octave i larger than the fifth, so
among the imperfect che major sath is lgger than che minor. Thus the
larger of the perfect should be accompanied by the larger of the imper-
1, Zang lip here snd sys its “asi" whic hasbeen emended above
Progress from One Consonance to Another "
fect. For they have, I might sy, 2 kinship or consensus and i easy to
ps from one thing to anoher without much efort when there is ach a
Consensus Therefore we go to the Beh from he minor sixth, for it
Shares 2 consensus with it and is nearest to it. Similarly we go to the
cctave from the major sith, fr they share a consensus and are nearest
to one snother.
Given fat anda certain coniton, [do not se how two diverse and
almost apposite conclsions canbe dawn from them. To use these cone
Sonancesin ay other way, therefore, woud be acting like that physician,
falled an Empircist by Galen? who weats various ents wich the ume
Inediin, fang to consider whether the ilies comes from a warm of
cold hor.
“Truly, then, che major seth sits the octave, wheres the minor does
ot th minor sh best accompanies the fifth. This may be proved by
reason, authority, and example. Ts proved fst by reason inthe fshion
T have shown and through the harmonic numbers, which giv the ratios
toll te consonanes in msc, The major sath has is rato inthe pro-
portion superbipatene tect, contained (as Ihave sid eewhere) inthe
terme 23, whih are the root werms ofthis proportion. If we procesd
farther inthe nataral order ofthe numbers mentioned, we ind that after
{comes immediately the number 6, which forms with 5 the minor hid
Jd he minor cir, combined with the major sith, produces an octave
[Now if we place the 3, which ha wo flaonships, with 5 and with 6
ina nacral series inthis manner, 6:53, we represent the manner in
tthich ewo pats proceed when one descends and the other remains s-
tionary. Orif we order in the same way 10:65, We represen che manner
jp wlich wo veies move when one ascends to the octave by the leap
df semitone andthe other remains stationary. Again we se the need
for observing the rule gien, We fnd ic obverved abo in the onder be-
tween 1g and 9, which ithe aio of the major sixth, bak notin its root
tre Jus aso parts when one ssends bya lange whole one and the
Gner desends by 1 lage semitone, reach the octave amily, 0,
1 De nates ea, nd ets, Aur Brock in Loeb Csi
Libary (Lando, 1918)a The Art of Counterpoint
placing the 8 above the 9, with the addivion of 16 under 15, results in the
ratio of the diapason (ao in its root terms) between 16 and 8 in this,
natural series, 16:45:98
No such natural series permits the major sixth to approach the fifth
without the aid of a whole tone Similarly ie is impossible to proceed
from the minor sath tothe ith without the sd of the semitone. This
may be comprehended with the aid of the series s0:45:30:27 wherein
‘he fifth is found berween 45:30 and the small whole tone on either side
‘of it Inthe series 24:46:15: 10 the ratio of the lange semitone is in the
center and thar of the fifth on ether side, between 24:16 and 15:40.
‘This represents apart chat proceeds from low to high ot vice wees, wile
another pat in upper or lower range does not move, These ratios cannot
‘otherwise be found i the natural series of harmonic numbers excepe with
great difcalry, and then they will be accidentals outside che natural
‘gamut. The reasons [have just given regarding the major seth and the
‘octave may be applied as well o the minor sath andthe fifth, and tothe
other consonances, which I shall not discus for the sake of brevity.
‘Yet another reason helps to demonstrate that given any two imperfect
consonances composed of the same number of steps, the major tends
:more to expand than the minor in any register, andthe minor tends more
{o contract and become even smaller. Ie is asi the major had more im
petus than the minor. Since a thing desires and is inclined toward like
things, the major sixth, more perfec than the minor, strives mos to be
near the octave, which is more perfect than the ith and chan any other
perfect interval as Ihave said. The minor snth, less perfec, seeks that
‘which most conforms to iss own nature, the less perfect fifth, be it in
lower or upper register. This observation is confirmed by Franchino
Gaffurio, who avers that i sin the nature of the major sixth to go to the
‘octave and of the minor to go to the fifth? [190] This isthe nature of
these consonanees, and ie must be noted that this nature and tendency is
invariable, Therefore, when they are writen in compositions in a man-
ner contrary to their inclinations the writing is unnatural. Moreover,
anything wsed in a manner contrary to its nature is bound to have an un.
pleasant effect, for i i prevented from achieving its proper end. We
4 Practica mice (Mie, 1495, Book I, Chap, rule
Progress from One Consonence to Another %
may conclude that whenever these consonances are wed in countenpoint
ina manner contrary to their natures, they will always displease the ea.
‘We may now check the eruth of these statements against experience
and come to the promised example. It will be seen that the best effects
result from using the procedures recommended abore. Nature, which
has jurisdiction over everything, has so designed chat not only those with
‘musical taining but the unschooled and even farmers—who sing after
their own fashion, without reasoning about it—are sesustomed to pro-
{6s from major sixth to octave, a5 if nature had taught them. This is
‘most obvious in the cadences throughout their music, a8 all musicians can
hea. Pethaps itis what persuded Franchino (Gaffuri] venture t0
say that the cadence isthe only place where the major sixth must progress
to the octave, because here che composition comes to a close. But to me
i appears to contradict the remark T quoted from him just above, IF we
ae to obey the natures of these two intervals, I can only conclude that
hae said ie shoughtlesly. Therefore i shall noe be lawl ro pass from the
major sixth to the fifth, nor from the minor sixth to the octave. For
either progression is natural to the consonanees involved.
“To make the rule cay to follow, every progression from imperfect to
perfect consonance should include in at least one part the step of a large
semitone, expressed or implied. To this purpose the chromatic and en-
harmonic steps will be found very useful, provided they are writen in
the manner tobe deseribed elsewhere,
Te is nor always convenient for the composer to progress from the
major sixth tothe octave, from the minor stth to he fifth, or from the
minor tied to che unison in the way I have described, So chat all may
know how to proceed in such cases, Iam adding some examples (Ex. 63].
Example 6. Perfect progressions