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Complete Exposition
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Counterpoint
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Dr. J. Frederick Bridge
Philadelphia
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Complete Exposition
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Price, $1.00
Dr. J. Frederick Bridge
Philadelphia
Theodore Presser C.
1712 Chestnut Str.
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​Complete Exposition of
the Rules of
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Counterpoint

DR. J. FREDERICK BRIDGE
PRICE ..
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Philadelphia
Theodore Presser C.
1712 Chestnut Str.

Music
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1878
Music
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Pour Lee Jenney
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12-15-66
My best thanks are due to Sir John Goss, for kindly
allowing me to insert several examples, written in
1864, when I was receiving instruction from him in
counterpoint; to H. Keeton, Esq., Mus. Doc., Organist
of Peterborough Cathedral, for Examples 121, 122,
127; and to James Higgs, Esq., Muś. Bac., Hon. Sec.
of the Musical Association, for many valuable sug-
gestions.
THE CLOISTERS,
WESTMINSTER ABBEY,
March, 1878.
J. F. B.
INTRODUCTORY OBSERVATIONS.
THE first attempts at combining parts to be performed simulta-
neously, about which anything definite is known, resulted in what
was called Diaphony or Organum, the part to be accompanied
(corresponding to our subject or canto fermo) being termed Princi-
palis, and the accompaniment, Organalis. This accompaniment
consisted of fourths, fifths, and octaves, some one of these intervals
being continued throughout, either above or below, and sometimes
both above and below, the principalis.
Varius innovations on these crude forms, both as regards inter-
vals and action, were made from time to time, developing about the
end of t) e eleventh century into what was termed Descant. This
was a great step forward, for while diaphony was generally "note
against note "the organalis moving throughout in similar motion,
and at the same interval (i.e. in fourths, fifths, or octaves)-in des-
cant, notes of various value, contrary motion, and even accidentals
were used. The principalis was now termed the tenor (from teneo,
"
I hold"), this part as it were holding the subject and controlling
the descant, as the organalis was now termed. This was added
according to numerous rules depending upon the progression of the
tenor. Descant in its turn gave way to Counterpoint (see Defini-
tions), the word contrapunctum instead of descant being first used
by a celebrated musical theorist of the fourteenth century, Jean de
Muris. The term and functions of the tenor in like manner were
supplanted by the Canto Fermo. This frequently consisted of
some fragment of ecclesiastical music, hence it was called the "plain-
song," although secular themes were sometimes adopted as Canti
Fermi eveu of music for the Church. Counterpoint was written in
the old Church modes, and its laws, constantly improving as they
were, governed the art of musical composition up to nearly the end
of the sixteenth century. From this time rapid strides in the direc-
tion of modern tonality were made, and counterpoint having become
closely associated with artificial devices, a new art gradually sprang
up by which a melody could be accompanied without special refer-
ence to the inter-relation of the parts. This was called Harmony,
of the development of which we are not, of course, treating. In
England and in some other countries it became customary to teach
vi
INTRODUCTORY OBSERVATIONX.
harmony only, or at any rate before counterpoint. To a certain ex-
tent a reaction has set in, and many eminent musicians* now urge
that counterpoint should be taught with, and made the basis of,
harmony. The author has, however, in conformity with the more
usual method of teaching, presupposed some slight knowledge of
harmony; and with this view he has ventured to use, without
strictly defining them, a few technical terms familiar to those who
have thus studied.
There is no doubt that the study of counterpoint is most beneficial,
exercising the powers in many directions not altogether covered by
the study of harmony, particularly in the important matter of part-
writing. It will be seen that the essence of counterpoint lies in the
equal interest which should belong to each part added to the canto
fermo. This should be specially kept in mind in note against note
and florid counterpoint, which are, after all, the species of most
artistic value, since the others, though most useful as steps between
the elementary form of note against note and the developed form of
florid, are in themselves of less value as music. Our feeling for
modern tonality need not necessarily be violated, since canti fermi
free from ambiguity of key can be chosen. This point has been
kept in view in writing the examples in the following pages, and
the author trusts this will be accepted as his apology for using, for
the most part, original examples, instead of inserting the well-known
ones of Fux and other writers. It has been his desire to reconcile
the spirit of ancient counterpoint with the feeling for modern
tonality, and to put before students examples which they may
readily understand and imitate.
*
"The modern student should master the laws of counterpoint, and s
approach the fundamental or massive harmonic school by the path of history."
-Six Lectures on Harmony, by G. A. Macfarren, p. 35.
DEFINITIONS.
Canto Fermo.-A short diatonic passage, generally of semibreves,
used as a subject for contrapuntal treatment. (See Introductory
Observations.)
Although, following the usual custom, the semibreve has been chosen as the
notation for the canti fermi in all the examples illustrating this work, it is of
course open to the student to use a note of any length. The notes employed
in the second and third species of counterpoint (usually minims and crotchets)
will be regulated by the character of the note employed in the canto fermo,
being respectively two and four notes to one. The notation of the fourth
species is similar to the second, but syncopated.
Counterpoint.-Notes were formerly termed points. Adding a
counterpoint signifies the setting one point or note against another.
Counterpoint is of two kinds, simple and double. The latter of these
terms, in its ordinary acceptation, comprises convertible counter
points in three, four, or more parts (i.e. triple, quadruple, &c.).
Simple counterpoint* includes five species or orders, i.e. five
methods of adding a counterpoint to a canto fermo. The term florid
counterpoint is generally applied to the fifth species.
Concords are the octave (or unison) and perfect fifth (termed per-
fect concords), and the major and minor sixth and third (termed
imperfect concords). All other intervals in counterpoint are dis-
cords, including the perfect fourth when it exists between the
lowest and one of the upper parts.
*For double counterpoint see Novello's Music Primer, "Double Counterpoint
and Canon" by the same author.
vii
SIMPLE COUNTERPOINT.
CHAPTER I.
FIRST SPECIES IN TWO PARTS: NOTE AGAINST NOTE.
1. In this species. every note in the canto fermo is accompanied
by a note of equal value in the counterpoint, added according to the
following rules:-
2. Concords only may be used.* If the counterpoint be above the
canto fermo the first note must be an octave, fifth, or unison (i.e. a
perfect concord); if below, the counterpoint cannot commence with
a fifth, but must be an octave, or unison.
3. The parts must proceed diatonically, skips or
a major and
minor third, perfect fourth and fifth, minor sixth and octave being
freely used.
The skip of a major sixth was forbidden by the older contrapuntists, and,
though more freedom is now desirable, it is perhaps better to avoid its use
until the second species (two notes against one) when it can be taken in the
same bar without change of harmony, thus:-
EXAMPLE 1.

4. Skips of a seventh, of all augmented and most of the
diminished intervals, should be avoided; but the diminished fifth
may be occasionally used with advantage, if care be taken to resolve
the second of the two notes forming the interval.
The term "diminished" here includes the fifths and fourths sometimes called
imperfect or minor.
EXAMPLE 2.
Ab


or
5. Consecutive perfect concords are of course forbidden, as are also
hidden consecutives, i.e. the progression by similar motion to a per-
fect concord. The rule with regard to hidden consecutives is,
* See Definitions on previous page.
2
SIMPLE COUNTERPOINT.
I
however, sometimes relaxed: in the case of the octave if the upper
part is approached by a semitone (Ex. 3, a), and in the case of the
fifth if the hidden fifth be diminished. This is also produced by one
part moving a semitone (Ex. 3, b), but this progression is hardly
admissible in two-part counterpoint.
C. F.
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6. The key-note and its fifth when preceded by the harmony of
the subdominant, and also the dominant and its fifth when preceded
by the harmony of the key-note, are among the somewhat less
objectionable hidden consecutives.
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7. The following example from Fux contains progressions which
may perhaps be explained as above. He gives it (and others have
since adopted it) as a correct piece of four-part counterpoint.
EXAMPLE 4.
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EXAMPLE 3.
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10. The octave should be
in the first and last bars.
sixths) should be employed
fifths and eighths ).
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LLAKI PARK
8. The descent of a fourth by the bass, and the notes common to
the two chords in each of the above cases, also probably account
for the comparatively unobjectionable character of the hidden con-
secutives.
9. It is better, however, to adhere to the rule forbidding hidden
consecutives as strictly as possible in two-part counterpoint.
Proceeding by skip to an octave or unison, even in contrary motion when
the lower part ascended one degree, was forbidden by the older contrapuntists,
Fux, Albrechtsberger, &c. There seems, however, little to be said in support
of such a rule, and Cherubini does not mention it.
sparingly used, and the unison only
The imperfect concords (thirds and
in preference to the perfect concords
11. We must avoid the monotony of having more than three
thirds or sixths in succession, and these should be, if possible, alter-
nately major and minor. Two successive major thirds should be
avoided, unless taken by the step of a minor second, as in the minor
the ache 18-19.3%) = j
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key when the major third on the dominant is preceded or followed
by that on the sixth note (Ex. 5, a, b). Some writers allow these
major thirds if taken by the step of a perfect fourth, but it gives
rise to an objectionable point, viz., the lower part proceeding to a
higher note in the second chord than the note belonging to the upper
part in the first chord (Ex. 5, c).
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FIRST SPECIES IN TWO PARTS.
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12. The skip of an augmented fourth (tritone) is not only
strictly forbidden, but the existence of this interval between the
notes of different parts, in two successive chords, is also to be
avoided. It occurs naturally, and in its most objectionable form
when the major thirds of the dominant and subdominant succeed.
each other (Ex. 6, a, b). It is almost equally disagreeable to the
ear, when one of these notes bears a perfect fifth, instead of a third
(Ex. 6, c, d).
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EXAMPLE 5.
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EXAMPLE 6.
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Modern use has so accustomed the ear to the progression from subdominant
to dominant harmony, particularly in approaching a cadence, that the pro-
gression at Ex. 6, d, under corresponding circumstances, is nuch less objec
tionable than those at a, b, c.
EXAMPLE 7.
b
3
13. If the major third on the subdominant be preceded or
followed by the perfect fifth on the mediant, the effect of the
tritone is not quite so apparent, although this is condemned by
strict contrapuntists. Cherubini condemns the use of ALL SUC-
cessions of chords, one of which contains an F (i.e. the sub-
dominant) and the other a B (i. e. the leading-note), or vice versa,
saying, "It indisputably brings about the false relation of the
tritone."
In an example, however, which he says is in conformity
with the rules of strict counterpoint, and in which he expressly
claims to have avoided the false relation of the tritone, he uses the
following progessions (Ex. 7, a, b).
and
d
328


4
SIMPLE COUNTERPOINT.
*
Here we find F and B in successive chords, and yet with no dis-
agreeable effect. This is probably owing to the skip which is made
by one of the parts. If the student avoids the progressions given in
Ex. 6, and, above all, if he makes one of the notes in the first chord
proceed by skip, as in Ex. 7, he will have little trouble with that
bete noire of young contrapuntists, the tritone.
14. Crossing the parts may be resorted to for the sake of a more
melodious progression, but it is rare in this species of two-part
counterpoint.
15. The most usual and satisfactory cadences are the following
(Ex. 8, a, b) :—
*****
a
EXAMPLE 8.
C. F.

C. F.
16. The canto fermo generally falls to the final note from the
supertonic, the counterpoint at the close being in octave
unison.
or
Although the canti fermi used by Fux, Cherubini, and others invariably end
by falling to the final note by the step of a second, as in Ex. 8, other cadences
may of course be allowed, though they are not very usual. In Ex. 9,
a, the
canto fermo rises to the final from the leading-note, and at b, the canto fermo
falls to the final from the dominant.
a
EXAMPLE 9.
b
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17. The use of these cadences earlier in the exercise should be
carefully avoided.
18. False relations (Ex. 10, a) are forbidden; and it must not be
forgotten that, as all movement must be diatonic, the usual way of
avoiding false relations, viz., by altering one of the notes chromati-
cally, is not available (Ex. 10, b ).
EXAMPLE 10.
b

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19. Contrary and oblique motică should be employed as much as
possible.
20. A succession of wide skips in the same direction should be
avoided; and a major seventh or other awkward interval is nearly as
objectionable by two skips as by one.
21. It is best to let the leading-note ascend though this may often
be deferred with advantage.
FIRST SPECIES IN TWO PARTS.
22. Monotony, whether resulting from motionless parts or weary-
ing repetitions should be avoided. "Melodious flow" should be
aimed at, and the working out of a sequence is often possible, and
always effective.
23. Modulation into nearly related keys is advisable; and the
student should be careful, as far as possible, to avoid ambiguity of
key.
24. Even if all the above rules be strictly observed, we sometimes
feel the succession of chords to be "stiff" and awkward. The
following suggestions will, it is hoped, help to prevent this :-
G
25. Consider the progression of the roots or ground-notes of the
chords used, bearing in mind that even in two-part writing every
combination must represent some definite chord. The progressions
of roots producing the best effect are :—
(a) Roots rising or falling a fourth or fifth (Ex. 11).
EXAMPLE 11.
(b) Roots rising or falling one degree diatonically; but unless one
of the two is the dominant (and not even then if this is followed by
the subdominant, because of the tritone) it is better for at least one to
be an inversion (Ex. 12).
Counterpoint.
EXAMPLE 12.
Canto Fermo.
100
(c) Roots falling by a series of diatonic thirds from tonic (Ex. 13).
EXAMPLE 13.
26. The following are examples of two-part counterpoint, first
species:-
EXAMPLE 14.
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SIMPLE COUNTERPOINT.
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EXAMPLE 16.

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EXAMPLE 17.

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EXAMPLE 18.
EXAMPLE 19.
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OBSERVATIONS ON Ex. 14 To 20.
Ex. 14. The four bars at a answer the first four effectively, and the
sequence at b is good. The sequential form of the counterpoint
justifies the somewhat too frequent octaves.
Ex. 15. The leading-note descends effectively at a.
Ex. 18. The modulation to the subdominant at a is good, besides
helping us to avoid the tritone.
Ex. 19. The form of the canto fermo allows of some effective con-
trary motion in the counterpoint.
Ex. 20. This canto fermo begins on the dominant. If the counter-
point were placed above, it would begin on G or D. With the
counterpoint below, it is possible in this case to commence with a
fifth, notwithstanding par. 2, which refers to Canti Fermi beginning
(as is usual) on the tonic.
The student should write similar examples in each species on some of the
canti fermi given on page 80. In doing this he should use such clefs as wil
bring the parts tolerably near together. He is also earnestly advised to write
his exercises in open score, i.e. giving a separate line to each part. The pro-
gression of the individual parts-such an important consideration in counter-
point-will thus be readily seen.
CHAPTER II.
SECOND SPECIES IN TWO PARTS: TWO NOTES TO ONE.
27. Two notes are here written in the counterpoint to every note
of the canto fermo, with the exception of the first and last. The
counterpoint usually begins on the second beat of the first bar,
being preceded by a half-bar's rest. In the last bar the counterpoint
has a note of equal value with the canto fermo.
28. The first note of the counterpoint must be a perfect concord,
and the first note of every following bar either a perfect or imperfect
concord.
29. The second note in each bar may be a concord or a discord.
If the latter (which is advisable ) we must move to and from it by
conjunct degrees, i.e. without skip, it being merely a passing note
from concord to concord.

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30. Occasionally in the carrying out of a sequence, or to
secure a flowing counterpoint a discord may appear at the first
part of a bar. In such a case (which should be rare) the notes
immediately preceding and following the said discord should be
consonant.
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31. The immediate repetition of a note is forbidden in this and all
species except the first (note against note).
32. The unison is still to be avoided except at the first and last
bars, though it may be used occasionally at the second part of the
bar.
33. Similar perfect concords (i.e. two fifths or octaves) on
the accented beats of successive bars should not be used, the
effect of consecutives being too apparent. Even on successive
unaccented beats the use of these combinations is not
recommended. Some authors permit the former if the inter-
mediate notes are taken by a skip greater than a third, and
the latter if the notes in question have the character of passing
notes, but it is seldom possible to entirely obviate the bad effect of
consecutives.
34. The parts may occasionally cross at the unaccented part of
the bar in this and the other species of counterpoint yet to be
explained.
35. The following are the cadences when the canto fermo falls to
the final by a whole tone :—
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C. F.
SECOND SPECIES IN TWO ÌÄRTS.
EXAMPLE 21.
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The cadence at Ex. 21, c, involves a skip of a diminished fifth, and is not so
frequently used as those at a and b. If the canto fermo approaches the final
from some other note than the supertonic (see Ex. 9) a suitable cadence will
of course have to be made.
a
36. In this and the following species the student will do well to
avoid three successive skips, even of a third, in the same direction;
and the frequent use of the three notes of a triad in succession, with-
out change of harmony, is not recommended.
37. In triple time this species has three notes to one, the canto
fermo being dotted. The second and third notes in each bar may be
either consonant or dissonant.
EXAMPLE 22.
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EXAMPLE 23.
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SIMPLE COUNTERPOINT.
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EXAMPLE 24.


EXAMPLE 25.
EXAMPLE 26.
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EXAMPLE 27.
EXAMPLE 28.
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SIMPLE COUNTERPOINT.
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EXAMPLE 29.

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OBSERVATIONS ON Ex. 22 TO 29.
Wide skips are avoided, even the minor sixth being seldom used.
At a in Ex. 22 it is rendered necessary by the leap of a fifth in the
canto fermo. The skip of an octave (see Ex. 27 and 29) is not only
unobjectionable but frequently gives great vigor to the counterpoint.
Ex. 28 and 29 are specimens of this species with three notes
to one.
CHAPTER 111.
THIRD SPECIES IN TWO PARTS: FOUR NOTES TO ONE.
38. FOUR notes are here written in the counterpoint to every one
of the canto fermo with the exception of the first and last. The
first bar of the counterpoint. usually commences with a crotchet
rest; the last bar must contain a note of equal value with the canto
fermo.
39. As in the second species, the first note of the counterpoint
must be a perfect concord, and the first note of every following
bar (with the license allowed in par. 30) either a perfect or imper-
fect concord, the latter being preferred. The remaining notes may
be either consonant or dissonant, the latter being approached and
quitted by conjunct degrees. When consistent with good flowing
counterpoint, the third note in each bar should be a concord. This
rule may, however, be freely disregarded for the sake of a melodious
progression.
It is necessary to warn the student that a note may be consonant with the
canto fermo, and yet, by reason of the implied harmony, must be treated as a
discord, i. e. "approached and quitted by conjunct degrees." Thus in Ex. 30,
bar 1, the implied harmony is a 3 on C. The last crotchet, A, being therefore
dissonant, is wrongly quitted. Two different chords may of course be taken in
every bar in this species; but when this is the case the second chord must
appear upon the second or third crotchet, and not (as is the case in Ex. 30)
upon the fourth.
EXAMPLE 30.

X
40. Skips should be avoided as much as possible, because of the
small value of the notes of the counterpoint.
41. Particular care should be taken, after the use of three or four
notes alphabetically, to avoid a skip, even of a third, in the same
direction, more especially to an accented note. The melody will
gain much by making the skip at the beginning of the passage.
42. The unison may be more freely used in this and the other
species yet to be explained. Care should be taken to use it only at
the weak part of the bar, and not at the accent.
43. Similar perfect concords should not appear upon the accented
notes of successive bars, nor upon the third crotchet of one bar and
the first of the next. They are not so objectionable upon unac
(13)
14
SIMPLE COUNTERPOINT.
cented notes, unless these are the highest (if the counterpoint be
above) or the lowest (if the counterpoint be below) in two successive
bars.
44. The skip of an augmented fourth, or tritone, is of course to be
avoided, nor should the notes forming this interval appear as the
first and third crotchets in a bar, or as the third in one bar and the
first in the next, nor as the first and last notes of an ascending or
descending passage (Ex. 31, a, b, c, d). If the passages at c and d
were parts of a longer series, so that the notes forming the tritone
were not at the beginning and end (and therefore not so prominent)
there would be no objection to them.
EXAMPLE 31.
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b
45. Many of the older contrapuntists allowed what are called
"changing notes," i. e. a skip from a discord on the second, and
sometimes the fourth, crotchet of a bar, to a concord. Cherubini
and others object to this "license," but the judicious use of certain
changing notes often gives great spirit to this species. The following
are the most effective forms-those at a and b being particularly
valuable at the cadence.
a
b
EXAMPLE 32.
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d

46. It will be observed in the above examples that the skip is not
always made to a concord (b, c, d); and, in fact, to speak correctly,
the third note in every bar in Ex. 32 is dissonant, the implied har-
mony at a being a sixth on D. (See note to par. 39.)
47. There are numerous cadences, depending of course upon the
position and conclusion of the canto fermo. The following are some
of the best :-
EXAMPLE 33.
d


b
*-—-—-—W
The examples at a and b are of course somewhat rare, the former containing
the skip of a diminished fifth, the latter (in which the canto fermo rises to the
final) à changing note.
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48. Six or eight notes are sometimes written against one.
rules given above should be observed in attempting this counterpoint,
which is merely a development of the one we have just been con
sidering.
EXAMPLE 34.
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C. F.
C. F.
THIRD SPECIES IN TWO PARTS.

EXAMPLE 35.

13

16
SIMPLE COUNTERPOINT.
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C. F.
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EXAMPLE 36.
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EXAMPLE 37.
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EXAMPLE 38.
EXAMPLE 39.
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SIMPLE COUNTERPOINT.
OBSERVATIONS ON Ex. 34 TO 39.
Ex. 34. Imperfect concords are used at the beginning of every bar
except the first and last.
Ex. 35. The implied harmony in bar 13 being a 5 on D, the first
note of the counterpoint in that bar is of course dissonant. Par. 30
will explain its appearance here.
Ex. 36. The first four bars are answered effectively by bars 5 to 8.
The key is well marked at the earlier part of the example, and a
modulation to the relative major is made at bar 4. The cadence is
formed by the aid of the changing note.
Ex. 38 and 39 have six notes to one, the parts crossing at bar 7 of
the former.
*ANAN CAN
CHAPTER IV.
FOURTH SPECIES IN TWO PARTS: SYNCOPATION.
49. Two notes are here written in the counterpoint to every one
of the canto fermo with the exception of the first and last. The
first bar of the counterpoint should commence with a half-bar's
rest, the last bar should contain a note of equal value with the canto
fermo.
50. As in the preceding species, the first note of the counterpoint
must be a perfect concord, and the second note of each following bar
must be a concord either perfect or imperfect. These concords are
syncopated or suspended into the following bar. The first note of
each bar is thus generally tied to the second note of the preceding
bar, and may be, and in fact as often as possible should be, à discord.
This prepared discord must resolve by falling one degree the note to
which it falls being a concord. Should the syncopated note, how-
ever, be a concord, we may of course move from it by skip.
51. The dissonances of the fourth, seventh, and ninth (not the
second) may be used above the canto fermo, the seventh being pre-
ferred in two-part counterpoint. The second and fourth may be used
below the canto fermo, the second being preferred.
52. There are cases when a perfect fifth must be treated as a dis-
cord, viz. when it is clearly a "retardation" of a sixth. It will
resolve by ascending one degree (Ex. 40, a).
In the retardation of a sixth in a minor key an augmented fifth is occasionally
used, but this is rare (Ex. 40, 6).
EXAMPLE 40.
α
In D Minor.
b

53. The diminished fifth may be used as a suspension, the reso
lution being deferred for one note, and the syncopation interrupted,
the counterpoint being then in the second species.
(19)
20
SIMPLE COUNTERPOINT.
EXAMPLE 41.


HO
&c.
&c.
54. The interpolation of the second species is often most useful in
other places besides when following a diminished fifth as above,
helping us to avoid tiresome repetitions. The interruption of the
syncopation should not exceed two minims.
56. The best cadences are--
55. Passages which would be incorrect without suspensions are
equally incorrect with them. The following progressions are bad,
being only disguised consecutives; that at a, without the synco-
pation, would be a "hidden" fifth, and must be avoided in two-
part:-
J J
EXAMPLE 42.
PR
EXAMPLE 43.
&c.


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57. If three notes to one be written, the second note may be either
a concord or passing discord. The ornamental resolution of sus-
pensions (see par. 60), may also be employed, and will frequently be
found useful at the cadence. (See Ex. 44. )
EXAMPLE 44.
黄蓉
​58. Some authors recommend the combination of the second and
fourth species, instead of treating them separately. This is of course
merely a development of par. 54. For a specimen, see Ex. 46.
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C. F.
C. F.
C. F.
FOURTH SPECIES IN TWO PARTS.
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EXAMPLE 45.
EXAMPLE 46.
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​EXAMPLE 47.
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22
SIMPLE COUNTERPOINT.
C. F.
C. F.
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C. F.
0
EXAMPLE 48.


EXAMPLE 49.
JJ J J
EXAMPLE 50.
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C. F.
FOURTH SPECIES IN TWO PARTS.
C. F.
fried firing
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EXAMPLE 51.
Jeles
EXAMPLE 52.
10
23


5

Teaddy pledpleed
9
OBSERVATIONS ON Ex. 45 To 52.
Ex. 45. The cadence is somewhat uncommon, the canto fermo
rendering the usual 7 6 on the penultimate bar unadvisable.
Ex. 46. In this example the second species is used so often it may
be considered a specimen of the combination of the second and fourth
species alluded to in par. 58.
Ex. 47. The numerous fifths are not, strictly speaking, incorrect,
as may be seen by referring to Ex. 14, which is Ex. 47 without the
syncopations. The student is advised to be sparing in his use of such
fifths, at least in two-part counterpoint.
Ex. 51. A specimen in triple time, the cadence by the aid of an
ornamental resolution. The canto fermo begins on the dominant.
Ex. 52. The E flat in bar 5 avoids the tritone which would have
existed between E natural and the following B flat, and introduces a
satisfactory modulation to the subdominant. In bar 9 the diminished
fifth is used, the resolution being deferred.
Mae
I
pegin with abund
FIFTH SPECIES IN TWO PARTS: FLORID COUNTERPOINT.
59. THIS is a mixture of the various kinds of counterpoint ex-
ained. In addition to the notes already employed, quavers are
admitted, which should succeed each other, and also be approached
and quitted, diatonically, and by conjunct movement. More than
two quavers are rarely used in one bar, though occasionally four
may be met with. They should always occur at the second or fourth
divisions of the bar (i.e. the unaccented portions), and four quavers
should never be taken in succession. As in the other species in two
parts, the counterpoint commences after a crotchet or minim rest.
The first note of the counterpoint must be a perfect concord.
&
60. The counterpoint must be as vigorous and melodious as possible.
To insure sufficient variety it will be well not to use one species for
more than two successive bars; and the first species should be used
only at the last bar. The above rule does not apply to the fourth
species, provided that we avail ourselves of the ornamental reso-
lutions. Various examples of these are given below and their
judicious use will add greatly to the effect of florid counterpoint.
Most of them may of course be inverted.
CHAPTER V.

than
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EXAMPLE 53.

The resolutions at a, b may be used in triple time, thus:-
EXAMPLE 54.
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(24)

25
61. It will be seen that by the use of the ornamental resolutions a
minim is often tied to a crotchet (Ex. 55, a). Care must be taken
that the first of the tied notes is not of less value than the second.
For instance a crotchet should not in this way precede a minim, c;
two crotchets should rarely be tied, b.
N
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a
FIFTH SPECIES IN TWO PARTS.
C. F.
EXAMPLE 55.
2
희​의
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b

62. It will greatly conduce to the vigor and flow of the counter-
point if all minims at the second half of the bar be tied to the first
note of the following bar. This should, in fact, always be the case
if the minim has been immediately preceded by crotchets or
quavers. This rule cannot of course be applied to the last bar but
one, as the last note of the counterpoint must be of equal value with
the last note of the canto fermo.
с
63. The best cadences are those used in the fourth species, with or
without ornamental resolutions. Others, particularly those employed
in the third species, are occasionally used.
EXAMPLE 56.
d
5



1
26
SIMPLE COUNTERPOINT.
b
2.
D.
P
C. F.
11
C. F.
2
EXAMPLE 57.

EXAMPLE 58.
9
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10




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C. F.
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C. F.
9
FIFTH SPECIES IN TWO PARTS.
EXAMPLE 59.
EXAMPLE 60.
7
27





28
SIMPLE COUNTERPOINT.
2
C. F.
EXAMPLE 61.



OBSERVATIONS ON EX. 56 To 61.
Ex. 56. In bar 2 the leading-note rises a fourth, effectively avoiding
a cadence so early in the exercise. In bars 5 and 12 ornamental reso-
lutions are introduced.
·O
Ex. 57. In bar 2 the leading-note does not rise, in order to avoid a
unison on the accented beat of bar 3. The modulation to C minor in
bars 9, 10, 11 is perhaps somewhat late in the example.
C. F.
J
Ex. 59. Four quavers are introduced in bar 3, and the ornamental
resolution at the cadence to carry out a sequence.
Ex. 60. A specimen in triple time. The parts cross in bars 7 and 9.
EXAMPLE 62.*

* Ex. 62 to 65 are by Sir John Goss.
C. F.
FIFTH SPECIES IN TWO PARTS.
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EXAMPLE 63.
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29
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30
SIMPLE COUNTERPOINT.
Zem
C. F.
EXAMPLE 64.

EXAMPLE 65.
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CHAPTER VI.
FIRST SPECIES IN THREE PARTS: NOTE AGAINST NOTE.
64. THREE-PART counterpoint includes the same species, and,
generally speaking, is bound by the same rules, as two-part counter-
point.*
The additional part in this and the other species is com-
posed of notes of equal value with those of the canto fermo.
65. The chords used are the triad (major and minor, not diminished)
and its first inversion, the chord of the sixth. It is not always easy
to use a complete chord (though this should be done when possible),
and then one or other of the intervals should be doubled, avoiding
the doubled major third and doubled leading-note. It is also well to
avoid having two sixths or even two minor thirds in the same.
chord, but this rule may be frequently disregarded for the sake of a
flowing counterpoint. Although the diminished triad is not avail-
able, its first inversion, the chord of the sixth on the supertonic, may
be used freely.
66. It should be observed that three different notes must be used in
every chord except in the first and last bars, the only places where
the unison may be used in this species.
67. The first bar should contain a triad, complete or incomplete,
but if the third be wanting, it will be better to omit the fifth also, the
counterpoint being then in unison or octave.
68. The presence of a third part causes the rules respecting hidden
consecutives to be less stringent, particularly as regards the inner
and one of the extreme parts, between which similar motion to the
fifth or octave is frequently necessary to secure a smooth, and, in
other respects, correct progression. The upper part of the two in
question should, if possible, move conjunctly, the third part being
either stationary or moving by contrary motion (Ex. 66, a). All
* Indeed it may be said that the rules of two-part remain in force in a great
measure as regards the extreme (i.e. the outside) parts of all simple counter-
point: the student will do well to bear this in mind.
(31)
32
SIMPLE COUNTERPOINT.
the parts should rarely move in the same direction (Ex. 66, b).
EXAMPLE 66.
b
a

69. Although, as has been said on page 31, "the rules of two-part
remain in force in a great measure as regards the extreme parts of all
simple counterpoint," the relaxation of the rule as to hidden octaves
is most useful at the cadence when the canto fermo is in the upper
part (Ex. 67).
C. F.
70. Hidden fifths between the extreme parts are seldom necessary
or advisable in less than four parts.
71. The parts must be kept as equidistant as possible, and may
cross occasionally if required.
EXAMPLE 67.
C. F.

72. The cadences are as in Ex. 68; those at b and c may be used in
the course of the counterpoint. The first of the two chords forming
the cadence should be complete, and the second may be in unison or
octave. If the third was used in the final chord of an example in the
minor key it was formerly always made major; this is not now
imperative, but is sometimes effective.
b
3.
NO
C. F.
EXAMPLE 68.
C. F. c
In a minor key.

C. F.
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C. F.
C. F.
C. F.
FIRST SPECIES IN THREE PARTS.
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EXAMPLE 69.
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EXAMPLE 70.
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EXAMPLE 71.
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34
SIMPLE COUNTERPOINT.
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Bi
C. F.
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EXAMPLE 72.
4
6

OBSERVATIONS ON Ex. 69 TO 72.
Bo
to

Ex. 69. The canto fermo begins and ends on the dominant of A
minor. The final chord being the dominant has a major third.
Ex. 71. The old writers would have ended with a bare fifth, which
is, however, not now necessary.
Ex. 72. Between bars 4 and 6 it is possible a false relation may be
considered to exist; the major third on the dominant (bar 6) is, how-
ever, so welcome that the author does not hesitate to use it here.
In Ex. 69, 70, and 72, at the bars marked * all the parts move by
similar motion, not generally advisable (see par. 68); being all chords
of the sixth, however, and in close harmony, there is nothing objec-
tionable in the effect.
SECOND SPECIES IN THREE PARTS: TWO NOTES TO ONE.
73. Two notes are here written throughout one of the counterpoints
to every note of the canto fermo, with the exception of the first and
last bars. The additional part, in this and the other species of three-
part counterpoint, commences with the canto fermo.
74. The unison and doubled major third should be avoided at the
accented beat, but both, particularly the unison (between two of the
parts only), may be used at the unaccented part of the bar in this
and the remaining species of three-part counterpoint.
CHAPTER VII.
75. Consecutive fifths and octaves upon accented beats should be
avoided. They may occasionally appear between the counterpoint
moving in minims and one of the other parts, when one of the two
is an inner part. Even in this case, which is not recommended, we
should endeavor to separate them by a skip of at least a fourth in
the part containing the two notes in a bar (Ex. 73).
5
Bad.
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EXAMPLE 73.
Bad.
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LOO
5
Possible.

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5
76. The cadences are various, those most in use being formed by
the aid of syncopations (Ex. 74) as in the fourth species of two-part
counterpoint, with the addition of course of a third part, completing
the harmony.
(35)
36
SIMPLE COUNTERPOINT.
You
J J
C. F.
O
C. F.
S
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EXAMPLE 74.

8
EXAMPLE 75.
4
5
EXAMPLE 76.
3

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EXAMPLE 77.
C. F.
4
SECOND SPECIES IN THREE PARTS.
C. F.
17
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EXAMPLE 79
EXAMPLE 78.
C. F.
Implied 6
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37



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▬▬▬▬ENDS (


38
SIMPLE COUNTERPOINT.
C. F.
REOTE
EXAMPLE 80.
Jd

djepeele

OBSERVATIONS ON Ex. 75 To 80.
2
Ex. 75. The fifths in bars 4 and 5 being on unaccented beats are
unobjectionable, especially as the G in bar 4 is a passing note, and
because of the contrary motion.
Ex. 76. The lower part entering on the second beat causes the
example to begin with a sixth. This is quite correct; the student
must, however, be careful not to let an exercise begin with a fourth,
as in Ex. 77, this interval being a discord between the lowest and an
upper part (see Definitions). Some canti fermi begin upon the
dominant (see Ex. 78); if placed in an inner part, with the second
species in the bass, care must be taken not to commence with an
Âmplied as in Ex. 78.
6
CHAPTER VIII.
THIRD SPECIES IN THREE PARTS: FOUR NOTES TO ONE.
77. THE rules laid down in the corresponding species in two parts
with regard to hidden consecutives and the use of the changing note
must be borne in mind. As in the other species of three-part counter-
point, more freedom is allowed as to hidden consecutives when one
of the counterpoints between which they occur is an inner part.
78. Each bar (except of course the first) should if possible com-
mence with a complete chord, but if this cannot be done an effort
should be made to bring it in on the third crotchet. Some authors
say on the second, but this often causes the part containing crotchets
to move awkwardly.
79. The cadences are those given for this species in two parts, with
the addition of course of a third part.
80. Students must beware of confusing concords and discords in
this species, bearing in mind what was said in the note to par. 39.
81. Avoid moving conjunctly and obliquely to the unison (Ex. 81,
a, b), except when the parts are crossing, the unison being then
merely passed through (Ex. 81, c).
α
EXAMPLE 81.
b
с

82. Six or eight notes are sometimes written against one (see
Ex. 86).
83. This species may be combined with the preceding, and, as it
will be difficult to avoid disjunct movement in one of the parts, the
rigor of the rule against it may be relaxed, particularly as regards
the second species.
(39)
40
SIMPLE COUNTERPOINT.
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C. F.
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C. F.
6
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EXAMPLE 82.


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EXAMPLE 83.
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C. F.
C. F.
THIRD SPECIES IN THREE PARTS.
EXAMPLE 84.
EXAMPLE 85.
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42
SIMPLE COUNTERPOINT.
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C.F.
C. F.
EXAMPLE 86.


EXAMPLE 87.

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THIRD SPECIES IN THREE PARTS.
OBSERVATIONS ON Ex. 82 To 87.
43
5
6
A complete chord (i.e. 3 or 3) is used at the beginning of every bar
1
as often as possible.
Ex. 82 and 83. The cadences are formed by the aid of changing
notes.
Ex. 86. A specimen in triple time.
Ex. 87. Combines tre second and third species
CHAPTER IX.
FOURTH SPECIES IN THREE PARTS: SYNCOPATION.
84. THE rules for this species in two parts apply generally in three
parts. The addition part will be in vies vi diuar vaiue with the
canto fermo, forming with it and the resolution of each syncopation
either a triad or chord of the sixth. Care must be taken that the
note, or its octave, the appearance of which is delayed by a sus-
pension, does not occur in another part during the suspension. The
ninth suspending the octave is of course an exception to this rule.
85. All the dissonances used in the corresponding species are
available.
86. The fourth will be accompanied by the fifth or octave, and will
resolve on the third.
87. The fifth (as a retardation) will be accompanied by the third
and will resolve on the sixun.
88. The seventh by the third (sometimes by the octave, particularly
when it is a minor seventh), resolving on the sixth.
89. The ninth by the third, resolving on the octave.
90. Occasionally the sixth must be treated as a discord, viz. when
it is clearly a suspension of the fifth.
91. We may also suspend the third in a chord of the sixth, by a
fourth, and the octave in a chord of the sixth, by a ninth, but the
effect is not always good, and the syncopations given above should
be preferred.
92. The dissonances already mentioned occur in one of the upper
parts only.
93. The dissonance of the second will be accompanied by the
fourth or fifth, and occurs only in the bass.
94. The syncopation may be broken, as in the corresponding species
in two parts, and the second species may be interpolated, or even a
rest introduced. This should not be longer than half a bar, unless at
the commencement, when an additional bar's rest may sometimes be
necessary to enable us to begin with syncopation on the second half
of the second bar.
(44)
45
95. Passages involving hidden consecutives must be avoided, even
if they occur between the inner and one of the extreme parts.
96. The rule which requires a concord to prepare a syncopation
may be dispensed with if the bass remain stationary for two or more
bars (Ex. 88, b). This "pedal," as it is termed, is best when used
just previous to the cadence, the dominant being sustained in the
bass, although it may be effectively introduced in other places. The
first discord on a pedal must, however, be prepared as usual by a
concord, and the last must also resolve on a concord.
FOURTH SPECIES IN THREE PARTS.
PARTS.
97. During a pedal the part next above the bass may be dissonant
with it (see Ex. 88, a); but it must be borne in mind that this part,
during the continuance of the pedal, is after all the real bass, and the
laws of strict counterpoint hold good between it and the upper part
or parts.
C. F.
g
Ed
a
EXAMPLE 88.
b

98. The cadences are as follows:-
EXAMPLE 89.
g
d
=
ま
​99. This species may be written in triple time as in two-part, and
the second or third species may also be combined with this (see
Ex. 92).
1
1


46
SIMPLE COUNTERPOINT.
1 2
C. F.
C. F.
2
3
EXAMPLE 90.
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JJJ

EXAMPLE 91.

11

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​C. F.
FOURTH SPECIES IN THREE PARTS.
EXAMPLE 92.
13
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47



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48
SIMPLE COUNTERPOINT.
C. F.
C. F.
EXAMPLE 93.
3

Pe
3
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EXAMPLE 94.
5
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OBSERVATIONS ON Ex. 90 TO 94.
Ex. 90. The canto fermo commences on the dominant, rendering
the progression to bar 2 somewhat awkward, if the syncopation com-
mence as usual in bar 1. Advantage has been taken of par. 94, the
syncopation entering on the second half of bar 2. In bar
In bar 3 the disso-
nance of the second is accompanied by a fifth, in bar 6 the same
dissonance is accompanied by a fourth.
49
Ex. 91. In bar 2 the sixth may be looked upon as a suspension of
the fifth. In bar 11 the fifth is a retardation of the sixth.
FOURTH SPECIES IN THREE PARTS.
Ex. 92. The third and fourth species are combined here. In bars
10 and 13 the fifth is taken by skip, against the seventh suspending
the sixth. As will be seen in four-part counterpoint, the fifth often
appears as an accompaniment to a suspended seventh.
Ex. 93. A specimen in triple time. In bars 3 and 8 the suspen
sions are resolved ornamentally (see par. 60).
Ex. 94. In bars 3 and 5 occur the somewhat unusual suspensions
of a ninth and fourth on a chord of the sixth, alluded to in par. 91.
In bars 7 and 8 a "pedal" is used.
100. THE student will be able to construct this counterpoint by the
aid of the rules already given (see the corresponding species in two
parts). Florid counterpoint may be written against the canto fermo
in both parts, instead of one being composed of notes of equal value
with the canto fermo. In doing this care should be taken to contrast
the two florid parts. If one is moving rapidly let the other one
syncopate or move by the second species. Contrary and oblique
motion between the two will also greatly help the student to write
smooth and melodious counterpoints.
101. The student may combine some one of the previous species
with this, instead of having two parts in florid counterpoint.
100
FIFTH SPECIES IN THREE PARTS: FLORID.
4
102. The 6 has hitherto been excluded; it may, however, be used
in this species, occurring at the second, third, or fourth crotchet,
when the bass moves in arpeggio (Ex. 95, ɑ).
EXAMPLE 95.
CHAPTER X.


C. F
а
6
4
6
103. The & at b is of course only implied. The passage at a should
not be often used, as it transgresses the rule laid down in par. 36;
that at b may be freely used.
b
EXAMPLE 96.

(50)
C. F.
FIFTH SPECIES IN THREE PARTS.
EXAMPLE 97.
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51




52
SIMPLE COUNTERPOINT.
C.F.
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EXAMPLE 98.


OBSERVATIONS ON EX. 96 To 98.
@#
Ex. 97. Two parts are here written in florid counterpoint, care
being taken to contrast them as was suggested in par. 100. Dotted
minims are also introduced occasionally in one of the parts. These
should not be introduced unless there are at least two florid parts.
Ex. 98. The second and fifth species are combined here, the second
being of necessity somewhat disjunct.
CHAPTER XI.
FIRST, SECOND, AND THIRD SPECIES IN FOUR PARTS.
164. THE additional part now necessary is obtained by doubling
one of the three notes of the triad or chord of the sixth, these being
the only chords used. The context will generally decide what note
should be doubled, it being well to avoid doubling the major third to
the root, more especially when it is a leading-note.* Two of the
counterpoints will thus be in notes of equal value with the canto
fermo; the other will consist exclusively of one of the species now
under consideration, ¿. ?., of semibreves, minims, or crotchets.
105. When possible the first bar should contain a complete chord,
but this will depend upon the necessary progression to the second
bar. All the parts may commence in octave or unison (see Ex. 101).
106. Although the rules given for the various species of counter-
point of which we have already treated remain în force, they are
observed much less rigidly as the parts increase in number. The
relaxation of the rules as to hidden consecutives mentioned in par.
68 will be found useful and necessary.
107. The student may combine the three species we have just been
explaining (see Ex. 112).
C. F.
EXAMPLE 99.

9
*The occasional doubling of the major third is by no means objected to-on
the contrary, the Author, following the examples of Fux, Albrechtsberger,
Cherubini, &c., does not hesitate to employ this combination to gain a smooth
progression, or to escape one that is unadvisable. The doubled leading-note is
by far the most objectionable.
(53)
54
SIMPLE COUNTERPOINT.
C. F.
C. F.
#
C. F.
G Ө
EXAMPLE 100.

The nature and position of the canto fermo in Ex. 100 involves a wide dis-
tribution of parts, not altogether advisable. The melody is, however, smooth,
and moves in effective contrary motion with the canto fermo. The last bar
might, perhaps, with advantage follow the ancient models, and have no third.
EXAMPLE 101.
be
S
EXAMPLE 102.
C
or-o

G
or.

FIRST, SECOND, AND THIRD SPECIES IN FOUR PARTS.
O:#
Ppferd
A good effect is produced in the above example by the sequences. The
student may begin as above, with a chord of the sixth, but not with a fourth
(see p. 38).
EXAMPLE 103.
C. F.
Z
55

##
▬▬▬


As the part in minims in the above example enters upon the third of the
chord, it is well to let the tenor begin with a fifth, thus avoiding a unison, and
causing the alto to enter with good effect.
56
SIMPLE COUNTERPOINT.
1216
C. F.
EXAMPLE 104.



▬▬▬
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C. F.
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FIRST, SECOND, AND THIRD SPECIES IN FOUR PARTS.
EXAMPLE 105.
to
123
8
In bar 8 of the above example a is used, the bass moving in arpeggio.
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57



WEB DE
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CHAPTER XII.
FOURTH SPECIES IN FOUR PARTS: SYNCOPATION.
108. In this species every chord should, if possible, be complete.
What was said in par. 84 as to the appearance of a note delayed by a
suspension, in another part, during the suspension, must be carefully
borne in mind.
1
109. The dissonances and their resolutions are the same as in the
corresponding species in three parts. An additional accompanying
note will of course be required.
110. The fourth will be accompanied by the fifth and octave.
111. The fifth (as a retardation) by the third and octave (or two
thirds).
112. The sixth (as a suspension) by the third and octave (or two
thirds).
113. The seventh by the third and octave; sometimes by a third
and fifth, the latter being removed when the seventh falls to the sixth.
114. The ninth by a third and fifth.
115. The second (which can only occur in the bass) will be accom-
panied by two fifths or two fourths; or the upper note of the two,
forming the dissonance of the second, may be doubled.
116. The fourth is sometimes accompanied by a sixth or octave,
being a suspension of the third in a chord of the sixth.
117. The ninth is sometimes accompanied by a third and sixth,
being a suspension of an octave in a chord of the sixth.
118. The use of the fifth to accompany the seventh necessitates
the use of the second species by the part which has the fifth. This
interpolation of a bar of the second species instead of the first is often
resorted to in the accompaniment of other chords in four-part
counterpoint. It is a valuable license, and if carefully used makes
the harmony much more satisfactory. By the aid of this rule, al-
though a suspension must always resolve upon the note suspended,
yet this note (by the bass, or some other part or parts, moving in
minims), will often form part of a different chord from that on which
the suspension was originally constructed. Sometimes it will resolve
on an inversion of the same chord (Ex. 106, b).
(58)
59
119. The following examples are principally from Cherubini :—
EXAMPLE 106.
Ninth
Suspended Fourth Seventh
FOURTH SPECIES IN FOUR PARTS.
a
α
It will be seen the example at a is not constructed on a canto fermo. For a
longer specimen see Ex. 128.
▬▬▬
120. In all the above examples, except the one at a, it will be ob-
served that the suspensions are accompanied by the notes belonging
to the chord which is really suspended, and not by notes belonging
to the chord on which the suspension here resolves.
121. The discord of the minor seventh may, however, be accom-
panied and resolved as in Ex. 107, giving us actually a dominant
seventh with the usual resolution.
EXAMPLE 107.
b
Ninth
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4
2
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122. The discord of the second is also sometimes made to resemble
the third inversion of a chord of the seventh. This is by the addition
of a sixth to the fourth and second, which usually complete the har
mony accompanying this suspension, thus :-
EXAMPLE 108.
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123. The discord of the diminished fifth may be used in this species
of four-part counterpoint when it is combined with a sixth, forming
the first inversion of a dominant seventh. It should be prepared
and resolved as at c in Ex. 108.
6
5
60
SIMPLE COUNTERPOINT.
124. The different species may be combined as in three-part counter
point. (See Ex. 112.)
EXAMPLE 109.

C. F.
8
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C. F.
5
10

The student will remember that the syncopation may be broken, as in bar 4
of the above example, by a rest (see par. 94). The hidden fifths in bars 8 and
10 may be allowed; the former, because there is no real change of harmony
between bars 7 and 8; and the latter, because of the sequence between the
extreme parts (bars 8-11).
EXAMPLE 110.
4
to
5
2
7

OURTH SPECIES IN FOUR PARTS.
C. F
EXAMPLE 111.
12
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In bars 4 and 7 the second species is introduced in one of the parts accom-
panying the syncopation, avoiding awkward skips and improving the harmony
In bar 12 the third in a chord of the sixth is suspended by a fourth.
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SIMPLE COUNTERPOINT.
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EXAMPLE 112.



The second, third, and fourth species are combined here. Many licenses are
of necessity allowed under these circumstances, although this example is
tolerably strict.
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125. NOTHING need be added to the remarks already made on
florid counterpoint, except that this may of course be written in one
part only (the other parts having notes of equal value with the canto
fermo), or in all the parts. In the latter case particular care should
be taken to contrast the counterpoints, as was remarked in par. 100.
C. F
CHAPTER XIII.
FIFTH SPECIES IN FOUR PARTS: FLORID.
EXAMPLE 113.

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64
SIMPLE COUNTERPOINT.
2
C. F.
EXAMPLE 114.



9
C. F.
FIFTH SPECIES IN FOUR PARTS.
EXAMPLE 115.
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65



The notes in the tenor part of the above example, bar 3, represent F. There
is therefore only an apparent at the third crotchet.
66
SIMPLE COUNTERPOINT.
C. F.
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EXAMPLE 116.

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In Ex. 115 and 116 a part occasionally rests a whole bar or, rather, two half-
bars. This is often very useful in florid counterpoint in four or more parts.
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FIFI SPECIES IN FOUR ……RTS.
EXAMPLE 117.
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67
Sir J. Goss, Mus. Doc.


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Florid counterpoint is often much improved by the introduction of points of
imitation. The student will observe how admirably Sir John Goss has done
this in the above example. The sequential imitation justifies many points
which might otherwise be open to objection.
COUNTERPOINT IN FIVE OR MORE PARTS.
126. COUNTERPOINT may of course be written in five or more parts.
The rules already given, and a consideration of the following ex-
amples, will sufficiently guide the student. He must remember that
greater freedom is allowed as the parts increase in number; thus,
consecutive fifths and octaves by contrary motion may be used, and
even (though rarely) consecutive fifths by similar motion if the
second of the two be diminished. Such progressions as these, how-
ever, should not occur between the extreme parts, and will seldom
be necessary in counterpoint of less than seven or eight parts.
127. The objectionable effect caused by the sounding of a note or
its octave, on which a dissonance (in another part) is about to resolve,
is not of course so apparent in seven or eight parts. This combi-
nation, so far as the octave is concerned, may be used in such cases
as the following (Ex. 118).
7
6
CHAPTER XIV.
d
6
EXAMPLE 118.

or
4
d
3
7
6
6
2
9
8
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8

(68)
3
69
The combinations in Ex. 118 should not be used in less than seven or
eight parts, and the anticipation of the resolution should be by con-
junct movement, and generally of the character of a passing note.
128. In most of the following specimens of florid counterpoint
some of the parts commence with a point of imitation. The student
will find this adds greatly to the interest of the examples.
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COUNTERPOINT IN FIVE OR MORE PARTS.
C. F
FIVE-PART. NOTE AGAINST NOTE.
EXAMPLE 119.

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SIMPLE COUNTERPOINT
C. F.
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FIVE-PART. FLORID.
EXAMPLE 120.


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COUNTERPOINT IN FIVE OR MORE PARTS.
SIX-PART. NOTE AGAINST NOTE.
EXAMPLE 121.
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71

H. KEETON, Mus. D.

72
SIMPLE COUNTERPOINT.
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SIX-PART. FLORID.
EXAMPLE 122.
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H. KEETON, Mus. D.


73
129. When seven or eight parts are written, the two lowest parts
often proceed from the unison to the octave (or vice versa) as in Ex.
123. This progression is especially useful in the basses of eight-part
counterpoint for a double choir (see Ex. 128).
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COUNTERPOINT IN SEVEN PARTS.
EXAMPLE 123.

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​SEVEN-PART. NOTE AGAINST NOTE.
EXAMPLE 124.

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SIMPLE COUNTERPOINT.
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SEVEN-PART. FLORID.
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EXAMPLE 125.
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In Ex. 125, at bars 3 and 6, and other places, the student will observe al
unsyncopated minim at the end of the bar, contrary to what was said in
par. 62
Although it is well to observe this rule as strictly as possible, it is difficult to
avoid occasional instances such as these in the inner parts of seven or eight-part
counterpoint; the extreme parts should, however, conform to the rule.
When a part re-enters after a rest it is sometimes possible, and generally ad-
visable, to introduce it on a point of imitation. This is done to a certain extent
in bars 5, 6, and 7 of the previous example, by the second tenor, second alto, and
first tenor, in the latter case by inversion.
COUNTERPOINT IN EIGHT PARTS.
Bar 11 contains a sixth (in the second tenor) against a suspended seventh
(see Ex. 118).
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​C. F.
EIGHT-PART. NOTE AGAINST NOTE.
EXAMPLE 126.

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SIMPLE COUNTERPOINT.
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​EIGHT-PART. FLORID.
EXAMPLE 127.
H. KEETON, Mus. D.


130. IN writing eight-part counterpoint we sometimes arrange for
a double choir of four parts each. In this case the harmony for each
choir should be as far as possible complete, and the two groups
should move independently and antiphonally, but, of course,
occasionally combining. When the choirs are thus divided,
and
four parts only are moving, the laws of four-part counterpoint must
be observed (see Ex. 128).
1st CHOIR.
EIGHT-PART COUNTERPOINT FOR TWO CHOIRS, ETC.
2nd CHOIR.
EIGHT-PART COUNTERPOINT FOR TWO CHOIRS,
WITHOUT CANTO FERMO.
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EXAMPLE 128.
(The Basses from Cherubini.)


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SIMPLE COUNTERPOINT.
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In counterpoint for a double choir the progression given in Ex. 123 is
useful (see the Basses of the above example).
131. We may, of course, combine the different species in eight-part
counterpoint. Ex. 129 has three parts in florid counterpoint and five
in strict note against note. It is, however, almost impossible to pro-
duce anything satisfactory in so many parts, when the species are
combined, particularly if two or more of them be in crotchets or
minims; and the author does not recommend students to waste
their time on these inartistic musical puzzles. Florid counterpoint
in seven or eight parts is, on the contrary, excellent practice, and
perseverance will render it no less interesting than profitable.
C. F.
EIGHT-PART (COMBINED) COUNTERPOINT.
EXAMPLE 129.
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In bar 8 of Ex. 129 a suspended seventh is heard together with the sixth,
the latter not being “of the character of a passing note (see par. 127); the
two notes, however, are separated by so large an interval, and accompanied by
so many parts, that they may readily be allowed.
80
SIMPLE COUNTERPOINT.
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CANTI FERMI FOR EXERCISES.
THE student may, of course, select from the Canti Fermi used in
the preceding examples. A few more are appended, taken from
various authors. They may be placed in any part, and transposed
to other keys.
No. 1.
Jegerilore
No. 2.
No. 3.
No. 4.
No. 5.
No. 6.
No. 7.
No: 8.
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No. 12.
No. 13.
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CANTI FERMI FOR EXERCISES.
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SIMPLE COUNTERPOINT.
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No. 17.
No. 18.
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CANTI FERMI FOR EXERCISES.
No. 31.
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SIMPLE COUNTERPOINT.
BASSES FOR EIGHT-PART COUNTERPOINT.
(TWO CHOIRS.)
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Wm. H. Keyser & Co., Music Typographers, 921 Arch St., Phils.
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TEACHERS, CONSERVATORIES,
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at the Lowest Rates with everything in the line of
MUSIC AND MUSIC BOOKS
Promptly, Completely and Economically
We claim to be the quickest mail-order music supply house
Publications of all publishers, Foreign and American,
kept in stock
Send for Catalogues, Discounts and Terms
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PUBLISHERS, DEALERS, IMPORTERS
1712 Chestnut Street
Philadelphia, Pa.
Publishers of "THE ETUDE"
}