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CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
 Gift of 
 
 Professor and Mrs. 
 
 Donald J. Grout 
 
 Music 
 
Cornell University Library 
 MT 55.S73 
 
 3 1924 022 379 725 
 
Cornell University 
 Library 
 
 The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/cletails/cu31924022379725 
 
dounterpoint 
 
 STUDIES IN PART-WRITING 
 
 BY 
 
 Walter R. Spalding 
 
 Assistant Professor of Music 
 in Harvard University 
 
 (? 
 
 ^ 
 
 PRICE, TWO DOLLARS 
 
 ^be Hrtbur IP* Scbmlbt Co. 
 
 BOSTON NEW YORK 
 
 120 Boylston St. 8 West 40th St. 
 
 Copyright, 1904, by Arthur P. Schmidt 
 
wa^ p. S. A. 
 
PREFACE 
 
 On the subject of Counterpoint," as that term is generally 
 understood, this book does not profess to be an exhaustive treatise 
 Rather is it intended, as a practical textbook, to deal with the 
 principles of free part-writing and to offer suggestions for the culti- 
 vation of such a musical instinct that wherever polyphony * is desir- 
 able in composition the various parts shall be made interesting and 
 truly melodious. It seems to the writer that at the present day the 
 import of the word counterpoint is largely historical. Certainly the 
 rules still in vogue in the majority of the books on counterpoint, are 
 those which were practised when music was under the influence 
 of the old modal system, was written almost exclusively for voices, 
 and long before the principles of rhythm and of tonality, so deeply 
 implanted in our modem instrumental music, had come into exist- 
 ence at all. Moreover in these textbooks there is little to stimu- 
 late the_ imagination of the student or to develop a broad 
 musical judgment. The subjects given, with their heterogeneous 
 and unrn5rthmic collection of whole notes, seem at best merely to 
 furnish opportunities for the acquisition of a rudimentary power 
 of selection. But this selecting and grouping of the various 
 chord-factors in the most effective way have already been taught 
 the student during his course in harmony, — when that subject has 
 been properly taught, that is, without a servile dependence upon 
 the figured-bass system. In fact, whoever has been writing free 
 exercises in harmony under competent instruction has also been 
 writing counterpoint of a certain kind; that is, he has been mak- 
 ing the separate voices as varied and melodious as possible.f 
 Every one will recognize the great discrepancy in style between 
 the counterpoint of the textbook and that of a Mozart String 
 Quartet, a Beethoven Sym.phony, or even the contrapuntal accom- 
 paniment of a Franz song. There must of necessity be some differ- 
 ence; one is an exercise for the young student, the other the work 
 of mature genius. Nevertheless the difference should be one 
 rather of degree than actually of kind. In both exercise and work 
 of creative imagination should be found the broad principles of 
 all musical art; there should be life, spontaneity and freedom, 
 and all the voices, whenever possible, should say something, 
 except where a confessedly homophonic % style is being used. 
 In music, of all arts, " the letter killeth, but the spirit giveth life." 
 Hence the writer has no sympathy with the arbitrary division of 
 counterpoint into two classes, strict and free. 
 
 * That is, music in many independent parts. 
 
 t Since the time of J. S. Bach there is no reason for considering harmony and 
 counterpoint as separate and unconnected subjects; each is indissolubly bound 
 tip with the other. 
 
 \ That is, where there is one chief melody, and the other voices are frankly sub- 
 orcunate. furnishing merely an accompaniment. 
 
 V 
 
id Preface 
 
 For the last two hundred years all contrapuntal writing which 
 has had any intrinsic musical value has been tree, save those occa- 
 sional instances in which the composer has written in the old style 
 as a historical tour de force. Those, however, who approve of the 
 above classification claim that it is as necessary for the young com- 
 poser to submit himself rigorously to the strict style before he 
 attempts the free, as it is for the would-be pianist to practise five- 
 finger exercises before he undertakes the works of Beethoven, 
 Chopin and others.' This, however, is a fallacious form, of argu- 
 ment, for the cases are really not parallel. The pianist is training 
 himself to perform and to interpret adequately works already writ- 
 ten. The young musician is training himself to express clearly 
 whatever his fancy may suggest, and to make intelligent aijd 
 inspiring use of the manifold riches of harmony. At first his style 
 is naturally simple before it becomes varied and complex, but 
 nothing is gained by keeping him for months in the so-called 
 strict style, where only triads are allowed, and no six-four chords, 
 and no modulations, etc., and then suddenly telling him that now 
 he is to write free counterpoint, that in which he is to do what- 
 ever he likes, without any previous practice in adapting means to 
 ends. Rather from the outset the student should- be led on 
 gradually to make original use of as broad a harmonic scheme as 
 possible. Without foregoing the technical training gained by 
 the observance of certain fundamental laws, this book is meant 
 to embody a plea for the spirit of modem counterpoint or 
 free part-writing; that is, the combination of rhythmical, freely 
 moving melodies within the limits of concordant harmonies. 
 As in Its general style all part-writing must be largely " vocal," 
 the first part of this book is devoted to writing for voices " a 
 capella." This is the most natural as well as the simplest approach 
 to the subject. But as all music must be outwardly performed * 
 and as each instrument —the human voice, the violin, the piano- 
 forte, the organ — has its special characteristics of limitation or 
 advantage, music must always be written with a clear conception 
 of the nature of the medium through which it is to be presented ; 
 for example, that which is possible with strings or pianoforte might 
 or might not be feasible for voices. The counterpoint of a Bach 
 Prelude for pianoforte is not of the same nature as the counter- 
 point of a Beethoven string quartet. In no respect is the student 
 more likely to go astray than in his failure to realize the special 
 idiom of the instrument for which he may be writing. The 
 second portion of the book, therefore, deals in writing for strings, 
 concluding with some general suggestions with reference to free 
 composition for the pianoforte. 
 
 Attention is particularly called to the fact that very few rules 
 are given as to ' what not to do " in music. Almost anything can 
 be done at some time or other (for music is not a matter of raorals) , 
 when for the sake of special effect a departure is made from the 
 normal rules. What is needed is a well-trained instinct as to 
 whether any given effect justifies itself. In no way is this power 
 gained so surely or quickly as by a thorough study of the composi- 
 tions of the great masters, Bach, Handel, Haydn, Mozart, Beethoven, 
 and others. No one ever becomes a geologist merely by the study 
 of books on the subject but rather by going out into the fields and 
 
 * The written notes are merely dead symbols until the air is put into vibration 
 in accordance with them. 
 
Preface vii 
 
 examining the works of nature at first hand. Likewise in music, 
 example is much better than precept. Very few prohibitive rules 
 will be fo-und in this book, and as far as possible every suggestion 
 and recommendation is confirmed and illustrated by an example 
 from some standard composer. Particular attention has been 
 paid to rhythm and to the underlying principles of melody forma- 
 tion, and the Canti Fermi have been carefully selected with refer- 
 ence to their melodic possibilities. Too often it happens that the 
 subjects given for treatment in, the various textbooks are in them- 
 selves not melodious; they are either uiirhjrthmic or linsugges- 
 tive, and far too much in the nature of musical conundrums, In 
 fact, it would often be very difficult to decide whether they were 
 iambic or trochaic. Surely an easily recognized rhythm in a given 
 subject is an absolute necessity (many effects, for instance, being 
 possible on a weak beat which on a strong beat are questionable) . 
 Accordingly, with the broad definition before us that counterpoint 
 is the " art of inventing melodies," it is only fair to the student 
 that the character of the Canto Fermo should not make a flowing 
 and melodious contrapuntal treatment impossible. 
 
 As soon as the first principles of contrapuntal style are under- 
 stood, much attention is paid to original work, for in the study 
 of counterpoint the chief object is to increase the power of 
 musical expression. The student is thrown entirely upon his own 
 resources,' and whether he has much or little to say he must practise 
 till he can express his musical thoughts with clearness and convic- 
 tion. The value of the creative spirit should be kept constantly 
 in raind. Let both teacher and student, then, cherish and cultivate 
 the desire to give outward utterance to some musical thought. 
 This may seem, like a very advanced standpoint for the average 
 student, yet the writer is convinced that most of the textbooks on 
 harmony and counterpoint make a great mistake in 'laying so 
 much stress on " what may not be done " rather than adopting a 
 definite policy of encouragement. Gradually a large part of the 
 student's energy is taken up in obeying long lists of rules more 
 or less arbitrary, and his natural instinct is thereby deadened. By 
 this criticism no encouragement is meant to be offered for shirking 
 strict methodical discipline. An earnest worker soon sees that, the 
 truest command of freedom from normal procedure is gained by a 
 thorough understanding of the general rule. In art as well as in 
 ethics there is a " perfect law of liberty." Rules, however, which 
 are merely prohibitory, have in general been avoided in this book. 
 Better is it to encourage the young musician to do something 
 even though he flounders around a bit at first, than to have his 
 spontaneity checked on every side by " what not to do." In fact, 
 to write really musical exercises in accordance with the restrictive 
 rules found in many books would be as impossible as to exercise 
 freely and joyously in a suit of mediaeval armor. The way in 
 which one learns to handle the boundless resources of modem musical 
 material is to make use of them until there has been acquired a 
 keen and accurate judgment on which the composer can rely. 
 
 It would be disingenuous for the writer to claim originality for 
 this book. On the contrary he has made a free use of the re- 
 searches and methods of such, distinguished theorists and teachers 
 as Dubois, Lavignac, Rheinberger, Riemann, Bussler and Prout. 
 The method, of teaching outlined is that followed in the best foreign 
 conservatories and successfully used in Harvard University, — 
 that is, plenty of free, original work and copious examples from 
 
via Preface 
 
 the works of the great composers. In a sense any book on counter- 
 point is an anomaly. From books one can as well learn how to 
 write counterpoint as to make a water-color. The only way to 
 gain growth in fancy and facility in expression is to write music. 
 Towards that end it is hoped that the suggestions in this book 
 may be of value. 
 
 Walter R. Spalding. 
 
TABLE OF CONTENTS 
 
 " page! 
 
 Preface vii 
 
 CHAPTER 
 
 I. General Laws op Harmonic and Melodic 
 
 Progression i 
 
 II. TwO-PaRT COUNTEIIPOINT — FiRST OrDER 
 
 (note against note) . . . . . 58 
 
 III. Two-Part Counterpoint — Second Order 
 
 (two notes against one) .... 67 
 
 IV. Two- Part Counterpoint -^ T h i r d Order 
 (four notes against one). Other Rhyth- 
 mic Combinations 86 
 
 V. Syncopated Counterpoint. Rhythmic Em- 
 bellishments ....... 109 
 
 VI. Two-Part Counterpoint in the Florid Style. 
 
 Varied Melodic Designs .... 119 
 
 VII. Three-Part Counterpoint, Introducing 
 Various Combinations of the Preceding 
 Orders. Simple Trios for Strings and 
 FOR Organ 128 
 
 VIII. Pour-Part Writing — For Voices, for 
 
 Strings and for Organ . . . . iS4 
 
 IX. Double Counterpoint; Pianoforte Inven- 
 tions . . . . ~ . . . . 187 
 
 X. Imitative Counterpoint ,215 
 
 XI. Free Writing for Pianoforte. Homophonic 
 
 Style . . . . . . . .222 
 
 XII. Writing for String Quartet .... 236 
 
 XIII. Supplementary Exercises in Various Styles 
 FOR Voices and for Strings. Account op 
 THE ^olian, Dorian and Phrygian Modes. 
 List of Compositions recommended for 
 
 Analytical Study 248 
 
 ix 
 
TONAL COUNTERPOINT 
 
 STUDIES IN PART-WRITING 
 
 CHAPTER I 
 General Laws of Harmonic and Melodic Progression 
 
 §1. The first requisite for the student who has just fin- 
 ished the study of harmony is the power to look at music 
 horizontally. Heretofore he has either built up harmo- 
 nies on a given bass, or placed harmonies below a melody 
 in the soprano. To form correct chords and to connect 
 them in a grammatical* and fairly agreeable way has 
 taken most of his attention. Henceforth the melodic 
 interest of each voice, individually and in its relation to 
 the other voices, is chiefly to be considered. The eye must 
 follow each part throughout its range, and the endeavor 
 must be directed toward the formation of a good flow- 
 ing melody. 
 
 §2. A second point of difference between the study of 
 harmony and counterpoint is this: that whereas the mel- 
 ody has heretofore always been either in the bass or in 
 the soprano, nothing is more common in free part-writing 
 than to find the melody in one of the inner voic*. 
 When the chief melody is so placed, there is implied in 
 four-part writing the power to invent a bass which shall 
 be good bqth harmonically and melodically, and a melo- 
 dious, interesting soprano, besides one inner part. At 
 the same time these voices must be so planned that th e 
 harmonic backgroun d, outimed py the notes sounded to- 
 getner on Lhe ijLnni^' beats, snail be natural and satistac - 
 txny. In all polyphonic music (and by poiyplionic music 
 
 * By the term " grammatical " applied to music we would indicate the funda- 
 mental laws of chord connection; that is, voices shall not move in parallel perfect 
 fifths or in parallel octaves; dissonant chords must be resolved in accordance 
 •with their tendency tones, — sevenths resolving downward; augmented intervals 
 expanding and diminished contracting. Cross relations should seldom appear 
 between the voices, etc. 
 
 Copyright, JIJ04, iji Arthur P. Schmidt 
 
2 Tonal Counterpoint 
 
 is meant that in which each voice has independent melodic 
 interest and importance), these two aspects have to be 
 borne constantly in mind, — the vertical, representing 
 the harmonic aspect; and the horizontal, the contrapuntal 
 and melodic. 
 
 §3. In modem part-writing it is taken for granted that 
 the harmony shall be good; the attention is given to mak- 
 ing the different voices express as much as possible. Often, 
 however, the student, when he begins the study of part- 
 writing and has to depend entirely on his own ingenuity 
 and artistic judgment, finds that his technical knowledge 
 of harmony is inadequate. He tries diligently to write 
 good counterpoint on had harmony — an impossibility. 
 Let us, therefore, speak of certain chords and harmonic 
 combinations which are likely to trouble the beginner, 
 and later inquire into the nature of melody, that the stu- 
 dent may see what are the characteristics of a good mel- 
 odic motion in the different parts. 
 
 §4. At first we center our attention entirely on triads 
 or combinations of three tones. No matter how elabo- 
 rate our writing may become, well-connected triads are 
 always the element which gives strength and firmness to 
 the harmonic structure. 
 
 §5. The fundamental Harmonic Progressions, that is, 
 the ones which clearly establish the given tonality and are 
 smoothest, are those in which the bass moves a fifth up 
 or down; for example, I, V; I, IV; 11, vi; in, vi; 11, V; as 
 a fifth is the inversion of a fourth, the student will readily 
 understand that a fifth upwards is equivalent to a fourth 
 downwards and vice versa. In like manner a sixth is the 
 inversion of a third, and a second of a seventh. Worked 
 out in four parts these progressions will be the well-known 
 ones which the student has used again and again in his 
 studies in harmony. In counterpoint these combina- 
 tions are by no means thrown aside; they are only ampli- 
 fied in various ways, and more attention is paid to the 
 melodic progression of the voices. 
 
 /riH-^ 
 
 rhh 
 
 ■:\ ■ .. 
 
 1— 1 — l-t 
 
 pHi 
 
 rrii 
 
 [-Ml 
 
 =f= = 
 
 N. B. 
 
 Fl=N 
 
 1 Vf: P 
 
 m 
 
 Ai 
 
 - — p- 
 
 4i 
 
 
 rr 
 
 — p- 
 
 rj r 
 
 
 r r' 
 
 -e 
 
 \F f " 
 
 w 
 
 -H- 
 
 w 
 
 M=J 
 
 \^ 
 
 
 M 
 
 
 iV 
 
 IV IV I IV I IV II VI II VI III VI III VI H V II V 
 
General Laws of Progression 
 
 N. B. — In the connection ii, V, it is almost always 
 better, when the bass ascends, to make the other voices 
 move downwards in contrary motion. This secures mel- 
 odic movement for the soprano, and questionable hidden 
 octaves are avoided; for example, 
 
 (a) good (6) less good (e) bad 
 
 
 V- ^ [ II ^"[ ^^ 
 
 i 
 
 II V 
 
 II V 
 
 n V 
 
 These octaves are thoroughly bad only when ihey are in 
 the outer voices as at (c); occasionally it is necessary to 
 use the combination shown in example {h), though, when- 
 ever it is possible, the effect at (a) is decidedly the smooth- 
 est. When we come to the consideration of the minor 
 mode, the student will see the importance of this recom- 
 mendation. Here, with the normal leading of the parts, 
 it is almost always bad to hold the common tone on ac- 
 count of the unmelodic augmented second which is caused 
 thereby, example (a): 
 
 
 (o) bad 
 
 6) good 
 ■■■!—<-. 
 
 (c) best 
 I — t r— n 
 
 ( 
 
 i'Al^r 
 
 J a) 
 
 4#= 
 
 
 A-^ 
 
 4i 
 
 
 f 
 
 ^==^^ 
 
 T Wtr- 
 
 —e 
 
 o^'- 
 
 \ 
 
 -■ r 
 
 L|__J 
 
 M ^ 
 
 II V 
 
 II V 
 
 II V 
 
 In free writing for strings, or occasionally for voices, 
 (example (b) with the diminished fifth in the tenor would 
 be of perfectly good effect, but the best and most natural 
 combination is that shown at (c). 
 
 §6. Less usual, in general, are those progressions in 
 which the bass moves a third up or down; ii, IV; iii, .V; 
 VI, I; etc. The combinations in which the subordinate 
 triad comes -first, though possible, should not be used fre- 
 quently; for example, 
 
Tonal Counterpoint 
 
 II IV 
 
 The reverse progression, however, in which the principal 
 triad comes first, is always good and of frequent occur- 
 rence; for example. 
 
 I 
 
 m 
 
 ^ 
 
 ^^ 
 
 J ^ I J J 
 
 p 
 
 ¥ 
 
 
 Tf 
 
 
 A 
 
 i 
 
 Al 
 
 a. 
 
 m 
 
 m 
 
 r 
 
 IV II 
 
 V in VI II 
 
 I V 
 
 The student will note that this combination is essentially 
 the progression from a triad to its relative minor. 
 
 §7. Least common, as far as natural relationship is 
 concerned, though capable of being used with good effect, 
 are those combinations in which the bass moves stepwise, 
 that is, a second up or down, — I, 11 ; V, vi ; vi, V ; IV, V ; V, 
 IV. In the use of this progression the student must strongly 
 impress upon himself that triads situated on adjoining 
 degrees, when they are both used in the fundamental posi- 
 tion, have no inherent connection, that is, no common 
 tone, and that in such cases the invariable use of contrary 
 motion is the only means of avoiding gross mistakes in 
 rudimentary grammar. Some of the possible combina- 
 tions of these adjacent triads would be the following: 
 
 (a) 
 
 N.B. _ seldom 
 
 good possible used 
 
 rf 1 
 
 =^;f 
 
 rKi 
 
 i-Mi 
 
 1 L 1 1 
 
 rMi 
 
 1— j.:..| 1 
 
 \^^ 
 
 1 1 J II 
 
 
 # 
 ^-J 
 
 
 ^ 
 M 
 
 # 
 ^■V 
 
 
 ^ 
 
 H 
 
 f^ 
 H 
 
 A\i 
 
 ^ 
 
 feM 
 
 ■-H- 
 
 ^- 
 
 ^ 
 
 -(9-^ 
 
 ^? 
 
 :^ 
 
 ^n 
 
 In I II V VI VI V IV V IVV V IV V IV V IV 
 
 At (a) note the doubled third in the triad on the sixth 
 degree in the well-known progression from V to vi. Here 
 
General Laws of Progression 5 
 
 again it is advantageous for the student to think of the 
 voices as generally progressing along these lines, for, 
 though the following combination is natural in the major 
 mode, and of perfectly good effect (with leading tone 
 descending and with doubled root). 
 
 V VI 
 
 the corresponding combination in the minor mode is 
 entirely false; for example, in A noinor. 
 
 bad 
 Aug. 3d 
 
 good 
 
 m*^- 
 
 ^ 
 
 
 
 ^ 
 
 E^ 
 
 V VI 
 
 §8. To the correct use of the triads V and IV, when both 
 are in the fundamental position, the student will have to 
 give much attention. In fact, beginners make more mis- 
 takes in the connection of these two triads than with all 
 the rest taken together. The chief points to be borne in 
 mind are as follows: First, it is much more natural and 
 common to progress from IV to V (that is, from the under 
 or subdominant to the upper or main dominant) than "oice 
 versa. Second, the dominant and subdominant triads 
 have no inherent connection, that is, no common tone; 
 they merely have the secondary connection of referring 
 to the same common tonic. In fact, when this combina- 
 tion is played, a distinct feeling of disjunction is apparent, 
 
 Cmajot 
 
 I 
 
 V IV 
 
Tonal Counterpoint 
 
 which wotild be much less, even with the faulty parallel 
 motion, were the combination either 
 
 G major 
 
 F major 
 
 ^^ °^ ^^ 
 
 I vno 
 
 11 i 
 
 Third, the progression from V to IV does not arouse a defi- 
 nite feeling of tonality. We often find in the old Church 
 Composers phrases like the following: 
 
 Palestrina. " Stabat Mater" 
 
 I 
 
 S 
 
 
 ^m 
 
 
 m 
 
 m 
 
 m 
 
 (V IV) 
 (V IV) 
 
 and while these effects were perfectly valid in the days 
 of the ecclesiastical modes, they are rather vague (except 
 for special effect) from the modern standpoint of definite 
 tonality. This tonal uncertainty of V and IV is caused by 
 the fact that the dominant progresses so much more natu- 
 rally to the tonic triad with which it has a tone in common 
 than to the subdominant, that the progression V, IV, when 
 the subdominant comes on the strong beat, has practi- 
 cally the effect of breaking away from the key. This pro- 
 gression therefore is to be used only when, for esthetic 
 and dramatic reasons, such an abrupt transition is desir- 
 able; for example, 
 
General Laws of Progression 7 
 
 Long usage has sanctioned the combinations shown at 
 examples (a) and (6), and they may be employed with 
 good effect; for example, 
 
 g^ g J 
 
 ^ 
 
 ± 
 
 
 A=^ 
 
 
 §" 
 
 
 f^ 
 
 i 
 
 ')'iir r 
 
 ^ 
 
 i 
 
 r 1 1' r I " 
 
 w 
 
 I VIlP 
 
 V IV 
 
 Example (c), however, with the third of the dominant in 
 the upper voice should be used but rarely. For if V 
 and IV are grouped in this way 
 
 the interval of the augmented fourth (or so-called " tri- 
 tone," three whole tones) is plainly heard between the 
 outer voices, and also between soprano and tenor. This 
 " false relation of the tritone " may occur also between 
 III and IV; for example, . 
 
 ^g-»ll»-{;ll 
 
 in IV IV III 
 
 Though modem taste is not so fastidious in regard to this 
 interval as were the composers of the fourteenth, fifteenth 
 and sixteenth centuries, with whom it rejoiced in the name 
 " Diabolus in Musica," nevertheless in pure part-writing 
 for voices it must be used with great care. It is not, how- 
 ever, the presence of the two notes f and b in consecutive 
 chords which causes ofEense, but rather the questionable 
 progression of roots. For it is entirely possible to use 
 these same two notes f and b in combinations where the 
 roots of the triads, instead of moving by steps, as hereto- 
 fore, rise or fall a fourth, and the effect is perfectly good; 
 for example, 
 
8 
 
 Tonal Counterpoint 
 
 f#=l 
 
 
 
 
 
 
 -*»- 
 
 1 ~^ 
 
 
 
 V 
 
 — u 
 
 
 il 
 
 V 
 
 
 H 
 
 IV 
 
 IV 
 
 §9. In actual music, of course, not all or even the ma- 
 jority of the triads are in the fundamental position. As 
 soon as one or both of two triads are in the first inversion, 
 the connection becomes much smoother, and the differ- 
 ent parts can move in a more cantabile manner. For 
 instance, with the following phrase in the soprano, 
 
 it is by no means incumbent upon the student to limit 
 Jiimself to fundamental positions of triads, and to har- 
 monize as follows: 
 
 Here so many fundamentals in succession give a rigid 
 effect, and the use of the subordinate triads 11 and iii rather 
 weakens the tonality. By the introduction of first inver- 
 sions the phrase may be treated as follows: 
 
 ¥ 
 
 u 
 
 
 
 ^ 
 
 i 
 
 m 
 
 ff 
 
 The chords now blend together more naturally, • and we 
 secure a flowing diatonic bass melody. 
 
General Laws of Progression g 
 
 §10. To speak now in detail of certain harmonic diffi- 
 culties, — in the major mode, barring the fact that the 
 beginner often makes too much use of the subordinate* 
 triads ii, iii and vi, instead of establishing the tonality by 
 an effective grouping of I, V and IV, there is only one 
 triad which should give much trouble, — the diminished 
 triad on the leading tone (seventh degree), in C major, 
 B, D, F. The facts constantly to be borne in mind in the 
 use of this chord are these: First, its lowest note is the 
 leading tone;^ second, the interval from this to its highest 
 note is a dissonance, a diminished fifth. If we use this 
 chord in its fundamental position, that is, with its lowest 
 note in the bass and with this note doubled, the dimin- 
 ished fifth is too prominent and the effect is very harsh: 
 for example, 
 
 bad bad bad 
 
 ,; J II J 1 
 
 
 ft.- \ r #= 
 
 i; 
 
 '' f^ r ' 
 
 M 
 
 The chord therefore is almost never used in its fundamental 
 position, except in sequences, and even then it sounds 
 weak, although the ear is diverted by following out the 
 symmetrical arrangement of the parts; for example, 
 
 * This statement should not be taken so literally that the secondary triads are 
 avoided altogether. They may often be used with striking efEect in just the right 
 context. The artistic judgment is to be cultivated, so that when these triads are 
 introduced the effect may be convincing; for example, the following well-known 
 phrase from Wagner's " Tannhaiiser ": 
 
 Voice 
 
 Harp 
 
10 
 
 Tonal Counterpoint 
 
 Third, the chord is likewise seldom used in its second 
 inversion; in very rare cases is the following combination 
 available; for example, 
 
 ^ 
 
 VIIo 
 
 The student will occasionally, it is true, find passages 
 like the following: 
 
 * Bach. Cantata 
 
 but it is quite evident upon analysis that the six-four 
 chord of the diminished triad is of no harmonic import, 
 being used on the weak part of the second beat.* As soon, 
 however, as we place this triad in the first inversion. 
 
 * Compare also, for an analogous effect, the last phrase of Dyke's well-known 
 hymn tune, " Lead, Kindly Light." 
 
General Laws of Progression 
 
 II 
 
 the dissonance between the bass and any one of the upper 
 parts is entirely removed; for example, 
 
 and so this leading tone triad as a chord of the sixth is one 
 of the most common and effective in music. Either the 
 original third or the original fifth is doubled with equally 
 good effect; for example, at (a) and (6) above we have a 
 doubled third, and at (c) a doubled fifth. The following 
 example from Handel's " Messiah " is instructive, as in 
 it we find three first inversions of leading tone triads. 
 
 In this passage we see also the different possibilities of 
 " doubling." At (a) and (c) the original third is doubled, 
 and at (b) the original fifth. 
 
 §11. With the growing prevalence of dominant seventh 
 harmony during the last two centuries, the second inver- 
 sion of the dominant seventh (the so-called chord of the 
 third and fourth) may seem to the student richer in its 
 effect as well as more customary, but the inversion of the 
 simple triad is often purer and stronger, especially in com- 
 positions for voices " a capella," * wherein a too frequent 
 use of the inversions of the dominant seventh chord has 
 a rather cloying effect. This the student can verify for 
 himself by a comparison between the following well-known 
 cadences : 
 
 * By " a capella " is meant vocal music without accompaniment. 
 
J2 
 
 Tonal Counterpoint 
 
 m or 
 
 VII« 
 
 VII« 
 
 At (a) and (b) the skips in the tenor are always particu- 
 larly effective with voices.* 
 
 §12. The mediant chord (that is, the triad on the third 
 degree) also requires special care for its proper use. At 
 first it will be wise for the student to use this chord very 
 seldom in the fundamental position, for it is one of the 
 most indefinite of the secondary triads. 
 
 Ill II VI III II VI III IV I 
 
 Passages like the above, however ^ood and effective they 
 may have been in the modal, ecclesiastical style, should 
 be employed judiciously in modem music, and introduced 
 
 * It is understood, of course, that the two chords in question are closely allied. 
 In fact, the diminished triad on the leading tone has no satisfactory individuality 
 at all, any more than any triad which has a diminished or an augmented iifth. It 
 is merely an incomplete dominant seventh chord with the generator or ground 
 tone omitted; for example. 
 
 In pasang we may point out that the same chord when found on the second degree 
 of the minor mode is closely related to the chord of the seventh on the leading tone 
 (the so-called diminished seventh chord), which in its turn is nothing but an in* 
 complete dominant minor ninth chord. The following chart will make this clear: 
 
 IIB VII«» V» 
 
General Laws of Progression 
 
 13 
 
 only when a vague, mysterious effect is desired.* After 
 the tonality of a phrase has been established, the mediant 
 triad may often be introduced, especially in connection 
 "with one of the other secondary triads, vi or 11 ; for example. 
 
 V VI III VI 
 
 In general, however, the mediant triad is most effective 
 in its first inversion, that is, with the dominant of the key 
 in the hass, and is used either in connection with other 
 chords of the sixth or with subsequent dominant harmony. 
 The following chart exemplifies the most normal and 
 useful combinations, and if the student will play it over 
 and commit it to memory he will have very little trouble.. 
 
 possi- possi- very very very good; 
 good good not bad ble ble good good often used weak 
 
 III VI HI VI III VI III H HI vii« in II III IV III V 
 
 The last measure of the above chart illustrates a combi- 
 nation the student may be tempted to use ; it should gen- 
 erally, however, be avoided, for the two secondary triads 
 used together, each in the first inversion, and with a leap 
 in the bass, give a very weak progression. To sum up 
 
 * For a beautiful use of secondary triads see the following passage from Elgar's 
 *' Dream of Gerontius "• 
 
14 
 
 Tonal Counterpoint 
 
 the matter of the last few paragraphs, — nothing con- 
 duces more to a well-established tonality (and modern 
 music in general presupposes a definite key system) than 
 the realization that the triads on the second, third and 
 sixth degrees of the scale are subordinate and secondary 
 to those on the fourth, fifth and first, respectively. 
 
 §13. As the triads in the minor mode are more varied 
 than those in the major, that is, two diminished triads on 
 the second and seventh degrees (11° and vii°) to one in the 
 major (vii°) and an entirely new one the augmented triad 
 on the third degree (III')> so greater care is needed in the 
 use of each of them, and in their interconnection certain 
 principles have to be rigorously observed. The first strik- 
 irig fact is that the diminished triad B, D, F, may be used 
 with good effect in its fundamental position in the key 
 of A minor, whereas the same triad in C major was found 
 to be very harsh in sound, and difficult to connect with 
 other chords. The reason is, of course, that B, the low- 
 est note, is no longer the leading tone. The student may see 
 this very clearly for himself if he will first play several 
 C's in octaves with a strong, firm touch ; that is, 
 
 i 
 
 ■ft 
 
 and then strike 
 this chord: 
 
 ^ 
 
 i 
 
 
 He will instantly feel how harsh this chord is in itself, and 
 how difficult to be combined effectively with other chords. 
 Now, after a pause, let him play several A's in the same 
 manner, and follow them by the same chord. Though, 
 the chord is still felt to be a discord, it is not so harsh, and 
 smooth combinations will at once suggest themselves; 
 for example. 
 
 
 ± 
 
 J] 
 
 5 
 
 
 Si 
 
 
 rf 
 
General Laws of Progression 
 
 15 
 
 At * note carefully the chord in question with doubled B. 
 This shows how powerful with us in modem times is 
 the effect of tonality, or the principle by which all chords 
 in a key are felt to bear a fixed and definite relationship 
 to a common center, or tonic. This diminished triad on 
 the second degree of the minor mode is, to be sure, often 
 used so as to give prominence to its intrinsic dissonant 
 effect. In such cases the progression is generally along the 
 usual Unes of all primary discords; the bass ascends a 
 fourth and the triad resolves to the dominant, — that is, the 
 chord really returns to its origin; for example, 
 
 lis V 
 
 lis v 
 
 Instructive examples are cited from Bach, from Mendels- 
 sohn and from Wagner. 
 
 Toccata in P 
 
 " St. Paul • 
 
 In the first two of these examples, between 11° and V 
 passing notes are inserted on the weak beats, but they in 
 nowise disturb the main lines of the progression. 
 
 ' Walkyrie," Hunding-Motive 
 
 etc 
 
i6 
 
 Tonal Counterpoint 
 
 §14. The triad on the leading t9ne in the minor mode, 
 for example, in A minor G#, B, D, is treated in accordance 
 with the same principles of voice-progression and of doub- 
 ling as the corresponding triad in the major mode. It is 
 only fair to say that both diminished triads of the minor 
 mode are used more frequently in their first inversion. 
 The following chart illustrates the usual and most natural 
 combinations : 
 
 pfefffl 
 
 ^ 
 
 ■M-4 f— 
 
 M 
 
 -e> — 
 
 i Ve 
 
 1 r 
 
 6 6 
 
 UaJ 
 
 1 
 
 e 6 
 
 m 
 
 .1 r 
 
 \ 
 
 /'^\% g-- 
 
 
 N=J 
 
 4=- 
 
 
 VUB VII9 II« I IV V I' 
 
 One very important point to be noticed is that the normal 
 leading tone, even where we are not writing exclusively 
 in the j^olian mode (that is, in the old scale of A minor 
 with git) is often lowered in a diatonically descending 
 bass, and bears above it a chord of the sixth. The open- 
 ing measures of Mendelssohn's Overture to " Ruy Bias " 
 are a striking illustration of this point. 
 
 ^^ 
 
 ^^ 
 
 (a) 
 
 '^ft\ 
 
 ^ 
 
 ^ 
 
 rrr 
 
 m 
 
 f 
 
 ^^ 
 
 f 
 
 m 
 
 ^- 
 
 
 v/ 3*-i' 
 
 Vi/ 
 
 Bach. Motet 
 
 Also 
 
 ^' 
 
 Here in the first phrase the bass descends using the well- 
 known form of the melodic scale. In the repetition at 
 (o) the bass moves from the seventh degree downward 
 
General Laws of Progression 
 
 I? 
 
 only a semitone, and a seventh chord on the 
 supertonic, that is, a chromatically altered 
 chord is used in its second inversion. Some- 
 times in Bach 'a corresponding effect is used 
 with an ascending bass but only in progressions 
 where the seventh degree is a passing note — a point to be 
 explained later; for example, 
 
 §15. The triad on the third degree in the minor mode, 
 the mediant, is liable to give much trouble to young stu- 
 dents. This triad in its fundamental position, c, e, g# 
 in the key of A minor for instance, is a triad with an aug- 
 mented fifth ; hence a harsh discord in itself and difificult 
 to be connected with other triads in the key. As a matter 
 of fact, if the student will play through and analyze sev- 
 eral well-known movements in the minor mode (for 
 example, several of Beethoven's Pianoforte Sonatas and 
 of Bach's Preludes and Fugues) , he will assure himself that 
 this triad is almost never used in the fundamental position 
 in a passage strictly in the minor mode. The student, to 
 be sure, sees it somewhere or other, every day of his life, 
 but if he will examine these places it will be evident that, 
 in the great majority of cases, the triad c, e, g# is an altered 
 triad with a raised fifth (derived from c, e, g), and that 
 the tonality is C major, F major or G major; that is, the 
 triad is an altered tonic, dominant, or subdominant. 
 When this triad is used in the minor mode, it is almost 
 invariably in the first inversion; that is, with the dominant 
 of the key in the bass, and even now and then as a chord 
 of the sixth and fourth; for example, the opening meas- 
 ures of the eighteenth Prelude from the first book of the 
 "Well-Tempered Clavichord." 
 
 i J:» ■ > 
 
 jS ^^ 
 
i8 
 
 Tonal Counterpoint 
 
 This beautiful and instructive passage will 
 
 repay careful examination. The chord in 
 
 question is the mediant triad in g# minor. 
 
 In the first measure we see it used in the 
 
 second inversion as a passing chord, and in the next 
 
 in the usual way as a chord of the sixth. In fact, the 
 
 effect of the dominant in the bass is so strong that this 
 
 triad in its first inversion is generally used in a group of 
 
 dominant harmony to introduce some more or less final 
 
 cadential effect; for example. 
 
 furthermore, the dominant effect of the augmented triad 
 when in its first inversion is so strong that it may proceed 
 at once to the tonic (with an entire ellipsis of the domi- 
 nant triad itself) and the effect will be that of a perfectly 
 satisfactory cadence; for example,* 
 
 Dvorak. " Stabat Mater" 
 I PP. "V. 
 
 ^ 
 
 n 
 
 ^m 
 
 ^ 
 
 m 
 
 I 
 
 f 
 
 m 
 
 
 ^ 
 
 M 
 
 5* 
 
 P 
 
 Loi 
 
 r 
 
 ^rP 
 
 rr 
 
 rr 
 
 * Some theorists call'the root ofthis chord the third of the original combina- 
 tion, identical with th.&' dominant of the key in question, and in speaking of the 
 
General Laws of Progression 
 
 Chopin. Preludes No. lo 
 
 19 
 
 Martin. Hymn Tune 
 
 When the mediant triad is used in the fundamental posi- 
 tion in a passage strictly in the minor mode, its resolution 
 
 triad c, e, g# on the third degree of A minor would refer to e as the root and call 
 "the c a thirteenth; for example. 
 
 "The writer, however, is not in sympathy with the tendency to^ account for unusual 
 "harmonic effects by the assumption of elaborate chord-formations such as elevenths 
 and thirteenths. In the first place, since harmony is based on an underljong /o«r- 
 Part structure, too many of the vital factors have to be omitted for the chords to be 
 -available for practical use. In modem music, to be sure, in five- and six-part writing 
 the harmony often moves in combinations of seventh and ninth chords, but with 
 reference to the normal harmonic structure the statement is valid. See the follow- 
 ing passage from a prelude of Cfear Franck: 
 
 Allegro moderato e maestoso 
 
 etc. 
 
20 
 
 Tonal Counterpoint 
 
 is analogous to that of the triad on the second degree ; that 
 is, the bass ascends a fourth and we reach the triad on 
 the sixth degree; for example, 
 
 IIP VI 
 
 This passage,* so far as purity of part-motion and gram- 
 matical connection are concerned, is perfectly valid; if the 
 
 and further on, 
 
 '-ii">g j'i r 
 
 m 
 
 Secondly, all such effects, instead of bein^ called incomplete chords of the eleventh 
 and of the thirteenth, can be explained in a far more simple and natural way by 
 iveferring to Suspensions, Appoggiaturas, Passiilg notes, Ellipses of chords of resolu- 
 tion. Pedal points, Anticipations and Retardations, — processes of harmonic free- 
 dom and variety with wnich the student, from his previous studies, is doubtless 
 familiar ; for example, at (a) we find a triple suspension of the third, fifth and of 
 the octave from the root of a normal dominant seventh chord. 
 
 
 
 r 
 
 F 
 
 v 
 
 * Interesting examples of the treatment of the mediant triad in the minor mode 
 may be found m the Sarabande of Bach's first French Suite for Pianoforte. 
 
General Laws of Progression 
 
 21 
 
 question of esthetic effect were raised, it might not be 
 considered so satisfactory. At (a) let the student ask 
 himself why the tenor might just as well have had b 
 instead of d. 
 
 §i6. Though fairly well grounded in harmony, the stu- 
 dent cannot be too often reminded of the strict connec- 
 tion always necessary between triads on the fifth and the 
 sixth degrees in the minor mode, The connection be- 
 tween these chords is as logical and strict as the agreement 
 between a verb and its subject noun in a language, and 
 the only combinations possible are such as these: 
 
 Up V J\ 1 
 
 1 „;] 1 1 
 
 1 J- .,1 1 
 
 1 ,K \ II 
 
 
 
 /i~l 
 
 
 ^^ 
 
 r- f 
 
 y^ 
 
 =M= 
 
 V VI 
 
 at (i>) the b flat in the melody is an appoggiatura, or unprepared suspension before 
 the fifth of dominant seventh harmony. 
 
 Schubert. Sonata, Op. 122 
 
 Mendelssohn. Part-song 
 
 In this example we see tonic and dominant pedal points "with parts o£ seventh 
 chords in the three upper voices. 
 
22 
 
 Tonal Counterpoint 
 
 That is, when triads V and VI are used in the minor mode 
 both in fundamental position, there must be vigorous con- 
 trary motion and a doubled third on the triad of the sixth 
 degree.* 
 
 §17. No state of mind is more frequent with the student 
 than that of underestimating the significance of simple 
 triads. The amount of practice necessary to acquire an 
 adequate and facile technique in their interconnection 
 often becomes irksome to him. But as the human body 
 must have a skeleton of bone, in like manner we cannot 
 compose well-knit music without triads, even if we should 
 wish to; they are the framework of all our music, both 
 simple and complex. They may be said to correspond to 
 the primitive colors in painting, whereas the discords, and 
 the more complicated chromatic chords, as their name 
 implies, are used for subtle effects in variety of color. If 
 all our chords were to be chromatic dissonances, or, on 
 the other hand, if we were never to use them, we should 
 have in either case no contrast, no variety. f The young 
 student often feels that the dissonant effects are the diffi- 
 cult ones to handle and to resolve effectively. From the 
 standpoint of grammar just the opposite is true. Con- 
 sider the simple dissonance, g, b, d, f; we can hardly 
 imagine any motion of the four notes which will not lead 
 us to some possible combination, although from the stand- 
 point of artistic effect, some rescdutions would undoubt- 
 edly be preferable in certain cases to others ; for example, 
 
 i 
 
 S l>,^S 
 
 -S — Vii 
 
 ^ 
 
 SE 
 
 » ^« 
 
 =1^= 
 
 S^ 
 
 * 
 
 Consider, however, the triad e, g, b, in C major; this, even 
 grammatically, can progress only along certain lines, and 
 
 * Let the student, if he wishes, try to invent other combinations, and in so 
 doing he will convince himself that those cited above alone are justifiable. 
 
 t This broad statement would undoubtedly need modification in writing for 
 orchestra or pianoforte, but in pure vocal writing, which we are at present con- 
 sidering, it is undoubtedly sotmd* 
 
General Laws of Progression 23 
 
 for the best effect to be secured, it has to be treated in a 
 very strict and rather limited way., So let the student 
 be persuaded to acquire a sound and facile technique in 
 the treatment of triads. Nothing will give him such a 
 good foundation for future development when he comes 
 to free chromatic writing. 
 
 §18. The student is strongly urged to consult the com- 
 prehensive charts of all possible triad connections in the 
 major and minor modes given in Prout's " Harmony " 
 and in Chadwick's " Harmony." It is indispensable that 
 he should gradually have these tables at his -finger-ends 
 as well as in his head; for they form in themselves alone 
 a fundamental system of diatonic harmony which, if 
 thoroughly mastered, will be of the greatest assistance in 
 all future studies. 
 
 N. B. — The student is by no means expected to read 
 over and assimilate this whole first chapter before he be- 
 gins to write music. Quite to the contrary, he is earnestly 
 recommended to begin at once to write out the simple 
 exercises given on pages 48 seq., and in this way learn 
 gradually to apply the principles and recommendations set 
 forth. In Music, as in any Art, reading about the subject in 
 the abstract is oft little avail. Only by constant methodi- 
 cal practice under competent supervision may the stu- 
 dent hope to acquire an adequate technique in musical 
 €xpression.* 
 
 §19. Before we come to the practical illustration of 
 these general working principles, it will be necessary to 
 speak somewhat about melody formation, for, as we all 
 know, counterpoint, broadly^ defined, is the " Art of 
 inventing Melodies." In fact, some teachers when asked 
 by the earnest student who acknowledges this statement, 
 " But how shall I invent melodies? " simply direct him to 
 invent them. While, to be sure, this tells the whole story, 
 from the highest standpoint, on the principle that the 
 artist is " bom, not made," from the point of view of the 
 average student with musical inclinations it seems to 
 the writer that certain helpful suggestions may be made. 
 First, it must be recognized that melody is a term of very 
 broad implication, and may include everything from the 
 m.ost impassioned operatic Aria to the simplest Folk-song. 
 In four-part writing it is not possible nor even desir- 
 able that all the voices should be melodies in the sense in 
 
 * It is a well-known fact that all the great masters have begun their work by 
 ■actually composing; that is, their skill was derived from practice and from inusic 
 ■itself. 
 
24 
 
 Tonal' Counterpoint 
 
 which we speak of a beautiful melody in a composition 
 for solo voice, violin or pianoforte. Likewise what might 
 be a good and acceptable melody for an inner part, alto 
 or tenor, would not be good for soprano or bass. What is 
 necessary is that all the voices should at one time or 
 another be 'melodious, with here and there a chief melody 
 in one of the parts, often accompanied by a melody of 
 secondary importance in another; There is a wide field 
 between melodies of a purely individual, solo character 
 and heterogeneous groups of notes which are either per- 
 fectly lifeless or at any rate show no evidence of artistic 
 design. In music as in everything else, lije is of the first 
 importance; and what makes most for life is motion, — 
 in its freest application, rhythm. 
 
 §20. How true this is may be seen if we examine first 
 the bass as the most important of all the parts. It is 
 obvious that starting from a single note there are only 
 three choices in regard to motion. First, the note may 
 repeat itself once or several times ; or second, it may move 
 stepwise up or down the scale (conjunct motion) ; or third, 
 it may move by, skips, simple or bold (disjunct motion). Of 
 these three forms of activity, — repetition, conjunct motion 
 and disjunct motion, — the first, especially in the bass, is 
 the least good, and the second, conjunct motion, especially 
 from a purely vocal standpoint, the best. It is seldom of 
 good effect to repeat a note in the jjass, at any rate in the 
 middle of a phrase or period.* In so far as this is done 
 the bass part lacks life, variety and interest. If the com- 
 bination of chords is such that the bass must repeat it- 
 self, it is often of good effect to skip an octave up and 
 down. In cadences, however, at the close of a compo- 
 sition, the dominant is often repeated intentionally sev- 
 eral times with varied fornis of dominant harmony in 
 the upper parts, to make the final tonic all the stronger 
 and more satisfying. 
 
 L^^j 
 
 ■ In vocal music, however, the exigencies o£ the text sometimes cause repeated 
 
General Laws of Progression 
 
 25 
 
 §21. Another blemish in a bass part, to be avoided by 
 the student, is the continual recurrence of the tonic. This 
 renders the part halting and weak, instead of free and 
 independent. 
 
 Ex. (a) 
 
 ^m 
 
 * 
 
 * 
 
 ^ I [^ r I J J I f^ r^ 
 
 «f JI'J-JlJ^J l j JlJ [MJ J l J p 
 
 Example (a) is a fair illustration of a type of bass which 
 often occurs in students' exercises. Its range is far too 
 restricted, and the constant recurrence of the tonic makes 
 for monotony rather than for interesting variety. In 
 example (6) we have the same bass part made over. The 
 gain in range, interest and in symmetrical development 
 is evident. 
 
 The ideal bass is one which, starting with the tonic, ranges 
 over the various degrees of the scale like a thing of life, 
 sometimes high, sometimes low, and returns to the tonic 
 only when it has worked itself out to a, ' logical and gen- 
 erally periodic conclusion. 
 
 (o) 
 
 Examples of good basses 
 
 
 
 r-h 
 
 
 1 
 
 
 , |_ 
 
 
 
 
 
 
 \ 
 
 
 
 
 
 
 
 /Tx 
 
 :M^ = 
 
 -T. 
 
 M: 
 
 2: 
 
 § 
 
 
 e 
 
 ptBtp: 
 
 ^ 
 
 Tt' 
 
 
 ■m 
 
 z 
 
 
 z 
 
 
 
 
 
 ^ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 u 
 
 • 
 
 
 (6) 
 
 
 
 
 
 
 
 
 n 
 
 „ 
 
 
 
 
 
 
 1 
 
 
 
 -p- 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 V L » 
 
 ^ 
 
 'J_^ 
 
 
 _ 
 
 _ 
 
 
 
 
 
 
 1 
 
 i_ 
 
 
 ± 
 
 - 'y g J 
 
 
 
 
 
 
 
 — 
 
 — f- 
 
 
 "t 
 
 
 
 
 
 
 - 
 
 
 
 
 \^-U- 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
26 
 
 Tonal Counterpoint 
 
 As the bass is not only an outer melodic voice, but also' 
 the natural harmonic foundation for the upper parts, 
 nothing is more important than to acquire the power of 
 composing a good bass; without this one can never make 
 much progress in any form of composition. For this 
 purpose study and analyze carefully several basses of 
 Bach, Beethoven, Schumann and Wagner. Apropos of 
 the avoidance of the tonic in the bass and considering the 
 part in its harmonic aspect, it is well to bear in mind the 
 difference between combinations of triads in the funda- 
 mental position or in the first inversion. Triads in the 
 fundamental position have a certain effect of " inertia," — 
 that is, each one furnishes a more or less satisfactory stop- 
 ping place ; of the tonic triad in the fundamental position 
 this is absolutely true. It may, however, be used on a weak 
 beat or in such an unimportant relationship that its effect 
 is concealed or lessened. A piece of music composed 
 entirely of triads in the fundamental position is much like 
 a building formed, of blocks -of stone all of the same shape. 
 The effect is one of calm dignity and majesty, and is often 
 employed by composers for a special purpose. 
 
 Wagner. " Das Rheingold ' 
 (a) Tempo moderato e tranquillo Walhalla Motive 
 
 etc 
 
 (6) Andante 
 
 ^uIU 
 
 CHOPI^f. Op. 37, No. 
 
General Laws of Progression 
 
 27 
 
 (e) Allegro non troppo 
 
 TscBAiKowsET. 4th Symphony; 
 Trio of 3d movement 
 
 m 
 
 Si 
 
 $ 
 
 $ 
 
 ^fei 
 
 ti^ 
 
 ^^ 
 
 T^ 
 
 ''M' j l li l liim 
 
 7 
 
 Iji example (a) we see the quiet dignity inherent in com- 
 binations of triads in the fundamental position; in ex- 
 ample (b) a tranquil smoothness gained in the same way; 
 and in example (c) a sturdy strength, which is very im- 
 pressive. But triads used in this way lack the plasticity 
 and freedom which we gain by placing them in their first 
 inversion. By chords of the sixth our ears and intellect 
 are kept on the "qui vive," and we are impelled onward 
 to the final stopping place. It is a safe general rule for 
 the student learning to form a good bass, to have a fair 
 proportion of the notes in this part imply first inversions 
 rather than to use too many fundamental positions. Great 
 attention should likewise be paid to the fact that a bass 
 of the best type is not only a good lower melody from a 
 contrapuntal point of view, but has inherent within it 
 the implication of a logical harmonic fabric in the upper 
 voices. A beautiful example of a bass part with this 
 double function is cited from Beethoven. Let the stu- 
 dent harmonize it and then compare with the original. 
 
 Beethoven. Op. 14. No. a 
 
 Of the two forms of real motion, conjunct or disjunct, the 
 former is preferable. The best bass is one which is largely 
 
28 
 
 Tonal Counterpoint 
 
 flowing (cantabile), varied here and there by effective 
 skips, — 
 
 Franz. Four-part Song 
 
 
 etc. 
 
 generally simple ones such as thirds, fifths, fourths and 
 sixths, or at times a bold seventh or even ninth, as in 
 Rheinberger's song " Alpenandacht." 
 
 Rbbinberger, Four-part Song 
 
 etc. 
 
 Too many skips, however, make the bass part disjointed 
 and restless. 
 
 §2 2. When we come to the soprano part, the greatest 
 care should be taken to secure, as the normal type, a flow- 
 ing and cantabile melody of sustained and varied interest. 
 In this voice a lifeless or monotonous mass of notes is 
 intolerable. During the last few centuries the soprano 
 has gradually come to be considered the chief melodic 
 voice; and, as it is heard the most vividly and is the most 
 easily followed, an intelligently trained instinct will gen- 
 erally produce a good melodious upper part. As this 
 voice is exempted from the harmonic necessities of the 
 bass, it may be treated with great freedom. While we are 
 learning to form a good soprano part, a careful study and 
 analysis of the works, even a very few, of the great com- 
 posers will be of more value to us than any number of 
 arbitrary rules. Let us note carefully the varied aspects 
 of what may be called the " melodic curve " of the great 
 melodists; for example, 
 
General Laws of Progression 2q 
 
 Schumann. Song 
 
 Franz. Song 
 
 To play through and carefully analyze some of the beau- 
 tiful songs of Schubert, Schumann and especially Franz, 
 ■will give the student more enthusiasm for composition 
 and will be better for the formation of his melodic style 
 than to read a dozen textbooks. At first, until there has 
 been acquired a well-trained and sensitive judgment upon 
 which to rely, it will be helpful to observe a few practical 
 suggestions which later on will be recognized as somewhat 
 mechanical and hence to be discarded. 
 
 §23. Before we enter upon a discussion of melody for- 
 mation in its broadest sense, it is indispensable to acquire 
 habits of correct melodic thought. As all melodies are 
 formed of scale degrees used either in conjunct or disjunct 
 motion, the first step towards this end is to realize just 
 which of these degrees may be used freely and which 
 imply a tendency towards certain subsequent resolutions. 
 Of course a melody may progress diatonically along the 
 line of the major or minor scale up or down without any 
 regard for tendency tones. Some of the smoothest and 
 most satisfactory melodies in the realm of music illus- 
 trate this truth; for example, 
 
 Beethoven. Op. 53 
 
 3X3 
 
 It is when we wish to depart from the simple diatonic 
 movement and to introduce skips (disjunct movement) 
 
JO Tonal Counterpoint 
 
 that it is necessary to observe carefully which tones of 
 the scale have an inherent tendency to progress along 
 certain lines. In connection with the first, third and 
 fifth tones of the scale (those which form the tonic triad) 
 there is a certain inertia. They are under no compulsion 
 to move at all, or in any particular direction. For illus- 
 tration, in the key of C major let the student strike any 
 one of the notes c, e, g, successively in a melodic sense, or 
 together in a harmonic combination; in either case there 
 
 «'ll be a feeling of repose, of inaction. How different is 
 b case, however, with the remaining tones of the scale, 
 that is, the second, fourth, sixth and seventh. After strik- 
 ing any one of these we feel a distinct impulse to move 
 on. And that too, if we follow the line of least resistance, 
 along a definite path. As every student well grounded 
 in harmony is aware, the tendency of these tones is as 
 follows: The seventh degree, or leading-tone, progresses 
 upwards; the fourth degree tends downwards; the sixth 
 degree tends downwards, although the tendency is not so 
 strong as it is in the case of the fourth degree. The sec- 
 ond degree is the freest of all, and since by conjunct motion 
 in either direction it can reach points of rest on the tonic 
 or on the third degree, its tendency is equally downwards 
 or upwards (with a slight preference for the former). 
 We find the same tendencies illustrated if we combine 
 the above tones harmonically; for example, the simplest 
 and most normal resolution of the dissonant chord b, 
 d, f, a, is as follows; 
 
 ^SSJ- 
 
 It is interesting to note that a natural and pleasing melody 
 may be formed simply by writing out these ordinary reso- 
 lutions in succession; for example, 
 
 m 
 
 ill U I ^ J I' 1 1 I I II 
 
 In connection with his studies the student should analyze 
 for himself some standard compositions. His melodic 
 instinct will be much improved if he observes how the 
 great composers in their vocal writings invariably follow 
 the tendencies explained above, and how even in free 
 
General Laws of Progression 
 
 31 
 
 instrumental compositions they depart from them but 
 seldom; for example, 
 
 Beethoven 
 
 ^'-'T'^Jj^.^''^ ^J'P fgTr ^ 
 
 i 
 
 ^ 
 
 ^ 
 
 ffi 
 
 m 
 
 J^'^c' 
 
 AT. B. N. B. 
 
 Bbethovbh 
 
 JSr 1 J=^ 
 
 m i"'1 
 
 ^ 
 
 =t= 
 
 1 M 
 
 pa 
 
 — 1 ^ — 
 
 ^2^'"'' ^ i •" 
 
 -H^ 
 
 
 *—m 
 
 i. 
 
 LiM:^ 
 
 ^ 
 
 u^ 
 
 In the first measure of the last example note that the 
 progress diatonically along the normal scale-line justifies the 
 irregularity in resolution of the fourth and of the sixth 
 degree.* 
 
 §24. Another most important recommendation is that 
 in a short soprano melody — for example, an eight- or a 
 sixteen-bar period — there should be but one point of cli- 
 max. This may occur either at the fifth or sixth measure 
 in an eight-bar period; for example, 
 
 Andante 
 
 Fhanz. Op. s, No. I 
 
 * For a complete and most interesting treatment of this whole subject, both 
 teacher and jrapil are cordially recommended to the manual of Dr. Percy Goet- 
 Bchius, " Exercises in Melody-Writing " (G. Schirmer, New York). 
 
32 
 
 Tonal Counterpoint 
 
 or very often in the third group of four measures in a 
 sixteen-bar period; for example, 
 
 Allegro 
 
 Beethoven. Sonata, Op. to. No. 3 
 
 U t^.i 1 
 
 -r4-|l 
 
 »- 
 
 
 
 
 1 
 
 »T 
 
 ^- 
 
 V-H- 
 
 
 1-4- 
 
 
 -t-H 
 
 
 
 
 
 
 
 -i — 1 
 
 
 1 
 
 iffr^- 
 
 w 
 
 — 
 
 ^^ 
 
 ^ 
 
 E^^ 
 
 3^ 
 
 =^ 
 
 
 
 zs 
 
 
 =i*^ 
 
 Itf — ^ 
 
 Climax 
 
 
 geft 
 
 2" 
 
 fe 
 
 
 
 4 
 
 5 
 
 • 
 
 
 7 
 
 8 
 
 1 
 
 i 
 
 &ti 
 
 
 
 z= 
 
 ~ 
 
 ™ 
 
 ni 
 
 
 =^^ 
 
 
 F-a 
 
 t 
 
 tl? 
 
 :± 
 
 ^ 
 
 ^ 
 
 id 
 
 
 -*- 
 
 i 
 
 10 
 
 11 \z 
 
 13 
 
 M 
 
 15 16 
 
 The course of the melody in this case may lead up to the 
 climax from the beginning and subside afterwards to the 
 end. Or the climax may be saved for the end itself, and 
 there may be a gradual working up to it from the start ; 
 for example, 
 
 Andante con moto 
 
 Beethoven, sth Symphony 
 
 Mozart. " Cosl fan tutte ' 
 
 Climax 
 
 
 In general it is not desirable that a melody should start 
 in the lower or middle part of its range, should arrive at a 
 high position either by diatonic motion or by skips, and 
 then, after some aimless wandering about, reach the same 
 high point again. A melody, to be sure, may often reach 
 in its course a certain point of interest, and then after a 
 temporary abatement of animation may press on to a 
 still higher point of climax. A series, of climaxes such as 
 
General Laws of Progression 
 
 33 
 
 this is a very common and effective form of melody ; for 
 example, 
 
 Mendelssohn. Scotch Symphony 
 
 Cosipare also the following theme from Brahms' Third 
 Symphony : 
 
 Poco allegretto 
 
 ' '■ ^ i^ I r' l f i T m i l l J3-» ^-j 1 1 =^ 
 
 §25. A second useful recommendation which will make 
 for life and variety is to have the soprano voice move 
 through as wide a range as possible; this suggestion, of 
 course, is to be modified with reference to the length of 
 the composition and the simplicity or elaborateness of its 
 style. That which is strictly to be avoided is a soprano 
 part which goes continually back and forth over the same 
 few notes, or is largely composed of meaningless, frantic 
 skips up or down. In general, if a special melodic effect 
 is to be produced, it must not be anticipated in previous 
 measures. Whatever its course, the soprano voice must 
 always show design, and with its mechanical freedom of 
 motion — being restricted only in the lower part of its 
 range by the alto voice — tnere are very few cases where 
 it cannot manifest the leadin^characteristics of all good 
 melodic writing, — life, organic unity and variety. (When 
 the exercises at the end of the chapter are worked out, 
 examples will be given of bad, of ineffective and of good, 
 melodious soprano parts.) 
 
 §26. In dealing with the inner voices, the alto and tenor, 
 not so many practical suggestions can be made. Here 
 the only way to acquire a facile technique is to practise 
 steadily, under competent supervision. It may be borne 
 in mind*, however, that the alto and tenor voices in gen- 
 eral need not be such free melodies as the soprano and 
 bass. In fact, they could not be if they would, for they 
 
H 
 
 Tonal Counterpoint 
 
 are hemmed in on both sides, the alto by the sopranO' 
 above and the tenor below, and the tenor by the alto- 
 above and the bass below. These two inner voices often, 
 try to avoid their restricted range by mutual adaptation; 
 each taking pity, as it were, on the limitations of the other. 
 That is, the tenor crosses temporarily above the alto into- 
 the highest part of its range, while the alto drops below 
 the tenor into its lowest register. Some of the finest 
 effects of part-writing for inner voices are gained in this- 
 way, as is shown in the Madrigals of the early Italian and. 
 English schools. 
 
 Festa 
 
 Also further on in the same madrigal: 
 
 ri I III! I 'ii 
 
 m 
 
 inner voices cross 
 
 ^ 
 
 ^ 
 
 m 
 
 ^ 
 
 ^ 
 
 m 
 
 ^ 
 
 ^ 
 
 P 
 
 In this example let the student note the simplicity of the- 
 harmonic background. And yet beautiful vocal effects- 
 are produced by the development of each voice along in- 
 dependent melodic lines. We pre-eminently see the appli- 
 
General Laws of Progression js 
 
 cation of this device in the glorious living alto and tenor 
 voices of the choral writings of Bach: 
 
 Bach. Choral from " Christmas Oratorio " 
 
 Likewise when we come to writing for strings we shall see 
 how freely the parts for second violin and viola cross and 
 interlace. At first, however, it will be wise for the stu- 
 dent to cross his inner voices rather rarely and only 
 for a few notes at a time. To cudgel his wits to invent 
 good alto and tenor parts in their normal restricted group- 
 ing will stimulate his imagination more than to avail 
 himself too soon of the freedom of crossing. All music, 
 especially unaccompanied vocal music, must have repeated 
 notes. In fact, the repetition in the same part of notes 
 common to two or more chords is the mephanical means 
 of honiogeneous chord connection; without this the music 
 would entirely disintegrate. 
 
 W 
 
 Bach. 
 
 i 
 
 ^P 
 
 ^ 
 
 Choral 
 
 m 
 
 ^^ 
 
 w^ 
 
 
 ^ 
 
 ^^ 
 
 j J ■ I J 
 
 4 m i- 
 
 I7\ 
 
 ^ 
 
 ^ 
 
 "^m 
 
 ^^ 
 
 etc. 
 
36 
 
 Tonal Counterpoint 
 
 Bach. Choral 
 
 In example (a) note that the alto is sustained while the 
 three other voices move with great freedom; and in ex- 
 ample (Jb) note the fine effect of the flowing bass against 
 the sustained note in the tenor. It is the chief function 
 of the inner voices to furnish these sustained notes. They 
 are the pivots, so to speak, around which swing the outer 
 voices with their freer range and more prominent position. 
 So let the student remember that repeated notes in the 
 inner voices are not had, but, on the contrary, desirable. 
 He will gradually acquire facility in securing variety and 
 interest for his inner voices where .this can be done with- 
 out too great a sacrifice in the firmness of the harmonic 
 texture. 
 
 §27. A few suggestions will be found helpful to the 
 student in regard to melodic motion in general. As we 
 have stated above, the motion should be largely diatonic 
 until there has been acquired the critical judgment to 
 know just when skips are effective. The skips which the 
 student will naturally use first are octaves, fifths, thirds, 
 fourths, sixths and sevenths, and about in this order of 
 simplicity. None of these intervals will cause trouble 
 or need special comment save the fourth. In the use of 
 this interval the student often goes astray, for in the nor- 
 mal diatonic scale itself (both major and minor), from the 
 fourth degree to the leading tone, we find the dissonant 
 interval of the augmented fourth. From a melodic point 
 of view we are to remember that this interval being 
 augmented should not be used too often, and that if 
 introduced it should generally keep on expanding. The 
 following are the most natural and most effective methods 
 of proceeding from this interval : 
 
General Laws of Progression 
 
 37 
 
 Rare 
 22_ 
 
 ^)] f l " ll I I III II I iff 
 
 that is, the b goes up somewhere; whereas the following 
 groups 
 
 are all somewhat unnatural melodically, and theit use 
 would be justified only for special effects. They occur, 
 moreover, rather in instrumental than in vocal compo- 
 sitions.* 
 
 Beethoven. 3d Leonore Overture 
 * *_ 
 
 Cur. Berceuse for Violin 
 
 f'^T^JiiiJJffA^^ 
 
 It is well to remember that this interval is capable of freer 
 treatment when both notes are part of the same or re- 
 lated harmony, than when the notes are in two distinct 
 chords. Practically in pure vocal writing these notes are 
 more customary and more effective in their inverted posi- 
 tion (a diminished fifth). The following melodic inter- 
 vals are often very pleasing: 
 
 The diminished fourth, although it will probably not occur 
 very often, is a most expressive interval, and as found in 
 
 * The augmented fourth is sometimes introduced with a downward progrression 
 and produces a mysterious, haunting effect ; for example, in the opening theme of 
 Liszt's song to Goethe's words, " Know'st thou the land " : 
 
 ' Know'st thou the land where sweet the cit- ron blows ' 
 
38 
 
 Tonal Counterpoint 
 
 the minor mode from the leading tone to the third is 
 capable of very effective use. It is rather more common 
 in descending than in ascending passages. 
 
 Both examples from Rubinstein. Op. 8, No. 6 
 
 The minor seventh, especially that formed by the limits 
 of the dominant seventh chord, is a very melodious skip 
 and of frequent occurrence in the bass, especially ascend- 
 ing. 
 
 Handel. 
 
 ^^ 
 
 ^^ 
 
 — 
 
 1 
 
 J 1 J- J^ 
 
 uu 
 
 ^p^ 
 
 U'r: 
 
 ^ 
 
 1 U—l-J 
 
 \\Ty^ 
 
 
 Likewise the diminished seventh found strictly in the 
 minor mode, but often used chromatically in the major:* 
 
 C minor or C major 
 
 §28. Before closing these preliminary suggestions, a 
 few words must be said about the use of the second inver- 
 sion of triads, the chord of the sixth and fourth. To 
 the young musician no chord is more troublesome than 
 this, and yet when properly employed it is one of the most 
 useful and effective in music. For the present the student 
 is advised to introduce it but seldom, and then with the 
 following main principles of its treatment clearly in mind. 
 First, a six-four chord used on a strong accent tends to 
 imply a cadence in that key the tonic of which is a per- 
 fect fifth below or a perfect fourth above the bass note 
 
 * The interval of a minor seventh found in the major mode between the leading 
 tone and the sixth degree may also be used with good effect; for example, in the 
 well-known song of Tschaikowski: 
 
 l^'\K^ 1 1 -^--=^=f^.^F^.=4=\ 
 
 -«)' X-iJ. — -s^d-^ — d -i ' \ 1 
 
 etc. 
 
General Laws of Progression 
 
 39 
 
 of the six-four chord; for example, after hearing the fol- 
 lowing six-four chord on g: 
 
 5EE 
 
 the listener is justified in expecting sooner or later a 
 cadence in C major or possibly C minor; that is, 
 
 » 
 
 
 or 
 
 1 V 
 
 I V. V 
 
 This tendency is obviously strengthened if the positions 
 of certain voices in the six-four chord are approached by 
 leaps ; for example, ^ i 
 
 The student will clearly understand the reason underlying 
 this cadential tendency of 
 will bear in mind that a six- 
 origin is nothing but a triad* 
 pension of its third and of 
 ample, the chord 
 
 is noth- 
 ing but^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 m 
 
 six-four chords if he 
 four chord in its 
 with a double sus- 
 its fifth; for ex- 
 
 i-ij 
 
 instead of 
 
 m 
 
 J 
 
 ^ 
 
 .V 
 
 We all know that dominant harmony, if it moves along 
 the line of least resistance, progresses to the tonic chord. 
 
 - * This .explanation also accounts for the well-known rul& in'regard- to doubling 
 •-- **in six-four chords, double the bass," that is, the note which- is >eo//y the root. 
 
40 
 
 Tonal Counterpoint 
 
 It by no means follows that this simple resolution must be 
 the one chosen in every given case, 
 for by the principle of " Deceptive 
 Cadences," already familiar to the 
 student (see above, p. 22), the chord 
 
 s 
 
 or 
 
 
 may progress in countless directions. Just so a six-four 
 chord when used on a strong accent, need by no means 
 result invariably in a cadence in the given key. After 
 a six-four chord, a deceptive cadence is often used; for 
 example. 
 
 C: I 
 
 C: I 
 
 But nevertheless the fundamental principle remains that 
 an accented six-four chord arouses, an expectation, of a 
 cadence in the key the tonic of which is a fif'^h below or a 
 fourth above, and this natural expectation if not satis- 
 fied must be compensated by smooth and interesting 
 modulatory resolutions into other keys (as shown above). 
 The inference from all this is- plain: accented six-four 
 chords, in particular those derived from the tonic of the 
 given key, should seldom, if ever, be introduced in the 
 middle of a musical sentence or phrase (that is, we do not 
 wish to stop in the middle of anything). Second, six-four 
 chords, those derived from the tonic triad or from any 
 triad in the key, are often used on weak beats, that js, in 
 an unaccented relationship to the chords preceding and 
 following. In this case the six-four chord is a passing 
 chord; several or all of the voices should move diatonic- 
 ally, and the fourth in the six-four chord is almost invari- 
 ably held over in the same voice from the preceding chord. 
 The following phrases illustrate this very common usage: 
 (o) ' . ■■ 
 
 '" I" ' r I I 
 
General Laws of Progression 
 
 41 
 
 (b) 
 
 ^m 
 
 a 
 
 ^ 
 
 n. 
 
 M 
 
 n 
 
 n 
 
 11 
 
 Tf 
 
 1 
 
 ^ 
 
 u. 
 
 m 
 
 ^ 
 
 r 
 
 IV 
 
 In each of the above examples the second inversions are 
 used as passing chords, — that is, they are on weak beats, 
 and the parts move diatonically, or wh6n this is not the 
 case, one part at least is held over from the preceding 
 chord as in the second measure of example (6). Therefore 
 in connection with no one of them do we feel a cadential 
 tendency towards any particular tonic, and their use in 
 the middle of a phrase is justified. Third, chords of the 
 sixth and f ojurth may be freely _used between other posi- 
 tions of the same chord; for example. 
 
 or when they are preceded and followed by a triad in the 
 fundamental position on the same bass note : 
 
 Wesley. Hymn Tune 
 
 §29. The student is cautioned against the use of suc- 
 cessive second inversions, especially, ^vhen the bass moves 
 by skips. The following combinations are very bad : 
 
42 
 
 Tonal Counterpoint 
 
 bad 
 
 Successive six-four chords are, to be sure, occasionally- 
 seen; for example, 
 
 It is evident, however, in the above example that the second 
 six-four chord has no real harmonic import, but that the 
 effect is 
 
 The two grace notes before the tonic chord are then length- 
 ened, and the first six-four is merely a passing chord be- 
 tween two positions of tonic harmony.* It is not to be 
 inferred that the above statements include all the pos- 
 sible uses of the six-four chord, they simply indicate the 
 general method of treatment. In actual music, examples 
 may be found of second inversions derived from every 
 triad of the scale,'\ though the super-tonic and mediant 
 
 * For a beautiful example of successive chords of the sixth and fourth with a 
 diatonic bass, let the student consult the seventh and eighth measures of the first 
 movement of Mozart's C Maior Symphony. 
 
 ■(• For a classified list of such chords of the sixth and fourth the student is 
 advised to consult the sixth chapter of Prout's Harmony, 
 
General Laws of Progression 
 
 43 
 
 triads are comparatively rare in this position. As a last 
 word we may say that, in general, second inversions may 
 be introduced without bad effect whenever the voices „ 
 and in particular the bass, move diatonically ; for example. 
 
 i 
 
 ^ 
 
 5 
 
 ^^ 
 
 m 
 
 w 
 
 etc. 
 
 Here Mendelssohn in his march from " Athalie " intro- 
 duces on a weak part of the measure a second inversion of 
 the mediant triad (note that the bass moves diatonically). 
 Six-four chords, however, when introduced by a leap, axe 
 to be used with great caution. The following combina- 
 tions, for example, would be- very bad: 
 
 As to the best effect of a six-four chord in any given case 
 nothing but patient practice will give the student the 
 mature judgment and the unerring artistic sense for such 
 decision. 
 
 §30. It is taken for granted that every one is familiar 
 with the normal range of the voices. In general the 
 soprano should not be taken above ,.. and the bass 
 
 not below 
 
 No one of the voices should be kept for long either in the 
 highest or the lowest part of its range. For voices the 
 writing must be comfortable and grateful to the singers. 
 All the following exercises should be worked out in open 
 score, — that is, with each voice on a staff by itself; and as 
 
44 
 
 Tonal Counterpoint 
 
 soon as possible the appropriate clefs should be used in 
 connection with the inner voices, — that is, for the alto 
 
 voice 
 
 ||P<;-'W»fi» ^ 
 
 and for the tenor 
 
 ^P^IUtMlu Cz 
 
 Prom the very outset the student should endeavor to 
 think of the tenor part in connection with this clef, as 
 the notation of a tenor voice is most unsatisfactory when 
 written in either the F or in the G clef. A tenor part in 
 the G, or violin clef, is sung an octave lower than the 
 written notes would imply; for example, 
 
 truT^rrnrr 
 
 Sunor an octave lower 
 
 On the other hand, if the F or bass clef. is employed, a con- 
 stant use of leger lines is necessary to keep the tenor in 
 the best part of its range. More than half the time 
 the notes will be off the staff; for example, 
 
 ^m 
 
 rfff i rffifr ^ 
 
 The first exercises therefore should be written with the 
 following combination of clefs : 
 
 
 ft 
 
 
 
 aprano 
 
 ^^z^, 
 
 
 -P — 
 
 Alto 
 
 w= 
 
 Tenor 
 
 «r — 
 11^ — 
 
 K*^^ 
 
 
 41 
 
 
 *^- ' 
 
 
 
 Gradually, as the student acquires facility, the appropri- 
 ate alto clef may be introduced. The first melodies given 
 
General Laws of Progression 45 
 
 are placed iii" the bass, and the upper voices are to be 
 added, particular care being given to the formation of a 
 good soprano. Others are placed in the sopranoj and in 
 this case still more attention must be given to the bass 
 part which must be a good harmonic foundation and also 
 a flowing, singable melody. It is advisable that certain 
 of the melodies be placed in an inner voice. Too much 
 time, however, should not be given to this, until consider- 
 able facility has been acquired. No special directions are 
 given as to what harmonic scheme should be used in any 
 given case. From his study of harmony the student is 
 supposed to have stored up a certain fund of simple and 
 effective harmonic combinations. These he is now to 
 apply under the guidance arid criticism of the teacher. 
 In acquiring a technique in composition his aim should 
 be to proceed from " the simple to the complex." At 
 first, therefore, in these short and simple exercises it is 
 better to use triads almost exclusively. Now and then 
 dominant seventh harmony may be introduced, and grad- 
 ually secondary sevenths. In general, augmented chords, 
 altered chords and other complicated harmonies should 
 be reserved for longer and more elaborate melodies. As 
 to modulation the student should try to express as much 
 as possible by using the resources of one key. If a modu- 
 lation is made whenever a difficulty is encountered, much 
 valuable practice is lost. Interest and variety should 
 be sought by changing the positions and progressions of 
 the chords in a given key. Now and then modulations 
 may be made to nearly related keys, and at times some 
 particular modulation is clearly implied by the melody 
 itself. Three melodies in the bass are now harmonized 
 to show the general style to be adopted in subsequent 
 -work: 
 
 (a) 
 
 v-- '*ihif fir ['\f >ui Ji(-f ir rirr i " ii 
 
 As this is a diatonic melody of the simplest type, a har- 
 monic structure composed of triads in different positions 
 would certainly be appropriate. Following the recom- 
 mendations for simple triad connectipn cited above, we 
 produce this harmonization, in which our aim has been 
 ^rst to write clear harmony; second to form a good 
 
46 
 
 Tonal Counterpoint 
 
 soprano ; and third to make the inner voices as varied as 
 possible. 
 
 ■ (o) 
 
 ^ 
 
 i 
 
 ^ 
 
 S 
 
 m 
 
 T}—V 
 
 ^ 
 
 m 
 
 P 
 
 '>'»tjij'[' 
 
 6 B 
 
 ^ 
 
 p=^ 
 
 6 6 
 
 P 
 
 ^ 
 
 ^ 
 
 As to the harmony, note the preponderance of chords of 
 the sixth. Follow the melodic line of the soprano, which, 
 starts (rather exceptionally) in a high position, works 
 smoothly down the scale and then rises by simple leaps 
 to a point of climax at the end. The inner voices are not 
 so flowing or so varied in melodic outline as the bass and 
 soprano. Still repeated n®tes have generally been avoided, 
 the alto is singable, and the tenor has at least the variety 
 of a fairly wide range. We now give a bass melody which 
 will allow a more varied harmonization: 
 
 As this melody is in the minor mode, before we begin to 
 harmonize we think what are the most efEective harmonic 
 combinations in that mode, and we also bear in mind the 
 necessity of raising the seventh degree ( f # ) : 
 
General Laws of Progression 
 
 47 
 
 This exercise, simple though it be, will repay careful analy- 
 sis. First, as to the harmonic structure, at (a) dominant 
 seventh harmony has been used, and at {b) an inversion 
 of the diminished seventh chord. From the third to the 
 fifth measure, the inner voices are made more varied in 
 range by a change in position of the chords. As far as 
 harmony alone is concerned, the exercise at this point 
 might have been written thus : 
 
 Here the alto and the tenor are unnecessarily lifeless, 
 even for inner voices. In cases like this a change of posi- 
 tion will often secure at least variety of range. In regard 
 to the soprano, as at first it goes smoothly up and down 
 the scale, towards the end it is enlivened by two ascend- 
 ing skips of a fourth, and finally at (c) by the introduction 
 of that interval, so characteristic of the minor mode, the 
 diminished seventh. At {d) a passing note is used, to 
 give the alto a flowing final phrase. The student has 
 doubtless learned the main rules in regard to passing notes 
 from his studies in harmony, and although a complete 
 account of their treatment is reserved for a subsequent 
 chapter, even in these simple exercises they may occa- 
 sionally be introduced, especially in the inner voices, when- 
 ever those parts would otherwise be monotonous or lack 
 a melodious flow, 
 
 ^as 
 
 ^Mi- i ' i fnrf i riirf i rr i iM i - i 
 
 We now attempt an exercise which will allow passing 
 'modulations into related keys. More passing notes also 
 
48 
 
 Tonal Counterpoint 
 
 will be introduced to show their great use in the develop- 
 ment of a flowing style: 
 
 Ab Et> c 
 
 In this version the harmonic structure is simple; yet con- 
 siderable variety is obtained by modulating into the major 
 keys of Ab and Eb. Play over each of the voices by it- 
 self, and note that by the use of passing notes each of 
 the inner parts becomes an entirely satisfactory melody. 
 The soprano is noticeable for its wide range ; a minor tenth 
 in eight measures. At (a) the augmented fifth of dominant 
 seventh harmony has been intrqi^uced, and at {b) the 
 rhythm is varied by a suspended note. At (c) in the 
 tenor, note the melodic form of the minor scale. 
 
 §31. Melodies in the bass to be treated as indicated; 
 those which are short like examples (a) and (&) ; the longer 
 ones like (c). 
 
 Like '(<z) 
 
 Like (a) 
 
General Laws of Progression 49 
 
 Uke (a) 
 
 g ^ 
 
 4. 
 
 pi r i rr ' -M' i r^ 
 
 Like (a) 
 
 Like (a) 
 
 lake (6) 
 
 Like (6) 
 
 
 
 
 rn 
 
 rl^ 1 
 
 
 1 n 
 
 
 
 
 1 IT 
 
 8- -^HW- 
 
 
 ^ 
 
 
 ^ 
 
 ^^ 
 
 ^ 
 
 -r-sL 
 
 :^ 
 
 = ^ 
 
 =s=l 
 
 Like (6) 
 
 Like (c) 
 
 Like (c) 
 
 11. 
 
 §32. We now harmonize ' three typical melodies in the 
 soprano as models for analysis : 
 
50 
 
 Tonal Counterpoint 
 
 This melody will be recognized as the same one treated 
 above in §30 in the bass: 
 
 (a) 
 
 ^ 
 
 Og 
 
 ^ 
 
 9 TT 
 
 ==5 
 
 ^ 
 
 m 
 
 ^^ 
 
 ^ 
 
 ^ 
 
 g 
 
 i 
 
 ^ 
 
 i 
 
 S 
 
 ^ 
 
 This version calls for no especial comment; the simplicity 
 of the melody would not allow elaborate inner parts. At 
 (a) note the descent of the leading tone in an inner part 
 to gain a complete final chord: 
 (6) 
 
 In this version, simple tliough the harmonic structure be, 
 acceptable alto and tenor voices have been secured. The 
 bass is thoroughly good; it is vital in motion, and broad 
 in range. Note . at (a) the efEective descent of a minor 
 seventh : 
 
General Laws of Progression 
 
 51 
 
 This melody may be treated in a somewhat freer style; 
 secondary seventh chords may be introduced, and passing 
 modulations made to related keys. 
 
 In this version repeated notes are freely used, especially 
 in the inner voices. Still the general course of both the 
 alto and of the tenor is varied and melodious. In the last 
 two measures of the bass, note the vigor of the successive 
 leaps of a perfect fifth. 
 
 §33. Melodies in the soprano to be treated like the above 
 models. 
 
 Like (o) 
 
 Like CW 
 
 • > 
 
52 
 
 lonaL Counterpoint 
 
 Like (c) 
 
 g- ^^^'*iJi'^ J I fp i ^i'hi rrrr i f rif^^ 
 
 g^g^ 
 
 Like (c) 
 
 7 V L a r I fV I pttf-i I p „ I ^ I J I I I I I ^^ 
 
 AT^. 5. — In this melody a good effect may be produced 
 by beginning in D minor and ending in the relative major. 
 
 9. 
 
 #^ 
 
 =F 
 
 b=. 
 
 □ 
 
 Fi 
 
 
 -3 
 
 pH 
 
 N=i 
 
 ^ 
 
 "Tt — rP 
 
 F=l 
 
 1^ 
 
 ta 
 
 p 
 
 
 #=^ 
 
 L4-« 
 
 ~a 
 
 y 
 
 Q 
 
 '-i 
 
 J 
 
 H 
 
 
 ^=y 
 
 
 
 ^ 
 
 y 
 
 M 
 
 
 No. 9 is to be harmonized mostly with combinations of 
 triads, in keeping with the simplicity of tl^ melody. 
 
General Laws of Progression 
 
 53 
 
 This melody, although longer than those first given, can 
 be harmonized in the same simple style. One modulation 
 is indicated into the related key of B minor. Early in 
 this course of study the "371 Four-voiced Chorals " of 
 J. S. Bach should be procured, and the student to whom 
 work on the above melodies has been fairly easy may now 
 harmpnize some chorals or at any rate phrases from them. 
 It is left to the teacher to direct this part of the work in 
 accordance with the advancement and facility of each 
 particular student. Numbers 258, 38, 26, 293 and 6 are 
 recommended as suitable for treatment at this stage of 
 the work. Many interesting and stimulating examples 
 may be looked up from the works of the great composers 
 to show what fine effects can be produced in four-part 
 writing with very simple means. Two such illustrations 
 are herewith cited : 
 
 Tempo giusto 
 
 Handel. " Judas Maccabaeus," No. 52 
 
 Although this passage is entirely wanting in rhythmical 
 contrast, observe how freely the voices rnove. 
 
 Mendelssohn. "Athalie," No. z 
 
'54 
 
 Tonal Counterpoint 
 
 Play through each voice by itself; observe the melodious 
 tenor part in the third phrase, and the striking effect of 
 the secondary seventh chord at (a). To analyze care- 
 fully the part-writing found in the magnificent opening 
 choral of Wagner's " Mastersingers " will also be benefi- 
 cial and inspiring to the student. 
 
 §34. Short melodic phrases should now be placed both 
 in the alto and in the tenor, and four-part harmoniza- 
 tions worked out. Even though the harmonic structure 
 be very simple, our work now becomes considerably more 
 difficult, for whenever the chief melody is in either of the 
 inner voices, we must form in the same exercise both 
 a good harmonic bass, and a free melodious soprano. 
 Facility and sureness in this style of writing are acquired 
 only little by little and by constant methodical practice. 
 The student therefore should not be discouraged if at 
 first the work seems difficult. From the very outset, 
 however, in contrapuntal study, we must recognize the 
 fact that the chief melody is often in one of the inner 
 voices. A merely cursory examination of the standard 
 compositions for the pianoforte, for string quartet, and 
 especially for orchestra, will convince the student how 
 free music is in this respect. Sometimes the principal 
 melody is in the soprano, sometimes in the bass, often 
 either in the alto or in the tenor.* In the following exer- 
 cises although the soprano is a secondary melody, it must 
 still have motion, and as much variety in range as the 
 circumstances will allow. Hence repeated notes should 
 seldom be employed. For instance, if we were asked to 
 harmonize this melody in the alto, 
 
 * The teacher can easily refer the student to characteristic examples from the 
 compositions of Beethoven, Schumann, Wagner, Brahms and others. 
 
General Laws of Progression 
 
 55 
 
 » -'I ! ^ I -J -Jj' i| I M Mlj jl^ll 
 
 the following version would be very bad on account of the 
 monotony of the soprano. The skips in the latter part 
 of the bass are also rather aimless : 
 
 A satisfactory version should be in style somewhat 
 like the following: 
 
 In the above version we have gained melodic freedom for 
 the soprano, and the skips at (a) afford a good contrast 
 to the sustained notes in the alto.. The bass part also is 
 more symmetrical tha.n in the first version. Almost any. 
 ■of the melodies in the preceding paragraphs are available, 
 when properly transposed, for use in the alto. For ex- 
 ample, in §31, No. I may be transposed into C major and 
 placed in the alto. No. 2 maly be transposed into D major. 
 
56 
 
 Tonal Counterpoint 
 
 In §32, example (a) maybe transposed into I> major. 
 We add a few longer subjects for treatment in tbk alto: 
 
 '■ j,'ii'»'.iJ i Jj i , i i i j I II il ^V i ij ia 
 
 3. 
 
 N. B. — In this exercise secondary seventh chords 
 may be introduced with good effect, especially in measures 
 four to six. 
 
 §35. We now work a harmonization with the following 
 melody in the tenor: 
 
 and then give several tenor melodies tp be treated like 
 those above in the alto. 
 
 ±B 
 
 ^ 
 
 n 
 
 ^ 
 
 ^ 
 
 3=Z2 
 
 
 ■P-^P- 
 
 ^Wff^ 
 
 ^ 
 
General Laws of Progression 
 Subjects in tenor: 
 
 5/ 
 
CHAPTER II 
 
 Two-Part Counterpoint — First Order 
 
 {Although, for the sake of simpHcity, we begin our con- 
 trapuntal studies with counterpoint of the first order, that 
 is, the notes of each part are to be of equal value, it is not 
 advisable to remain long on these exercises, which in their 
 very nature are somewhat monotonous and uninteresting. 
 As we are using only two parts, the harmony must neces- 
 sarily be thin, and the chords may often be ambiguous; 
 and, the notes of the two parts being of equal value, we are 
 restricted from all variety of rhythm, which in actual 
 music is one of the chief means of contrapuntal effect. 
 Furthermore, no matter what range we arbitrarily select, 
 the two parts are heard as outer voices; and, as the harmony 
 implied by them must in most cases be just as natural and 
 clear as if all the parts were actually written out, there 
 seems to be no valid reason, as long as we are writing 
 " note against note " why we should not rather practise 
 in four real parts. In actual compositions for voices, 
 strings or for pianoforte, there would never be a case, 
 except for a few measures at a time, when we should write 
 in two parts without having them move in notes of differ- 
 ent values and in varied rhythm. Almost no case can be 
 found in standard- compositions of a two-part sentence in 
 notes of equal value.* The following example, a Swiss 
 Song which Beethoven uses as a theme for six variations, 
 is noteworthy: 
 
 Andante con moio 
 
 ^ 
 
 ^ 
 
 m 
 
 [ '■"'Mfrrr i^j 
 
 rr-T i f I 
 
 * In the opening measures of the Scherzo of Beethoven's Trio, Op. 97, written 
 in two-part harmony, the student may see for himself how important, even in 
 the simplest style, is variety of rhythm. 
 
 S8 
 
Two-Part Counterpoint jp 
 
 On the other hand, just because the voices are few and the 
 harmonic effects limited, these simple two-part exercises, 
 if studied in the right way (as means to an end) afford 
 valuable rudimentary practice in the facile handling of 
 the common intervals and in melody formation. They 
 may be considered as exercises in pure design, and the 
 student should gain from them a quickened ingenuity and 
 the ability to look at voices horizontally, that is through- 
 out their range, as interesting flowing melodies. The 
 subjects given at the end of the chapter have been made 
 as melodious and varied as possible, and modulations into 
 neighboring keys are implied. No matter how carefully 
 the exercises are worked oiit, the question should hardly 
 be raised as to whether they are beautiful or not. This 
 mistake is often made by beginners in counterpoint. The 
 problem is akin to that of the man who is given six straight 
 sticks and told to arrange them in an ingenious and inter- 
 esting way. Two-part writing from an artistic point of 
 view is one of the most difficult forms of composition, and 
 presupposes not only a complete knowledge of every con- 
 trapuntal device, but a special study of the proper style 
 of writing for strings or for pianoforte.* After the stu- 
 dent has acquired facility in the different varieties of con- 
 trapuntal, effect, he may try some two-part writing which 
 it is to be hoped will sound beautiful or at any rate be full 
 of life and individuality. These exercises are merely the 
 first necessary steps to that end, and, to use terms from a 
 kindred art, they may be said to teach the student to 
 draw, that is, to appreciate the constructive necessity of 
 lines and curves in order that later he may paint with 
 intelligently grouped colors.] 
 
 §36. In' two-part counterpoint note against note, since 
 the effect is of necessity somewhat thin and vague, we 
 select for intervals between the two voices those which 
 give the feeling of complete and definite harmony; that is, 
 major and minor thirds and sixths and the perfect con- 
 cords, the unison, the octave and the perfect fifth {not the 
 perfect fourth, since it indicates a second inversion! ). Of 
 these intervals the unison is seldom available except on 
 the first or on the last note; in the body of an exercise 
 
 * It is noteworthy that Bach, that great master of counterpoint, writes only one 
 Fugue in two parts; the one in E minor, No. 10 in Book I of the " Well-tempered 
 Clavichord." Many of the Preludes, however, are largely in two-part style. 
 
 t The student is often troubled by the discrimination between perfect fifths and 
 perfect fourths, although each interval when taken by itself has an empty, thin 
 sound. The reason is this: when a perfect fifth is introduced in a proper harmonic 
 context it outlines a major or minor triad, and the imasrination of the hearer sup- 
 
6o Tonal Counterpoint 
 
 thirds and sixths should predominate, because they 
 define the harmony better; for example, 
 
 (") Jb) Jc) (d) 
 
 Prom example (a) we do not know whether a major or a 
 minor triad is implied; the minor sixth, however, at (6) 
 must represent the first inversion of the triad g, b, d. Of 
 course example {h) could, as far as mere notes go, stand for 
 
 the second in- « version of the triad e,g,b,but,when 
 
 the interval fL J is played, the ear instinctively 
 
 supplies, a d 'j^ (j) and not an e. That is, every 
 two-part 6 combination tends to represent 
 
 either a fundamental position or a first inversion, but 
 not often a chord of the sixth and fourth (consult 
 §28 in Chapter I). A moment's thought will show us 
 that there is a certain ambiguity in the case of thirds and 
 octaves; for. example, example (c) above may stand 
 either for the fundamental position of the triad d, f , a, 
 or for the first inversion of the triad b, d, f. In like 
 manner the octave at (d) may represent a doubled root 
 
 of the triad e, g, b; that is, 
 
 plies the missing third; for example, the following perfect fifth 
 
 invariably suggests either 
 
 ^p-i 
 
 t*I 
 
 and sometimes so adequately 
 
 as hardly to sound empty at all. Whereas a perfect fourth Kty || or || 
 
 not being the outline of any fundamental harmony (except an incomplete second 
 mversion) remams a mere thm and unsatisfactory interval, unless it is immediately 
 
 followed by a third 
 
 rr 
 
 in which case the f is practically a suspended note; for example 
 
 and the interval of the fourth is felt to have no harmonic import 
 "whatsoever. 
 
Two-Part Counterpoint 6i 
 
 or a doubled third of the triad c, e, g; that is, 'JP » [ I 
 
 ^ 6 
 At first the student should accustom himself to think very 
 clearly just what chords are outlined by the two voices. 
 
 §37. The parts should in general proceed diatonically, 
 although skips of major and minor thirds, perfect fifths and 
 fourths, major and minor sixths and octaves may be freely 
 used for the sake of melodic variety. Skips of a. seventh 
 .^Sid of all augmented and diminished intervals should be 
 .^"^91§S4„!oj the present. The diminished fifth, however, 
 may occasionally be introduced with- good effect, if care 
 is taken to resolve the second note to a note within the 
 original interval; for example, 
 
 or 
 
 m 
 
 dimMlf 
 
 1 
 
 w 
 
 §38. Contrary motion between the two voices is gener- 
 ally desirable, whenever the harmonic scheme will allow 
 it, although parallel motion is often quite necessary for 
 a while. The monotony, however, of more than three 
 successive thirds or sixths is to be strictly avoided; for 
 example, 
 
 or 
 
 $ 
 
 Jj i JJrJJ 
 
 r r^rr^ r 
 
 In such combinations as these, each melody is merely a 
 weak imitation of the other in a different part of the scale, 
 and all independence and contrast of melodic design (the 
 very essence of contrapuntal writing) is lost. 
 
 §39. Perfect parallel fifths, and octaves are of course 
 strictly forbidden, and even in regard to concealed fifths 
 and octaves, in two-part counterpoint the rule forbid- 
 ding them should generally be followed. The student is 
 
62 
 
 Tonal Counterpoint 
 
 reminded that concealed fifths and octaves are questionable 
 when both voices are outer ones,* when they both skip, 
 when they both ascend, when one voice moves a whole 
 tone; for example, the following combinations are all bad 
 in two-part writing: 
 
 1 
 
 On the other hand, when the consecutives are between 
 an inner and an outer voice, or better still between the 
 two inner voices, when the voices descend anH wVipn nn f> 
 part m oves stg Ewisp. (psppriall y by a semitone^, consid - 
 erable treedomi^ available even in .. t wo-part writing 
 Even With ascending voices a concealed octave is of good 
 effect if the upper part is approached by a semitone. The 
 following combinations are ail good, and may be freely 
 used: 
 
 possible better 
 
 , §40. Two successive major thirds are to be avoided, — 
 unless the step between them be that of a minor second, 
 as in the progression V-VI or VI-V in the minor mode ; for 
 example, 
 
 ^ 
 
 V VI VI V 
 
 for they outline the objectionable interval of an augmented 
 fourth ;t- for example, 
 
 if'fifjlll-'fl" 
 
 * Certain of th^ general considerations are applicable only to counterpoint in 
 more than two parts; it has alreadjr been stated that in all two-part writing the 
 voices must be harmonically (mter voices. 
 
 t In actual composition this is to be taken more as a recommendation than as a 
 hard and fast rule. 
 
Two-Part Counterpoint 
 
 63 
 
 This interval is also disagreeably prominent when one of 
 the notes forming it bears a perfect fifth. 
 
 (o) 
 
 (6) 
 
 (0 
 
 W 
 
 (j,J..| l l l|I..J l f!v|!l ^ 
 
 IV V 
 
 We are so accustomed in modem times to the progression 
 from the sub-dominant to the dominant (d) that very- 
 little objection can be raised to it. Example (c) should, 
 however, generally be avoided, and (a) and (6) introduced 
 with discretion. When chords are being combined which 
 contain the factors of the tritone, if one of the voices leaps 
 a third, no trouble will arise. This device will prevent the 
 roots of the chords, both in the fundamental position, from 
 moving by step; for example. 
 
 IV vii° vii" IV V II II V 
 
 In each of these combinations we find the factors, f, b, in 
 successive chords and yet no disagreeable effect is felt. 
 (Reread §8 in Chapter I.) By means of the same device 
 (the leap of a third) triads IV and V may be smoothly com- 
 bined; for example, 
 
 mg 
 
 IV V V IV 
 §41. The best and most usual cadences are the follow 
 
 possible 
 
 best 
 
 best 
 
 ^ 
 
64 
 
 Tonal Counterpoint 
 
 best 
 
 best 
 
 i 
 
 possible 
 
 g 
 
 §42. In the exercises in the minor mode, to avoid the 
 augmented second the melodic form of the minor scale is 
 to be used; that is, the sixth and seventh degrees are to 
 be raised in ascending passages and lowered in descending. 
 
 §43. A few general suggestions are these: Avoid the 
 monotony which is the result of motionless parts or tire- 
 some repetitions ; on the other hand, do not have recourse 
 to large, meaningless skips. Successive wide skips in the 
 same direction are invariably bad ; for example, 
 
 In general, the motion should be smooth and cantabile, 
 — mostly diatonic. Strive constantly for melodic interest 
 and variety. Let the course of the melody as a whole 
 show evidence of design. When .the subject will allow 
 of a sequential working out, the effect is good. Modulation 
 into nearly related keys is often advisable, especially from 
 a minor to its relative major. 
 
 §44. A few examples are worked out for the student's 
 guidance : * 
 
 ^m 
 
 s^ 
 
 6 6 
 
 m 
 
 (o) 
 
 =(b) 
 
 m 
 
 6 e 
 
 # 
 
 At (a) the octave is justifiable, to save another appearance 
 of the first inversion of the dominant, as well as to gain 
 mfelodic range. At (6) a modulation into one of the 
 related minor keys is effectively introduced. We now 
 treat in the lower voice the same subject transposed : 
 
 * In this two-part writing, while the voices are few and simple, a special effort 
 should be made to acquire facility in the use of the alto and tenor clefs. 
 
Two-Part Counterpoint 
 
 65 
 
 Note the sequential form of the counterpoint. A subject 
 in the minor mode will involve new points for consideration : 
 
 im a p 
 
 \=^ 
 
 
 _p_ii- 
 
 
 "V.. 
 
 f'' « 
 
 F^=tl 
 
 
 110 a \- 
 
 6 " 
 
 ~i — n 
 
 -H- 
 
 6 
 
 6 6 
 
 ~P — TT 
 
 6 
 
 -p- 
 
 6 
 
 6 
 
 „ p 
 
 
 
 ■^ a. r- 
 
 \^^ 
 
 ~H 
 
 
 
 
 ^ 
 
 
 -=ll 
 
 In this exercise a modulation must evidently be made, 
 for at (a) we find a g if in a phrase the main tonality of 
 which is A minor. The modtdation into C major really 
 began at (6). Whenever there is any doubt in two-part 
 ■writing as to what harmonies are outlined, it is well to 
 separate the two voices so as to allow room for inner parts, 
 and then to fill in the framework. The above exercise 
 tested in this way would result as follows: 
 
 I 
 
 i 
 
 1 
 
 % 
 
 i 
 
 ^ 
 
 
 fe 
 
 n 
 
 m 
 
 J. 
 
 li 
 
 il 
 
 i 
 
 u 
 
 
 i 
 
 w 
 
 ^^ 
 
 In like manner the four-part harmonic basis of the second 
 exercise in §44 is evidently this: 
 
 tet 
 
 M 
 
 f 
 
 ^ 
 
 d 
 
 f 
 
 ! 
 
 !! 
 
 I 
 
 i 
 
 J 
 
 •^■'"'• ' f i rfirr 
 
 J 
 
 u 
 
 m 
 
 n 
 
 J 
 
 w 
 
 m 
 
 m 
 
 w 
 
 f 
 
 The same minor subject is now placed in the bass and a 
 counterpoint written above: 
 
66 
 
 Tonal Counterpoint 
 
 ^ 
 
 ^ 
 
 m 
 
 m 
 
 n 
 
 Ca) 
 
 fb) 
 
 Co) 
 
 6 6 
 
 At (a) and at (6) the octaves evidently stand for the domi- 
 nant in fundamental position; at (c) the necessary modu- 
 lation is made into the relative major. Each one of the 
 following exercises may be worked with a counterpoint 
 above and below, by making the proper transpositions 
 
 °^ ^®y' Exercises 
 
 m 
 
 ^ 
 
 m 
 
 w 
 
 ^ 
 
 2.^ 
 
 ^^ ' 
 
 m 
 
 
 8. 
 
 "«"v>^'irn rr i f-^ i '^f i T'^ i r"^ 
 
CHAPTER III 
 
 Two-Part Counterpoint — Second Order 
 
 §45. When in two-part writing the subject and the 
 counter-melody move in notes of different value, we begin 
 a simple form of composition of distinct musical worth, 
 which offers much scope for the students' imagination 
 and ingenuity. The difference in rhythm is of the greatest 
 aid in making the counterpoint melodious in contrast to 
 the subject. In fact, the further on we go, we shall see 
 that the chief element in good counterpoint is variety af 
 rhythmical effect. We shall begin with counterpoint of 
 the second order, so called, or " two notes against one," — 
 that is, whatever the duration of the notes of the subject, 
 the counterpoint moves twice as fast, in quarter notes 
 against halves, or in eighths against quarters, etc. The 
 recommendations necessary to make a beginning in this 
 form of writing are few and simple ; later we shall exam- 
 ine more carefully into some of the finer distinctions. 
 First there should be, with few exceptions, but one* har- 
 mony in each measure, formed by the note of the subject 
 in connection with the first note of the counterpoint. The 
 second note of the counterpoint heard against the sus- 
 tained subject furnishes rhythmic life and variety without 
 the disturbing effect of a too-frequent change of harmony. 
 As the harmonic outline must be clear, and as the two 
 parts must form as complete harmony as possible, obvi- 
 ously the two notes together at the first beat of each meas- 
 ure, should with few exceptions form a concord.^ In a large 
 
 * The most common exception to this general rule is where the subject below 
 moves from the second degree to the tonic and the counterpoint ascends through 
 a chord of the sixth from the leading tone triad: 
 
 ^m 
 
 ^ 
 
 M 
 
 IV I n viie 
 
 t We reserve for a later paragraph the discussion of the question how far the two 
 voices should be treated merely as independent intervals or as substitutes for com- 
 plete chords. 
 
 67 
 
68 
 
 Tonal Counterpoint 
 
 majority of cases this will be a major or minor third or a 
 major or minor sixth; now and then a fifth may be used 
 if it occurs naturally in the course of a melodious phrase 
 in the counterpoint and if it is instantly followed by a 
 third or sixth. The octave niay also occasionally be used 
 at the first of a measure, especially if it stands for what 
 would be in four-part writing a chord of the sixth with a 
 doubled third; 
 
 ^ 
 
 i 
 
 T 
 
 ^m 
 
 p 
 
 g 
 
 In regard to the second note of the counterpoint by which 
 the contrast in rhythm is secured, there are pve varieties 
 of motion, which will be treated, as far as it is possible, in 
 the order of their frequency of occurrence. First. — The 
 second note may be a non-harmonic passing note, used 
 diatonically up or down the scale between two harmony- 
 notes, parts either of the same harmony in different posi- 
 tions, or of two distinct chords. The following groups 
 illustrate the most usual effects: 
 
 
 ^^ 
 
 ^^ 
 
 i 
 
 IV 
 
 The student will carefully observe that passing notes 
 approached and left stepwise, that is, moving diatonically 
 up or down, are more available when the subject skips; 
 for example. 
 
 ^e 
 
 ^ 
 
 6 * 
 
 w 
 
 ^ 
 
 etc. 
 
 Here the d as a passing note is questionable as the a and c 
 together at the beginning of the third measure can outline 
 
Two-Part Counterpoint 
 
 69 
 
 only a six-four chord from the tonic, which implies a caden- 
 tial effect too early, or a sixth chord from the third degree 
 which is weak. Second. — The second note of the counter- 
 point may be another note of the same harmony, a fifth 
 or root after a third, etc., outlining what is practically a 
 broken chord: 
 
 
 s 
 1.0 tt.. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 better 
 
 
 
 / 
 
 % i^ 
 
 j-TS 1 
 
 
 
 hrH 
 
 
 -;^— 
 
 
 
 
 -Q — 
 
 
 
 
 
 y " - 
 
 6* 
 
 
 6* 
 
 
 
 
 6 
 
 ^ 1 
 
 -a— 
 
 
 
 6 
 
 ""O — 
 
 6 
 
 \ 
 
 'j-*>a - 
 
 
 -pp- 
 
 
 t 
 
 ■^- 
 
 -^ 
 
 J- 
 
 
 ^ 
 
 N 
 
 p 
 
 
 ■f-- 
 
 f^ 
 
 3 
 
 M 
 
 
 
 
 
 
 
 
 
 — 
 
 ■ &- 
 
 
 -| — ' 
 
 H — ' 
 
 
 
 H- — ' 
 
 
 l— 1 
 
 U-U 
 
 IV 
 
 IV 
 
 VI 
 
 This device often furnishes the only available second note, 
 for a passing note (especially when the subject moves 
 stepwise) which must progress diatonically up and down 
 the scale will sometimes not leave us in the right place at 
 the beginning of the next measure. This will be made 
 clear by the following illustrations: 
 
 IV v 
 
 i/h-U^i'\^>l 
 
 ^^ 
 
 3= =5= 
 
 ^ 
 
 IV 
 
 ZI VIIO 
 
 Third. — The second note may be what is generally termed 
 an " auxiliary note," that is, a note which goes stepwise 
 up or down from a harmony note and then returns to the 
 same note at the beginning of the next measure, where the 
 subject is such as to allow this combination as a possible har- 
 monic outlipe. It is obvious that this form of motion can 
 be used only where the chief melody proceeds by skips. 
 At best this device should be used sparingly, as it is open 
 to the serious objection of having the same note in the 
 
70 
 
 Tonal Counterpoint 
 
 counterpoint on two successive strong beats. This makes 
 for monotony rather than variety of motion and freedom 
 of range. Some typical cases follow, 
 (o) (M 
 
 * . T* 
 
 ^ 
 
 6 * 
 
 S 
 
 w 
 
 n 
 
 IV II VH« 
 
 I IV II V 
 
 In the third measure of example (6) note that there are 
 two harmonies. Why would it have been unwise to use A 
 instead of D for the second note of the counterpoint in 
 this measure ? If a dominant seventh were implied a better 
 cadence might be made; that is, 
 
 r gfrir 
 
 6 ^ 
 
 W^ 
 
 viio V 
 
 Fourth. — The rhythm of two notes in the counter- 
 point against one in the subject may be secured by revers- 
 ing the usual order and having the dissonant note strike 
 on the first beat of the measure in connection with the sub- 
 ject, and be instantly followed by a harmony note one step 
 up or down. This note is called an " accented passing " 
 note, and as for its origin it is practically a lengthened out 
 appoggiatura, or grace note. In its effect it is the exact 
 opposite of the normal variety of passing note, which is a 
 a note, more or less dissonant, occurring on a weak beat in 
 diatonic succession up or down between two harmony notes : 
 
 #*?=^ 
 
 * 
 
 -f-t 
 
 * 
 
 * 
 
 -t— r 
 
 1 — s 
 
 F^=i 
 
 * 
 
 — !-■ 
 
 =f4 
 
 
 
 
 » 
 
 
 
 ■e — 
 
 ^ 
 «— 
 
 31= 
 
 (b) 
 
 *5E 
 
 ^ 
 
 M 
 
 a *■ 
 
 = 
 
 In this way the counterpoint may often be made to flow 
 very smoothly and the accented dissonances give character 
 
Two-Part Counterpoint 
 
 ?i 
 
 and distinction to the melody. In example (6), quoted 
 from Cherubini, the first note D of the second measure is an 
 accented passing note. The harmony of this measure is the 
 minor triad, on the sixth degree, a, c, e, but if either c or 
 e had been tried as the first note of the measure not only 
 would the very effective ascending scale passage have been 
 sacrificed, but' it would have been difficult to write even 
 clear grammar, as will be seen from the following attempts : 
 
 wf^ 
 
 1 
 
 w 
 
 ^ 
 
 f 
 
 w^ 
 
 ^—li 
 
 S 
 
 Here at examples (a) and (6) the skips in the counterpoint 
 are by no means good, while at (c) the grammar is posi- 
 tively bad on account of the consecutive fifths between two 
 successive beats. (This point will be more fully explained 
 later.) 
 
 §46. Although modern counterpoint implies the union of 
 a definite harmonic system — fixed scales and a clear tonality 
 — with true contrapuntal style, — that is, the independent 
 and characteristically melodious progression of each part, — 
 we must see to it that, in striving for this union, our coun- 
 terpoint does not degenerate into mere rhythmically ani- 
 mated harmony. At first, to be sure, the student has to 
 pay rather too much attention to the harmonic outline, 
 but as soon as he can carry on subconsciously, as it were, 
 a simple and natural harmonic scheme, all his attention 
 should be centered upon the life and independent charac- 
 ter of each of the contrapuntal voices. Nothing conduces 
 more toward this end than a frequent and liberal Use of 
 accented passing notes. In this way the writing is freed 
 from obvious and tame harmonic construction, and a 
 stimulating pungency and variety is secured for the style. 
 In the following passage from " Cosl fan tutte " it is 
 instructive to observe that Mozart in treating contra- 
 puntally the simple chords of C and F writes as follows: 
 
72 
 
 Tonal Counterpoint 
 
 that is, accented passing notes are introduced instead of a 
 tame harmonic circumscription as follows: 
 
 Little by little the student should systematiedlly avoid a 
 counterpoint which is merely a rhythmic transformation of 
 what the natural harmony would be in outline ; for example, 
 
 |2 i rr i| rirHJ|fJ|JJ^j | jJjjijjjj | jjj 
 
 For. example, suppose we wish to write a counterpoint 
 of the second order below the following simple melody: 
 
 IS 
 
 ^ 
 
 ^^ 
 
 If harmonic background were all that it is necessary to 
 consider, the following would be a satisfactory version: 
 
 ^^ 
 
 ^^ 
 
 P 
 
 ^ IV 
 
 p 
 
 QiwJrrr 
 
 ^^ 
 
 ^ 
 
 M 
 
 But considered as counterpoint this lower voice is dis- 
 jointed in style and very tame in character. In the fol- 
 lowing version the counterpoint is made far more inter- 
 esting by the introduction of accented passing notes. 
 
 8'"! ■' r ^^ r I r ^^^= 
 
 .iiiJr,rf l rJ | JjJ;fr,r i L,.lj l ... 
 
 In the second and third measures observe in particular 
 the independence of the ascending diatonic passage which 
 
Two-Part Counterpoint 
 
 73 
 
 cuts its way, as it were, through the harmonic tissue. 
 Above all, the earnest student shotild play and thoroughly 
 analyze certain of the works of Bach, — especially the 
 forty-eight Preludes and Fugues, the two-voice Inventions 
 and some of the Chorals and Cantatas. These composi- 
 tions represent the most perfect union of a free contra- 
 puntal style with our modem harmonic system. A few 
 suggestive examples are cited: 
 
 Bach. Fugue No. i 
 
 
 ^^^ 
 ^^^ 
 
 
 1 p*p* 1 
 
 Bach. 2d Pugue. " Well-Tempered Clavichord " 
 
 d*Jd J 
 
74 
 
 Tonal Counterpoint 
 
 Fifth. — The second note may be what is called a " chang- 
 ing note." This is the least used of all the devices, though 
 for va;riety it is occasionally of good effect. When we 
 come to the next order (four notes against one) we shall 
 analyze more fully "^this form of motion. A changing note 
 is a dissonant note on the weak part of the measure from 
 which a skip of a third is made in the opposite direction. 
 The next note must almost invariably be the note within 
 the skip, otherwise the ear is by no means recompensed 
 for the temporary change of direction. For instance, 
 suppose that from an f , as the first note in a measure of 
 counterpoint two against one, we proceed to g; for the 
 following note the ear unconsciously and yet with perfect 
 reason expects either an a (in this case the g is a simple 
 passing note) or another f (the g now being treated as an 
 auxiliary note). After the g our ear will also tolerate an 
 e, a skip of a third in the opposite direction from which 
 we started, provided that the next note is an f. Treated 
 in this way the e is ^ kind of interpolated note, or one 
 which merely delays the logical direction of the counter- 
 point. A common example will make all this plain : 
 
 ^ 
 
 m 
 
 ^ 
 
 T 
 
 ^ 
 
 6 
 
 No mistake is more common in the use of " changing 
 notes " than to forget that of the group of four notes the 
 last must invariably return within the skip of the third. 
 
 Cases are found, to be sure, of what may be called " single changing notes "; 
 for example, 
 
 Mozart. Rondo in A minor 
 
 Handel. "Messiah," No. 23 
 
 The Student, however, should not use this device too often until he has acquired 
 facility in the more normal use of chan^ng notes in pairs, — that is, one on each 
 side of the harmony note. 
 
Two-Part Counterpoint 
 
 75 
 
 Where this is not done, an effect of aimlessness is often 
 produced which is most disturbing. The melody seems^ 
 as it were, to fly off " at a tangent." Such combinations 
 as the following are obviously very unmelodic: 
 
 ■■ rr ii 'l i nj i /rl 
 
 §47. In all contrapuntal writing great care must be 
 taken to have the harmony logical and natural from one 
 chord to another, — that is, between the accented beats of 
 successive measures. Fifths and octaves therefore in 
 these places are not justified by intermediate notes on the 
 unaccented beats; for example. 
 
 bad 
 
 bad 
 
 Between consecutive unaccented notes, however, or even 
 between an unaccented and an accented note, perfect 
 fifths and octaves are allowable whenever it is evident that 
 no false harmonic connection is implied; for example, no 
 objection can be made to any one of the following passages : 
 
 ^„J.I | IJ|ij | J, |l U |l ^^ 
 
 a 
 
 As to combinations involving an unaccented and an 
 accented, note the test of good of bad harmony should 
 invariably be applied; for example, the following measures 
 
 are bad, as the implied harmony is evi- 
 dently this: :^^^i^^ 
 
76 
 
 Tonal Counterpoint 
 
 on the other hand, this progression -jt it " I J 
 
 is perfectly allowable, as the implied harmony 
 ■will prove: 
 
 6 
 
 §48. When the counterpoint is hekm the subject, sec- 
 ond inversions should seldom be implied. It is evident 
 that a six-four chord is outlined when the third is in the 
 subject and' the counterpoint descends from the root to 
 the fifth of the same chord; for example, 
 
 This effect is not absolutely forbidden; no objection can 
 be found to the following counterpoint: 
 
 ^^ 
 
 ^ 
 
 * 
 
 and in actual music it is largely a matter of speed whether 
 second inversions shall be outlined or not. At a slow 
 tempo there is no doubt that a frequent use of six-four 
 chords renders the counterpoint weak and halting; for 
 example, the following passage would be very bad: 
 
 ^^ 
 
 ^ 
 
 At a rapid tempo, however, where the effect of any particu- 
 • lar harmonic outline is but momentary, the above objec- 
 
Two-Part Counterpoint 
 
 77 
 
 "tion is greatly modified. Mozart, for instance, in the 
 first of His charming " Duos " for Violin and Viola has 
 the following passage: 
 
 Allegro 
 
 S 
 
 ^^ 
 
 ■ m 
 
 W 
 
 ^ 
 
 ^ 
 
 gQ-ciQ-lteD'MrrlrCrCr l rrrrfcr^ 
 
 In general, however, until the student has acquired a sure 
 judgment, the counterpoint, when it is in the lower part 
 should not descend to the fifth of the chord. There is no 
 objection to the counterpoint rising from the root to the 
 fifth, or falling from the fifth to the root; for example, 
 
 ^ 
 
 T^ 
 
 ioT, as the ear accepts the lower of two notes as the real 
 bass, in each of these cases the fundamental position of 
 
 the chord is outlined, — that is, 
 
 §49. As it is our aim to make the counterpoint as 
 smooth and flowing as possible, when the exercises are in 
 the minor mode, the augmented second, found between the 
 sixth and seventh degrees of the harmonic minor scale, 
 should seldom be employed. We use therefore as passing 
 notes the major sixth and the minor seventh, the former 
 Taetween the dominant and the leading tone; for example, 
 
75 
 
 Tonal Counterpoint 
 
 a;* 
 
 and the latter, the minor, seventh, in descending or ascend- 
 ing phrases between the sixth degree and the tonic; for 
 example, 
 
 J' ' 3"ii' i '"i" i |T i i, i || i | ^ 
 
 Note carefully that in all the above examples the ai: and 
 the bl* are used as passing notes on the weak part of the 
 measure, never as harmony notes; that is, the subdomi- 
 nant harmony in the key of C minor should invariably be 
 
 ^^ 
 
 C: IV 
 
 and in like manner the dominant harmony 
 
 C: V 
 
 The only apparent exception to this principle is seen in, 
 example (a) above in this paragraph, in the next to the 
 last measure. Here the ai: is an accented passing note 
 used diatonically before b jl , and the harmony implied is 
 the first inversion of the leading tone triad. The above 
 statements are not meant to be comprehensive; in free 
 writing for pianoforte and strings, the minor scale is capa- 
 ble of great variety in its treatment, as may be seen from 
 an analysis of the works of Bach, of Handel and of others; 
 for example, 
 
 Handel. "Judas Maccabaeus," No. 17 
 
Two-Part Counterpoint 
 
 Bach. " S. Matthew Passion," No. lo 
 
 J) 
 
 79 
 
 In general, however, it is best in the minor mode to use for 
 the counterpoint the melodic form of the scale; that is, 
 to raise |;he sixth and the seventh degrees in ascending 
 passages and to lower them in descending; for example. 
 
 §50. The best forms of cadences in this order are the 
 following: 
 
 f i M ll'ilN 'iji^l Jl'l I l | I ll | |l l |JJ I 
 
 §51. A few examples are now worked out as models for 
 the student: • 
 
 I IV H I 
 
 | i?!i!^r | rrnTrf f 
 
 '^^ 
 
 m 
 
 6 ^^-^6 
 
 II Vlio 
 
8o 
 
 Tonal Counterpoint 
 
 In the second rather smoother version observe at (a) the 
 mediant triad in the fundamental position, followed by 
 the triad on the sixth degree; always an effective combi- 
 nation. At (b) we have two hamaonies against one note 
 of the subject. A counterpoint is now placed below the 
 same subject transposed: 
 
 ^ 
 
 ^m 
 
 m 
 
 ^ 
 
 m 
 
 w 
 
 i 
 
 1 
 
 J-v-r r i r ^ 
 
 i Ji rrlr-iN; 
 
 ^^ 
 
 m 
 
 6.6 
 
 r";« 
 
 ^^ 
 
 ^^ 
 
 (I VI) 
 
 Observe the effective use of the accented passing note at 
 (a). In this form of writing (two notes against one) it is 
 often extremely difficult to outline natural harmony and 
 yet make the counterpoint flow smoothly. Frequently the 
 introduction of an accented passing note is the very means 
 of avoiding too many successive skips and of securing an 
 independent design for the, counterpoint. In this case, 
 for instance, we secure a diatonic phrase of nearly an 
 octave. The same subject with counterpoint above: 
 
 Simple as this exercise is, note at (a) how effectively the 
 climax in the counterpoint has been saved for the fifth 
 measure where the opening notes of the subject are re- 
 peated. Although the counterpoint is very smooth, from 
 an artistic point of view the general effect is rather tame, 
 that is the harmonic background is rather too evident. 
 A more characteristic counterpoint could be made by the 
 
Two-Part Counterpoint 
 
 8i 
 
 systematic introduction of accented passing notes as fol- 
 lows: 
 
 5a.»f.. 
 
 * 
 
 
 
 H«r-<l 
 
 
 "^ 
 
 A h 
 
 
 °t ^ 
 
 
 ^^Hr?5is! 
 
 ^^ 
 
 
 
 i^S 
 
 •-^ 
 
 ]''• 
 
 W 
 
 
 i^- 
 
 55= 
 
 
 
 
 
 V-vj- 
 
 T»-»- 
 
 \r=A 
 
 
 
 *4MS. 
 
 ~ 
 
 -^ H 4' 1 
 
 M=d 
 
 
 ^^ 
 
 ^ 
 
 
 \ — — 
 
 
 yj 
 
 
 rl 
 
 At (a) observe the accented passing note approached by 
 the leap of a third in contrary motion to the bass. 
 
 §52. We now write two counterpoints to a short melody 
 in the minor mode; 
 
 the second measure illustrates the usual treatment of the 
 minor scale in the contrapuntal voice: at (a) the major 
 sixth is used effectively as an accented passing note. 
 
 i i fii.'Hi'rrjj 
 
 i^i 
 
 ^ 
 
 ^ 
 
 ^ 
 
 w 
 
 r 1 1 r I 1 1 
 
 By the use of two successive accented passing notes in the 
 first measure we start the counterpoint with a flowing 
 phrase. Let the student ask himself what harmony is 
 outlined by the octave at («).* 
 
 * In attempting to work out the exercises in this order, the student must con- 
 stantly bear m mind that he is not to follow these rules in a merely mechanical 
 manner, but to use them towards the cultivation of a well-trained instinct for 
 effective melody formation (see paragraphs 19 to 23, Chapter I). Unless this 
 suggestion is_ borne in mind the exercises are apt to degenerate into a set of 
 " puzzles " without any real melodic life or interest, and of no musical value. It 
 should be tmderstood that certain of these exercises are nothing more than exer- 
 cises as far as lasting musical value is concerned. In order to improve his gram- 
 matical knowledgfe of music, the student, however, must not shirk them anjr more 
 than a person learning the pianoforte would forego pertain technical exercises of 
 a purely gymnastic nature, or an athlete would think of doing without certain 
 routine mechanical tests. On the other hand he must try to make them as inter- 
 esting and varied as his somewhat limited skill will allow. ^ He will be richly repaid 
 for all his pains when he comes to free contrapuntal writing, namely, four-part 
 songs, simple movements for string quartet, inventions for pianoforte, etc. Then 
 with a quickened imagination and a trained judgment he may do work of permanent 
 sutistic worth. 
 
S2 
 
 Tonal Counterpoint 
 Exercises 
 
 The first six subjects should be worked out with a counter- 
 point both above and below, the proper transposition of 
 key being made in each case. 
 
 3. t>--;jJirf-ipJLVji,jJiJJiJj i jj|JjiJ(^ ^ 
 
 A E h'i^^ i 'U'if r i r nrr i f ^^ 
 
 ■5. ')'M i jJ i prr i frrfirJr i -'^ ^ 
 
 6. 
 
 -Jr ^'A' , P \ i0P \ m \ \im m\ ^\ \ \ m \ ^ \ \ I II I 
 
 §53. Several longer, more periodic melodies are now 
 given. They are freer in style and will afford considerable 
 opportunity for the ingenuity and good taste of the stu- 
 dent. The version worked out should, as far as possible, 
 be tested by actual performance. The notes on paper 
 are mere symbols, and often that which looks very plausi- 
 ble when written, sounds quite different. 
 
 §54. Before these exercises are begun the student should 
 endeavor to widen his conception of the term Interval. In 
 the first weeks of contrapuntal study a rather undue stress 
 has to be laid upon intervals as the outlines of definite 
 chords, in order that a clear harmonic background may be 
 established. Gradually,' however, we should understand 
 that the independent individuality of a counterpoint may 
 justify the free introduction of intervals which in mere 
 harmonic combinations would be unnatural, if not posi- 
 tively incorrect. In regard to fifths and fourths for ex^ 
 ample, a free use of these intervals as mere intervals often 
 conduces to a boldness and vigor in the counterpoint 
 otherwise unattainable. A few examples from the " Well- 
 Tempered Clavichord " of Bach will make this clear: 
 
Two-Part Counterpoint 
 
 83 
 
 Fugue No. s, 2d Book 
 * 
 
 Fugue No. 12. sd Book 
 
 ite^fr=r=^^ 
 
 p^¥^ 
 
 r pTr 
 
 ^ 
 
 =^fc=, 
 
 
 
 [J V 
 
 5 
 
 4 4 
 
 W\>i^^^-- 
 
 ^iSi 
 
 i^ife; 
 
 
 SS] 
 
 ^ — ^*ii*U.** 
 
 
 1 =««u 
 
 Tji 
 
 \*\9d* i*^ 
 
 Bach. Fugue No. 5. ist Book 
 
 4 4 
 
 ^^ 
 
 ^ 
 
 efc 
 
 ^^ 
 
 * * 
 
 In this connection it is well to remind the student that at 
 times between certain voices there may be parallel fifths 
 to which, on account of the passing character of the notes 
 •or the melodic independence thereby gained,' no gram- 
 matical objection can be made. This is illustrated by the 
 well-known passage from Mozart's " Magic Flute " over- 
 ture: 
 
 ** 
 
84 
 
 Tonal Counterpoint 
 
 We find likewise that the dissonant intervals of the second 
 and the seventh, though generally to be introduced as. 
 suspensions (with, strict or free resolutions) are capable 
 of free treatment which shall make for individuality and 
 variety in the counterpoint. 
 
 Examples of the Interval of the second: 
 
 Examples of the Interval of the seventh : 
 
 I r r fr " 
 
 N. B. — All the above examples should be played 
 through carefully and committed to memory. 
 
 Melodies 
 
Two-Part Counterpoint 
 
 85 
 
 ije. same as above subject 
 transposed into Ek Major. 
 
 ^' 4 J J J l i^- jM 
 
 AlJjJIJ 
 
 ^M ^QIJ^P^ 
 
 ^^ 
 
 rf)4j.W Jfr 
 
 ^^ 
 
 ^^ 
 
 a 
 
 4,1 
 
 ^^^^p 
 
 ^ 
 
 rlCjj.jjjii^ i ^;aj 
 
 <|/r^rri^J^rrirr^^-'ir^-' i ^Jjrr i ^Jjrr 
 
 5. 
 
 ^ 
 
 ^■«?!.<rl jjrr l rrf"'"lrrr ^b 
 
 ^ 
 
 ^ 
 
 eft>, 
 
 ^^ 
 
 /T\ 
 
 ^ 
 
 ^ 
 
 e/p 
 
 For the continuation of Nos. 5 and 6 see Chapter I 
 Soprano melodies Nos. 9 and 10, p. 52. 
 
CHAPTER IV 
 
 Two-Part Counterpoint — Third Order 
 
 §55. We now attempt the formation of a contrapuntal 
 part which shall move four notes against one in relation 
 to the chief melody or subject. Beginning with this type 
 of writing, the exercises, even those which are somewhat 
 formal, will afford the student opportunities to make his 
 melodies more flowing in character and more varied in 
 design; hence his work will become far more interesting. 
 The devices for securing motion are largely the same as 
 those studied in the preceding chapter except with a, 
 wider and freer application, in this order the notes of 
 the cuLint6tpoint affi iSO Selected that we have either one 
 or often two harmonies in each measure. If a single har- 
 mony, it will be outlined by the first note of the counter- 
 point in connection with the subject /note, and the three 
 remaining notes will be a; mixture 01 'notes of the same 
 chor^.'Ztoassing notes andl^jixiliary notes, with now and 
 then an44ccented passing note interspersed. If there is 
 to be a^Qcond harmony in the measure, the change should 
 almost always be made with the tJdrd note of the counter- 
 point, that is, on the secondary accent, and very seldom 
 at the second or the last note of the group of four. 
 
 In the above examples at (a) we see two passing notes, 
 one unaccented and one accented, between two harmony 
 notes ; the fifth and the octave of the root. At (6) we see 
 the triad outlined with root, third and fifth and an 
 accented passing note interspersed. At (c) we have two 
 passing notes; {d) is like (6); {e) shows a single passing 
 note, and (/) an auxiliary note. It is well for us at this 
 point to part company with " vocal counterpoint " in the 
 literal meaning of the term, that is, in the sense that we 
 imagine the exercises to be executed invariably by voices. 
 The writing, however, should not cease to be " vocal " in 
 spirit, that is, flowing and cantabile, although the parts 
 
 86 
 
Two-Part Counterpoint 
 
 87 
 
 may have a wider range and move at a greater speed than 
 would be effective for execution by the human voice. A 
 great many passages in the pianoforte writings of Bach 
 or in the string quartets of Haydn, Mozart and Bee- 
 thoven, barring the mechanical limitations of range, breath 
 and speed, can be thought of as executed by ideal human 
 voices, so truly vocal is their spirit and so smooth and 
 homogeneous the harmonic connection. Furtherrriore, 
 in 'all composition, simple or complex, strictly meant for 
 voices the words have to be taken into account, and in 
 counterpoint of four notes against one it is difficult,, ex- 
 cept in florid colorature writing, to iraagine syllables mov- 
 ing effectively at such a speed for any long period. The 
 f nllnwiTigr exercises, therefore, are designed in gene ral for 
 
 ■s trings and for p -i^Tinf"'^''"'' '^'^ ''"^"° •t^Trmg nf mplnrlif nntlint^ 
 
 are so varied in this order, it will be well for the student to 
 begin with certain definite rules, and he is strongly recom- 
 mended to analyze carefully the examples submitted.. 
 
 §56. I n the opening measure of an exercise the first 
 beat of th e ominterpn-int shmilrl be a. rRSt anH the first 
 note a perfect concord — an nrtave. fifth nr rarelv a unison . 
 (The unison is better oh strings when each note is actually 
 taken by a separate instrument than on the pianoforte 
 ■where the same single key has to do two different things 
 at once.) The remaining two notes, that is, the third and^ 
 fourth beats, may be treated in various ways; one may 
 Tdc another factor in the harmony already outlined and the 
 ioil rth a passmg not e, or tr^py may hnt.h hp. passiTig nntpR ; 
 or one may b e aiTaux iliary note, or often an accented pass- 
 ing_jiQle_ It^s better not to have all three outline the 
 same harmony;' for example. 
 
 n« A g ■ 
 
 ■This in general is not desirable for the first measure. In 
 fact, throughout this order the. arpeggio of a chord is; gen^ 
 •erally rather weak, although not absolutely prohibited,, 
 -especially in counterpoint for pianoforte. Here follow 
 some examples of. first measures illustrating the above; 
 
88 
 
 Tonal Counterpoint 
 
 ^ 
 
 ^ 
 
 ^^^Jj 
 
 ^ 
 
 # 
 
 ^^ 
 
 ^ 
 
 I n the measures hRt.^^.en the first and last, this group of 
 four notes is geflarallV a compination oi narmony not es. 
 
 g assing notes, accented passing notes and auxiliarY, naj^,e.^. 
 'nly practice and the gradual cultivation of an instinct 
 for melody formation will enable the student to make his; 
 counterpoint both grammatical and of independent inter- 
 est. In order to help him to this end a few general recom- 
 mendations will be given, and certain methods carefully 
 analyzed. In this order of counterpoint our chief aim 
 should be to make the secondary melody flow smoothly; 
 on the other hand, it must not become tame by the con- 
 stant use, of the same notes, or by the recurrence of the 
 same figure; for example. 
 
 f#^ 
 
 
 =^ 
 
 p 
 
 
 i 
 
 sf 
 
 y 
 
 Ei^ 
 
 i 
 
 ^ 
 
 Wm 
 
 ^ 
 
 
 f^ 
 
 H 
 
 =F 
 
 fe 
 
 ^ 
 
 a 
 
 ^ 
 
 
 - 
 
 » 
 
 
 
 !i 
 
 i 
 
 
 DK 
 
 n — 
 
 ^ 
 
 w 
 
 
 =i 
 
 
 2! 
 
 
 W 
 
 ? 
 
 citt: 
 
 
 n— 
 
 ** 
 
 p 
 
 y 
 
 w 
 
 
 -Mr 
 
 U— 
 
 — 
 
 1= 
 
 
 
 
 
 
 
 =1 
 
 IK 
 
 
 bn:! 
 
 
 
 == 
 
 
 
 
 =« 
 
 
 
 =3 
 
 a 
 
Two-Part Counterpoint 
 
 89 
 
 In this example we see the weakness and monotony of a 
 too frequent recurrence of the same designs. Although the 
 material is very simple at first, the student should always 
 try to make the counterpoint express as much as possible. 
 
 Ex, 
 
 In Example i, no neglect of the ordinary rules can be 
 found, save the suspension at (a) introduced diatonically 
 instead of by a leap (this point will be explained later), 
 and yet the writing is very stiff and monotonous. Let the , 
 student play over Example 2 and he will see at once how 
 much freer is the range of the counterpoint and how much, 
 greater its life and variety. Notice that although in gen- 
 eral skips should be avoided, occasional skips of fourths, 
 fifths and octaves give vigor and interest to the melody. 
 
 §57. In nothing is the student more likely to go wrong 
 than in his treatment of passing notes. He either uses pass- 
 ing notes which do not " pass " or the notes imply a change 
 of harmony on the weak parts of the group, the second 
 and fourth notes. This will be clear from the following 
 examples : 
 
 (a) (6) (c) 
 
 w= 
 
 
 a 
 
 :^ 
 
 
 jjpj 
 
 rTi 
 
 
 
 
 rT=\ 
 
 — 
 
 
 m 
 
 
 
 ta 
 
 
 S 
 
 N= 
 
 
 5 
 
 
 
 :- 
 
 ^ 
 
 
 4^ 
 
 hj 
 
 :« 
 
 r«M 
 
 * 
 
 
 
 ^h=i 
 
 
 
 t= 
 
 IL. 
 
 =: 
 
 
 -^ 
 
 
 
 
 'zz 
 
 
 
 
 
 ^j 
 
 Here in example (a) the second and third notes b and 
 g are illogical; if b is a passing note it cannot be left 
 by skip; and if a harmony note it makes the change at 
 the weak part of the measure. The same considerations 
 
go 
 
 Tonal Counterpoint 
 
 apply to the f and b in example (6), and to the a and c in 
 example (c). Let us then bear firmly in mind two leading 
 principles: First, in general i t is best to have but on e 
 h armony in each measur e: i f occasionally two are useT. 
 t.hpi fhangf. rni^st. always be m ade at the thtrd note of th e 
 group of four, ^^econd, p assing iiotesmust'?m'ana6/-v be 
 app roached ''and lefr by steps, a nd— tppst—iaflM.i# »i in tii e 
 •same directi on in which they start^.d, Compare carefully 
 
 W/i pa 
 
 *iiy 'M§H WBP ^HBf^n5 g^t~Sig~r 
 following examples: 
 
 (o) bad (6) bad (c) good 
 
 passing notes in the 
 
 (d) good 
 
 In all these cases a and b are passing notes, but in 
 the first two examples they do not proceed in the same 
 direction, and also imply a change of harmony at the 
 wrong place. In examples (c) and {d) these faults are 
 remedied.* 
 
 §58. In this order of counterpoint a judicious use of 
 c hang in g notes giyes interest and variety to the melodies, 
 however, often makes a wrong use of these 
 
 i.S Llie bLULlHlT 
 
 notes, it will be well to explain a little more fully their real 
 nature. In a group of four notes, let the first two notes 
 be c. d; as c and d obviously can not belon ^ g^ to the same 
 narmnniy. I. In. iii|..i8iwusj: pit.hpr ^f; ^A Bassinp ^ T]pl3» f 
 
 case the following note must be ej^r ^_^ 
 
 (in which case an insta nt retui 11 iiiiiiiil III' iTTiili In 1 Im LIil 
 lliiiil mill ) fiiili if III II III III either of these two modes 
 rogression, a skip of a third is made in the opposite 
 direction from the start and then an instant return made 
 to the note within the third, these two au xiliary notes o n 
 either side of the harmony note are callsd>^hanging notes 
 
 In these examples the d and b are changing notes and in each 
 case a return is made for the fourth note to the one lying 
 within the skip of a third. Simple as this is in theory, 
 there are right and wrong ways of using this device 
 in actual practice; so that a few more suggestions may 
 
 * Figures like those criticised may, it is true, sometimes be found in rapid pas- 
 sages for the violm, but m general the student will do well to follow the recom. 
 mendation laid down. 
 
Two-Part Counterpoint 
 
 91 
 
 may prove helpful. First, when c bji.ngi'ng nnt^f are to be 
 used they shmilrl apppar ^^ f he secoTifl and third of t^i e 
 pT-n^pg nf fnur at^r^ ^ upt as thfi third and four th. 
 
 not good 
 
 Second, the student is often in doubt as to whether the 
 higher or lower' of the two changing notes should come 
 first, that is, whether his group should be a or b. 
 
 This point is settled by looking forward to the next note 
 of the subject and planning the group so that t he not e in 
 the counterpoint w hich must be used on the first note o f 
 the second measure is not anticipated on the precedi ng, 
 at IS, ■ 
 
 In both (a) and (6) the, first note of the counterpoint in the 
 second measure (required by the note of the subject) is 
 anticipated by the note on the secondary accent of the 
 measure preceding. This gives an effect of weak monotony. 
 The remedy is in each case to start the changing note in 
 just the opposite direction. Compare carefully (c) and id) 
 with (o) and (6) above. 
 
 Third, it is seldom advisable to use changing notes so that 
 a leap to an accented note is preceded by a step in the 
 same direction; that is, in examples (a) and (6) the com-( 
 binations of notes d, c, a, and b, c, e, are disjointed and 
 unmelodic. 
 
 .r.i I ^1 II j "Yii. 
 
92 
 
 Tonal Counterpoint 
 
 By grouping the changing notes as in examples ((7)-and 
 (d) below we make the counterpoint far more symmetrical: 
 and melodious. 
 
 A few examples are cited from standard compositions : 
 
 Handbl: "Messiah," No. 12 
 
 M'^rf }} 
 
 f fff 
 
 ^ 
 
 Bach. Well-Tempered Clavichord. 2d Book. Fugue I 
 
 This whole fugue abounds in interesting contrapuntal 
 devices and will repay careful analysis. 
 
 Both examples from Chopin. Op. 10, No. 4 
 
 
 1 Q a..tlM — 
 
 . -a _-^.g-*, 
 
 rfl-n 
 
 
 jjM^^Tfw^rwrrxfTWTf 
 
 ^ 
 
 * 
 
 ^ ^ 
 
 •■■\ 
 
 '1 -J J\ >. JV-7 |.-^p- 
 
 eft-. 
 
 — k- 
 
 \ 
 
 
 7g)i> 7 ij; 7_j). 7 
 
 ^ 
 
 As little by little facility is acquired in writing counter- 
 point of four notes against one, it will be evident that the 
 general principle that a passing note may be interrupted 
 
Two-Part Counterpoint 
 
 93 
 
 in itiff prngrpssinnj s capable of very broad interpretation. 
 In all contrapuntal composition figures like the following 
 are to be seen: * 
 
 Groups of changing notes whinTi maV^ w-itin +Tia giiT-.j> £f;,tlie 
 intp.rva.1 of t.Vip Himini.shed nctavp o-iirp distinction tol!ie 
 counterpoint and this effect sh ould occasionally b^ intrn- 
 duced; for example, 
 
 Jit. 
 
 A beautiful example of an analogous effect (a single auxil- 
 iary note introduced by leap of a third) is seen in the 
 '■Recordare" of Mozart's Requiem: 
 
 ^m 
 
 ^ 
 
 w 
 
 rt 
 
 3 
 
 n 
 
 ^e 
 
 r 
 
 f=-f 
 
 s 
 
 i_t 
 
 ±JA. 
 
 Ul 
 
 J 
 
 W 
 
 'r r ' r r 
 
 W 
 
 ^ 
 
 f 
 
 In the last measure, note the striking poignant effect of the 
 Bl' against the Bjt. See also the following passage from 
 the second movement of Beethoven's Sonata, Op. 28: 
 
 The whole last part of this movement should be careftdly 
 analyzed by the student. 
 
 * Experience has convinced the writer that it is unwise at this stage to burden 
 the student with too many rules. It is left for the teacher to keep pace with his 
 development and to show him from actual examples how freely some of the rules 
 may be modified. 
 
94 
 
 Tonal Counterpoint 
 
 Tn free- writing for piannforte or strings, auxiliary notes 
 
 are often taken by fe^f , a1 t ilin"S^ tl^e:^ n-aje_- pcamiarq11,-u-..^ f< 
 
 7rintn-u,-i^pUy f^^Tt^-n in the frppst style. A Very instructive 
 Dassage is cited from von Weber's " Invitation to the 
 Waltz": 
 
 . fi 1 . r^ • ^ 
 
 — ^ 
 
 fS* 
 
 n^^ 
 
 {m^=^ 
 
 "'Trf^ 
 
 -i-=-=m 
 
 ^ii 
 
 Inn {ff 
 
 U4= 
 
 
 1** 
 
 «• ; 
 
 In the third and fourth measures we find accented, and in 
 the seventh and eighth, unaccented, auxiliary notes grouped 
 around the tonic chord. The student is strongly urged 
 not to make a frequent use of changmg notes of any kind, 
 until he has acquired a very sure instinct for knowing just 
 what effect he wishes. His counterpoint should consist 
 largely of passing notes, auxiliary notes, and now and then 
 of an arpeggio of the main harmony. Accented passing 
 notes on the third beat of the group, or even on the first, 
 may systematically be introduced. The slight discord 
 occasioned by their use gives interest and vigor to the 
 counterpoint, and they are often very useful in preserving 
 a uniform diatonic progression; for example. 
 
 ^^ 
 
 k 
 
 §S9. In working out exercises in the minor mode the 
 student is reminded of the general considerations already 
 noted (Chapter III, §49) in regard to the sixth and sev- 
 enth degrees. In counterpoint of this order, with its gen- 
 
Two-Part Counterpoint 
 
 95 
 
 erally rapid tempo, the augmented second found in the 
 harmonic scale is usually avoided by raising both the 
 sixth and seventh degrees in ascending passages, and lower- 
 ing them in descending; that is, 
 
 l^^^j l J^J^lljJj 
 
 They are also available as changing notes, as may be seen 
 from the following figures: 
 
 f' ,. h . jj.i4jj ui i n i.ii m 
 
 Occasionally in a descending passage the minor seventh 
 may be used as a harmony note. In this case, except 
 where a passing modulation into the relative major is dis- 
 tinctly implied, the first note in the counterpoint of the 
 following measure should generally be the sixth degree. 
 
 C minor 
 
 Ef? major 
 
 i 
 
 9E 
 
 a s 
 
 ^y-Mmmr^^^ , 
 
 ^^ 
 
 i 
 
 u 
 
 m 
 
 §60. A very clear judgment must be acquired by the 
 student in order to know just when fifths and octaves may 
 be made between the subject and a note of the counter- 
 point. The following groups of notes will be likely to 
 occur quite often in his first attempts at this order of 
 counterpoint : 
 
 „J... , I. J . K 
 
96 
 
 Tonal Counterpoint 
 
 These progressions are all bad. For, since the first note of 
 each contrapuntal group has a harmonic significance in 
 connection with the subject, it is obvious that consecutive 
 fifths and octaves are outUned. A somewhat bad eifect is 
 produced between notes other than the first of successive 
 groups, provided the fifths or octaves occupy correspond- 
 ing places in the design. The following groups, for exam- 
 ple, should be used with caution: 
 
 lA. good general rule is that this effect of fifths and octaves 
 
 VfliiRprI b y nnt.ps i nf ham^'-'"^" "■^^fi"''-"'"" ^° r^c^■l^*ra\^■7Pn vf 
 
 ^hey are sepa rated by four intervening notes ^or even _bv 
 only o ne or tw n, i n f-as p thfry i i a .. dictinot<iiai8iij^ lfe'i motio n 
 bet ween Llxe cou nt.ei;pnin t n TT^ ^^" ^"T^j""*- tr««.r,-,T^.«,j,\«. ■ ■ 
 
 Between two passing notes, or between two notes of which 
 the first is harmonic and the second passing, fifths are per- 
 missible if they are separated by one, two or three notes: 
 
 I 
 
 r (e) and (ir) passing notes («) is a harmonic and (c) a passing note 
 
 \When the passing note comes first and the harmony note 
 .second, the same considerations apply, except in this case 
 the harmony note must invariably be approached and 
 left stepwise; for example. 
 
 (g) passing note 
 (a) harmony, note 
 
 In this case the skip to if) makes the fifth prominent 
 
 In this order much more liberty is practicable in regard to 
 the impUcation of chords of the sixth and fourth. While 
 writing two notes to one. we saw that, the fift.Vi nf a ti-inri 
 
Two-Part Counterpoint 
 
 97 
 
 should seldom be used in the bass immediately after 
 its root or third, at any rate when approached by a down- 
 ward leap. For example, the following passage is very 
 i>ad: 
 
 MjMillj 
 
 i 
 
 But in a counterpoint of four notes to one of the subject, 
 t he fifth of a triad is often available in the bass, provided 
 it comes between other notes ot tne same chord-and in ' 
 gene ral does not occupy a con spiau nus p osition in the 
 Dup; for example, 
 
 'Of these examples (a), (6) and (c) are perfectly good, be- 
 -cause the fifth is introduced as part of an arpeggio, and is 
 neither the highest nor the last note in the group. Ex- 
 ample (a), to be sure, is rather weak as a mere arpeggio, 
 -and this figure should not be used often. Example (d) is 
 .somewhat unsatisfactory, as the g being the highest note 
 •of the group, and also occurring on the secondary accent, 
 is plainly heard in its relation of a fourth below the sub- 
 ject. The fifth may even be app roached bv a downwa rd 
 leap, provided it o cctifB on a. Weak part oi the grou p; for 
 ■examplfi. 
 
 ^^ 
 
 ^^ 
 
 Andante canUibile 
 
 Mozart. Quartet in C major 
 
98 
 
 Tonal Counterpoint 
 
 §6 1. As the student acquires facility in this kind of 
 contrapuntal writing, and as his judgment becomes more 
 sure, he will understand the import of the general rule, 
 that many notes may be used on weak parts of a measure 
 and in unimportant parts of the general design, which 
 might imply questionable harmony, were there fewer notes 
 in each group and were the rate of motion slow, rather than 
 fairly rapid. As a practical application of this truth, the 
 leading tone may often be doubled, provided the same 
 general considerations are observed as those cited above 
 in regard to the introduction of the fifth. 
 
 ffrrf'fr rrf 
 
 In the examples marked good the student will readily see 
 that the leading note occurs between other factors of the 
 sam e chord, _a nd is neither tne nip^iiest nor the lowest note_ 
 01 tne group! (c) and {e) are bad because these conditions 
 are not iulhlled. 
 
 §62. It often happens that the counterpoint and the 
 subject approach each other. In Jthese circumstances the 
 ' following suggestions should be followed : It is generally 
 poor for the passing note at an interval of a second from a 
 harmony note to continue till it makes a unison; on the 
 other hand, the effect is good when the counterpoint and 
 the subject start with a unison and then diverge by oblique 
 motion. In this case the unison should be approached 
 by a leap. The following examples will make the matter 
 clear. The same considerations apply to auxiliary notes > 
 as an analysis of the illustrations will show: 
 
 §63. When the harmonic conditions are such that it is 
 impossible for the' counterpoint to continue diatonically, 
 it is generally better, if a leap is to be introduced, to have 
 it at the former rather than the latter part of a measure. 
 After an accented note a leap is effective. Also the last 
 
Two-Part Counterpoint 
 
 99 
 
 two notes should, generally flow smoothly along to the 
 next accent. 
 
 .", 1 
 
 J Jj 
 
 1 ^ 1 1 
 
 1 1 
 
 1 Jjjj ll 1 
 
 ^^ 
 
 ^a^F* 
 
 ^^ 
 
 ^3^ 
 
 — ■-" "-o — 
 
 For instance, the first two measures of example (6) are 
 stronger than the grouping found in (a). Thisisa recom- 
 mendation, however, rather than a rule, as in theThitd 
 measure of example (6) the counterpoint is led up to a 
 climax on the third beat, and then a leap of a third is 
 made in the opposite direction. This was done here to 
 avoid a repetition of the same pattern as in the preced- 
 ing measure. Let the student explain to himself the use 
 of the c, the first note .of the counterpoint of the fourth 
 measure. ft. -fc .'^ • ,' ' 1 
 
 §64. Attention is called to the fact that chromatic 
 passing and auxiliary notes above a harmony note invari- 
 ably imply a modulation, whereas below, no change of 
 tonality is felt; for example, 
 
 An auxiliary note below is almost always at a distance of a 
 semitone, especially when used in the bass; for example, 
 
 §65. Here follow a few examples of first measures: 
 
:oo 
 
 Tonal Counterpoint 
 
 II I nri i JjJi l UJ i K i iiit), " f-* r \ p r ^ 
 
 The student is advised to play over the above examples 
 and to analyze them carefully. A musical sentence well 
 started will often go on almost of itself. Attention is 
 called to the rest with which counterpoint of this order 
 should generally begin. The note following the rest must 
 be a concord. 
 
 §66. The best forms of cadence are the following: 
 
 Of the above examples, (a) and (b) are less usual than the 
 others, though perfectly possible; the former with the skip 
 of a diminished fifth, and the latter with a changing note, 
 (c) is also a rather rare form. In this case the f in modem 
 music would generally be sharped, as explained above. 
 The student will be tempted to use the following forms of 
 cadence. He will readily see upon analysis why they are 
 not permissible. 
 
 ^^TfTf 
 
Two-Part Counterpoint 
 
 lOI 
 
 A few examples are now worked out for practical guidance. 
 If the leading principles explained above have been under- 
 stood, this kind of counterpoint will be not only easier, 
 but far more interesting than the others. At first very 
 short subjects are taken and no modulation is required. 
 
 mi — 
 
 3 
 
 
 
 — 
 
 — 
 
 =! 
 
 e 
 
 
 ^ 
 
 — 
 
 |0 
 
 B- 
 
 
 
 
 
 
 
 PB 
 
 ¥*" 
 
 
 1 — 
 
 IS. 
 
 rfr 
 
 p 
 
 1" 
 
 b 
 
 
 
 6j 
 
 
 
 o 
 
 5 
 
 s 
 
 ^i4^:! 
 
 
 P 
 
 pi 
 
 z 
 
 5 
 
 E 
 
 
 
 
 ff 
 
 fVf^ 
 
 i 
 
 i 
 
 
 
 W 
 
 ^f 
 
 m 
 
 e 
 
 
 
 1 
 
 
 
 
 
 
 
 
 
 VH— 
 
 
 
 
 
 FH 
 
 1 — M-i 
 
 w^ 
 
 
 IV 
 
 IV IV 
 
 In this exercise first notice the simple, natural harmonic 
 structure. Then as to the counterpoint, see how variety 
 is secured by making occasional skips between flowing 
 phrases; also notice what a large range of the scale is 
 traversed.* At (a) and (&) attention is called to the use 
 of e against c, and of c against f without any implication 
 of second inversions, as the e and c are obviously used as 
 passing notes. 
 
 A similar subject is here given in the bass, but shortened 
 somewhat, so that the rhythm is different. Even in these 
 simple exercises the student is urged to observe whether 
 they begin on a strong or a weak beat, that is, whether the 
 general rhythm of the phrase is trochaic (- u ) or iambic ( u -) . 
 /This is settled, of course, by the last note, which in every 
 case is supposed to coincide with an accented measure, 
 
 * Most instructive examples of a running bass may be found in Beethoven's 
 Andante in F, fiist in the following passage, where the counterpoint is two notes 
 against one, and later on in the work, where the same theme is treated with mora 
 animated rhythm of four notes against one. 
 
102 
 
 Tonal Counterpoint 
 
 that is, the cadences are for the present all masculine. 
 This exercise needs no especial comment. Notice how 
 clearly the tonality is established at the outset by the use 
 of the tonic triad. The skips are invariably made at the 
 first part of each group. In the fifth measure an arpeggio 
 is used effectively, to carry the counterpoint into a higher 
 range. We now write a counterpoint both above and 
 below a subject in the minor mode: 
 
 In this exercise notice first the various forms of the minor 
 scale; for example, in the second measure c, bK a.\>, the 
 descending melodic form. Of course wherever dominant 
 harmony is outlined, b it must be used. At (a) the skip of an 
 augmented fourth is effectively introduced. At (6) notice 
 the minor seventh bb, even in an ascending passage on 
 subdominant harmony between the sixth degree and upper 
 tonic. At (c) the ajt is, of course, a changing note, and the 
 melodic form of the scale is used. 
 
 III)lkg„ — 
 
 S> 2= 
 
 ir f 1^ f 1 
 
 If r 1 
 
 9 p—\ 
 
 11^'' ^Sf 
 
 mm 
 
 u 
 
 -1 ■ -! 
 
 1 
 
 
 At the beginning the counterpoint crosses for a moment 
 above the subject. The bass' was Started high in this 
 way to make its range as wide as possible. On two 
 stringed instruments this doubling of the c would not 
 be objectionable. In writing for the pianoforte the subject 
 and counterpoint must not be kept for long so near 
 together, for the same key cannot do two different things 
 at the same time, and the iteration is unpleasant and 
 destroys the individuality of the subject. On comparison 
 with the preceding exercise the student will notice how 
 many passages which are valid in a counterpoint above a 
 subject are equally good below. The observation of this 
 
Two-Part Counterpoint 
 
 103 
 
 general truth will prepare him for a form of writing known 
 as double counterpoint, to be taken up later, 
 
 §67. Here follow subjects, some of which have been 
 treated in Chapter III, to which the student is to write 
 counterpoint, with suitable transposition of key, both above 
 and below. In this group no modulation will be necessary: 
 
 3. Trip r Lj ^ r ^ I r r pi^- I I 
 
 We now give for the advanced student a few longer and 
 rather more difficult subjects. These are periodic in form 
 and imply simple modulations. Whoever is not at home 
 in the principles of key relationship is advised to consult 
 any textbook on harmony.* Note, for instance, that the 
 keys in the first degree of relationship to Eb major are 
 Bb major, Ab major, C minor, G minor, and F minor. 
 In these exercises the student should constantly strive to 
 put into effect the recommendation given in Chapter III, 
 §46 ; that is, the counterpoint must not be a mere amplifi- 
 cation of a harmonic background, but must have dis- 
 tinctive features of its own. Now that the writing is for 
 strings, a much freer use may be made of chromatic passing 
 notes (accented ^and unaccented), and likewise dissonant 
 intervals may be introduced whenever the melodic interest 
 of the counterpoint seems to wane. The following exer- 
 cise is an example of the style which should gradually be 
 cultivated. 
 
 * An admirable explanation may be found in Prout's Harmony, Chapter X. 
 
104 
 
 Tonal Counterpoint 
 
 ^ 
 
 i>' ^^JJJ|J;JJJ|*'||J^J^^ 
 
 f 
 
 s 
 
 3 
 
 '!> o :g 
 
 O In I H 
 
 Z! _ I I L ^ - I ^ — I — 
 
 \ " " \ g Z 11 r i "* « ' i '^'' i fi 
 
 ^^^M^ 
 
 c]]]"ffir-W3,rf:n 
 
 ^ 
 
 (No. 2 transposed into E|? major and with the counterpoint above) 
 
 3. 
 
 * The student, in fact, should soon be in a position to take a broad view of contra- 
 puntal style and of the means whereby variety in harmony and in rhythm is 
 attained. No fixed and universally binding rules can be given, whereby one may 
 learn to write good counterpoint. A contrapuntal voice may show unbounded 
 freedom provided that it is not so incoherent as to lose all hcojnonic connection 
 with the other voices. 
 
Two-Fart Counterpoint 105 
 
 Duet for solo 'cello and accompanying violin : 
 
 ^^ 
 
 Hayd»j 
 
 BSt j OT 
 
 p^ 
 
 K"J. p I r r I I I ^ I N 
 
 m 
 
 «ririr i r^-^^f^'i i rrrcr i irri'^J i "^ : 
 
 In connection with the work on this exercise let the student 
 compare Haydn's treatment of the same melody in his 
 string quartet — the so-called " Kaiser Quartet." Duet for 
 solo violin and 'cello obligato : * 
 
 Beethoven 
 
 i^f ^■^[\\^ \ f [\\\\^^yiAli}Mr}^ \ ^ 
 
 §68. In regard to counterpoint with the rhythm of 
 three notes to one, or six notes to one, little additional need 
 be said. These rhythms are less frequently employed, 
 and, on the whole, are less useful than that of four notes 
 to one. In counterpoint of three notes to one, only one 
 harmony should be outlined in connection with any note 
 of the subject; an arpeggio of a chord is often necessary, 
 and the effect is less weak than with four notes to one. 
 As there are always two intermediate notes between suc- 
 
 * Now that the student has begun to write simple pieces for strings, the teacher 
 should carefully explain the range and the chief characteristics of the violin, the 
 viola and the 'cello. An effort should be made to bring musicians into the class 
 room and to have the exercises actually performed, — both the original and the 
 corrected versions. Nothing will cultivate more steadily the musical instinct of 
 the student than frequent opportunities to hear his work played. This has been 
 done for several years at Harvard University with the most beneficial lesolts. 
 
io6 
 
 Tonal Counterpoint 
 
 cessive accents, it is clear that two consecutive passing 
 notes or changing notes may often be employed; for 
 example, 
 
 r f r 
 
 A few illustrative examples are cited; they should be 
 carefully analyzed and other analogous passages looked 
 up from standard compositions. 
 
 Beethoven. Sonata. Op. 31, No. i, Rondo 
 
 Beethoven. Sonata. Op. 53, Rondo 
 
 §69. Almost any of the subjects given in the preceding 
 chapters may be treated with counterpoint of three notes 
 to one, and the student should work out a few. The 
 melody given on p. 84 is begun to show the general style. 
 
 i 
 
 ^^ 
 
 ^ 
 
 etc. 
 
 fl'ifOytr.QJ 
 
 §70. In counterpoint of six notes to one it often 
 happens that groups of tha saune notes may be so used 
 
Two-Part Counterpoint 
 
 loy 
 
 "with reference to the primary and secondary accents that 
 the effect is perfectly good; for example, 
 
 ' JM. 
 
 whereas if the rhythm were that of three beats to a meas- 
 ure, and the same notes were grouped as follows, 
 
 the effect would be very weak on account of the repetition 
 of the same design. 
 
 §71. We cite a very" instructive example of counter- 
 point of six notes to one from the finale of Rheinberger's 
 Pastoral Sonata for organ. 
 
io8 
 
 Tonal Counterpoint 
 
 §72. An exercise is now worked out as a model to the 
 istudent, who shotdd work out several exercises in this 
 :style, using some of the short melodies already given (with 
 suitable alterations of the time). 
 
 §73. For this version observe how often an accented 
 passing note or a changing note is used on the fourth beat 
 of the counterpoint (that is, on the secondary accent). 
 The dissonance gives vigor and piquancy to the counter- 
 point, which in this style is often likely to become tame. 
 
 §74. Counterpoint of eight notes to one is compara- 
 tively rare, and no practice is needed in it save that of 
 looking up and analyzing examples. In Beethoven's 
 beautiful Rondo in G Major for Pianoforte (Op. 51, N0.2), 
 there may be found some very instructive passages, both 
 in six and eight notes to one, 
 
CHAPTER V 
 
 Syncopated Counterpoint — Rhythmic Embellishments 
 
 §75. In preparation for florid counterpoint, that is, 
 that form of writing wherein the rhythm is varied with great 
 freedom, the student must learn something of the prin- 
 ciple of syncopation. This is a device by which the normal 
 position of the accent (on the first of the measure) is 
 temporarily reversed; the effect is produced by tying 
 the accented half of a measure to the unaccented half of 
 the preceding one. The syncopation may form either a 
 consonance or a dissonance in connection with the chief 
 melody. The latter, in fact, is preferable where it can 
 be brought about naturally, for then in addition to the 
 variety of rhjrthm we secure temporary effects of dis- 
 sonance which impart progressive interest to the music. 
 When the syncopation is a dissonance the student will 
 remember that the harmonic effect is called Suspension, 
 and we shall soon see which are the most useful suspen- 
 sions in sim.ple counterpoint. It is possible to syncopate 
 ■any note oi a, chord, provided it is either a note common 
 to the following chord or available as the preparation of 
 a suspension. The most usual factors to suspend in tri- 
 ads are the third (4-3) and the root (9-8) (in each case 
 ■from the note above); though rarely a suspended fifth 
 (6-5) in the midst of other genuine suspensions may have 
 the same effect. The root of the tonic triad, however, 
 is often suspended from the note below (7, 8) — that is, 
 irom the leading tone ; and sometimes the third is suspended 
 ■from the second (2, 3). All these suspensions, with the 
 exception of the last (2, 3), are equally available with 
 •either the root or the third in the bass, as ■will be seen from 
 the following charts. 
 
 'n I 'iJ^J 1 
 
no 
 
 Tonal Counterpoint 
 
 At (a) and (6) we have a root and a third suspended 
 from above. At (c) is the rather ambiguous suspension 
 of the fifth. This, however, is quite satisfactory when 
 the bass outlines a first inversion. The a can no longer 
 be a part of the harmony, for a chord of the sixth and 
 fourth in this connection would be impossible. At {d) 
 we have the root suspended from below, and at {e) the 
 third treated in the same way. Let the student ask him- 
 self why this effect would not be possible in the first 
 inversion. The suspension of the root and of the third is 
 possible also in the bass; the suspension of the fifth, how- 
 ever, is ineffective, as there is no dissonance. 
 
 l^tr 
 
 The weak effect produced at (c) will be felt at- once. A 
 few short examples are analyzed in exemplification of the 
 preceding principles. 
 
 ^ 
 
 s; 
 
 ^ 
 
 P 
 
 S 
 
 ^ 
 
 ^ 
 
 1^ 
 
 SE 
 
 * 
 
 °=;^ J p 
 
 The student will readily see that at the places marlftd (*) 
 there are real suspensions; even the perfect fifth at {y) 
 retarding the sixth gives the efEect of a suspension. All 
 the other tied-over notes are merely syncopations. The 
 truth of the following statements will now be understood: 
 First, that every suspension must imply als"o a syncopation,, 
 though every syncopation need not involve a suspension. 
 Second, if jthe_e ffect is one merely of syncopation, it ma y 
 be reso lved by eithe r ms^un ct or comunct mo tion -- — gen- 
 erally the '.tomier : — where as a real .suspension_j nasi be- 
 resolved stepwise downwaMs or upwards. EveiTthis last 
 
Syncopated Counterpoint 
 
 III 
 
 statement will be modified when we come to speak of 
 the ornamental resolution of suspensions. The same sub- 
 ject is now treated with the counterpoint below. 
 
 It^T*^-' 
 
 1 — " 1 
 
 o 
 
 ■■" — 
 
 
 — e 
 
 
 
 %^-^ 
 
 ¥^ 
 
 ^ -^ 
 
 rf 
 
 =w= 
 
 ^ 
 
 c 
 
 — 5 — f~ 
 
 u 
 
 --^-1. — sU — 
 
 -L-[- 
 
 
 =y= 
 
 Lj — 1 — 1 
 
 u_4_j 
 
 
 
 The syncopation is broken at (o), {b) and {c). This is 
 sometimes advisable on account of the range of the melody, 
 and also to secure as many real suspensions as possible. 
 It is often necessary at the cadence when the counterpoint 
 is in the lower voice. The counterpoint at. (a) might 
 have been arranged as follows : 
 
 but the weak effect at (*) will be readily noticed. 
 
 §76. Example (a) brings up the question of how far 
 the effect of consecutive fifths and octaves is neutralized 
 by syncopation. At first sight it looks as if there were 
 consecutive fifths between the first notes of the third, 
 fourth and fifth measures. But as the harmony is out- 
 lined by the subject and the second note of -the counter- 
 point in each measure, the fifths are only apparent and 
 have no harmonic import whatsoever. The perfectly clear 
 harmony of the passage will be seen if we suppress the 
 syncopation. 
 
 etc. 
 
 S Lft'J ■■ 1 
 
 
 
 
 — r« 
 
 
 n 
 
 
 
 Y^ 
 
 1 — " 
 
 6 
 
 6 
 
 — e — 
 
 
 6 
 
 6 
 
 — n — 
 
 1^^ 
 
 — e — 
 
 « 
 
 
 
 H 
 
 
 
112 
 
 Tonal Counterpoint 
 
 §77. The student must constantly bear in mind, how- 
 ever, that syncopations do not justify imgrammatical 
 harmonic progressions. 
 
 i 
 
 g ,/ 
 
 m 
 
 m 
 
 1^ 
 
 g 
 
 
 p 
 
 r 
 
 r. 
 
 75 
 
 7 
 
 ^ 
 
 /= 
 
 1 
 
 If the above passage, for instance, be reduced to its simple 
 harmonic foundation, by the omission of the syncopa- 
 tions, it is evident that we have three consecutive octaves 
 followed by three fifths.* 
 
 §78. As in the former varieties of counterpoint, more 
 than three consecutive thirds or sixths should usually be 
 avoided. When a subject moving by steps would natu- 
 rally call for a harmonization by chords of the sixth, it is 
 better to break the syncopation for a measure. Exam- 
 ple (&) is far preferable to (a). 
 
 monotonous 
 
 better 
 
 " 'Vrrf 
 
 3f 
 
 §79. In regard to fifths and octaves not separated by a 
 foreign chord, an infallible test of correctness is to elimi- 
 nate the syncopations. For example, the following phrase, 
 
 , * Cases often arise in which a practised judgment is necessary. In the follow- 
 ing phrase, however, it is better in general to avoid the effect of consecutive fifths, 
 which are merely delayed by the sixths: 
 
 
 5 ■ '» 5 
 
 Although in Haydn's Symphony in D Major we find the following: 
 
Syncopated Counterpoint 
 
 113 
 
 perfectly good as it stands, is so no longer if the synco- 
 pation be broken: 
 
 for if we suppress the syncopations the harmonic basis of 
 example (a) is 
 
 good 
 
 # 
 
 questionable 
 
 while example (6) gives 
 
 i 
 
 ^ 
 
 §80. The only satisfactory form of cadence in this 
 order is the suspeiision of the leading tone by the tonic 
 (both above and below) ; for example, 
 
 When the subject is such that the syncopation cannot be 
 properly prepared, a cadence from the second order must 
 be substituted. For instance, if the subject has the fol- 
 lowing ending, 
 
 ¥ 
 
 though syncopation can be used in a counterpoint above, 
 — for example. 
 
 when the counterpoint is below, some other form is prefer- 
 able; for in the following arrangement 
 
114 
 
 Tonal Counterpoint 
 
 c and f (c the fifth and f the original root) imply a ques- 
 tionable six-four chord. The best cadence in this case 
 will be 
 
 If the subject move from the sixth degree to the second, 
 a syncopation is possible both above and below; for ex- 
 ample, 
 
 f f-f f * 
 
 while if the subject moves from the seventh degree to the 
 second a syncopation either above or below is impossible: 
 
 Let the student work out for himself satisfactory cadences 
 to the measures above, with counterpoint both above and 
 below. 
 
 §8i. Very few exercises will be given to work out in 
 this order, for on account of its restrictions it is not only 
 the most difficult but the most unattractive of all the 
 orders. In fact, in actual composition, syncopation is 
 seldom continued unbroken even for as many measures 
 as in our exercises. In these, however, the student is 
 expected to use syncopation wherever possible in order to 
 acquire proper facility. But syncopation finds its real 
 value in the next order that we shall study, — florid or 
 mixed counterpoint, where it is of the greatest -practical 
 assistance in securing variety of rhythm. In vocal music 
 but few syncopations are used at a time, to offer contrasts 
 
Syncopated Counterpoint 
 
 115 
 
 in rhythm between the voices, to emphasize some impor- 
 tant word, or to produce some striking harmony. In 
 instrumental music syncopation is often useful for vary- 
 ing a melody at its second appearance and to give anima- 
 tion to the rhythm : 
 
 Haydn. ' ' Kaiser Quartet ' 
 
 v[E»r p^"^pr r^^j 
 
 etc 
 
 Bach. Oigan Fugue in C major 
 
 i 
 
 f 4- '^ » jJ 
 
 ^ 
 
 « 
 
 m 
 
 ^ 
 
 i 
 
 ^ 
 
 ^ 
 
 ■n-S- 
 
 ^^ 
 
 etc. 
 
 m 
 
 ■Good examples of vocal syncopations and suspensions may 
 Ise found in the " Messiah " Choruses, Nos. 22, 23, 31 and 
 52. The following passage from an " a capella " chorus 
 in Parker's "St. Christopher" has a very beautiful effect 
 •of syncopation: 
 
 l\iM\,A. 1 - 
 
 ri-h 
 
 r^ 
 
 iM>^ 
 
 * 
 
 J 
 
 -=W 
 
 
 ^ 
 
 
 ^ 
 
 
 
 (r%i° 
 
 
 M 
 
 #= 
 
 
 y^ 
 
 In the Rondo of Beethoven's Pianoforte Sonata, Op. 13, 
 at the beginning of the episode in A> major, may be found 
 a good instance of syncopation used freely to vary a mel- 
 ody, also in the Allegretto of Op. 27, No. 2. The middle 
 portion of the Adagio of Schumann's Second Sjmaphony 
 ■furnishes numerous examples of syncopation. 
 
 § 82. This is a good occasion for urging the student, as 
 his musical development progresses, to lay more and more 
 stress upon the study of actual music. The true place to 
 learn musical grammar and to cultivate an artistic style 
 is found in the living masterpieces of the great composers. 
 The student should gradually become more and more 
 familiar with the standard compositions of Bach, Bee- 
 
ii6 
 
 Tonal Counterpoint 
 
 thoven, Handel, Haydn and Mozart, — especially those 
 which are polyphonic in style, that is, Bach's " Well- 
 Tempered Clavichord," the two and three-voice Inventions, 
 his organ Preludes and Fugues, and his great works for 
 voices, the string Quartets of Haydn, Mozart and Bee- 
 thoven, etc. He will learn more real music by carefully 
 analyzing and committing to memory even a few of these 
 compositions than by reading any number of theoretical 
 treatises. Let him bear in mind that the rules of harmdny 
 and of counterpoint have been deduced from the wotks 
 of the standard composers. 
 
 Exercises 
 
 A syncopated counterpoint to be written above and 
 below each subject. 
 
 l.i 
 
 N.B. — Here a modulation into the dominant may be made effective. 
 4:, Transpose into G major a twelfth above, and write counterpoint below. 
 
 6« Transpose into P minor an eleventh above for counterpoint below. 
 
 §83. Syncopations in counterpoint of three notes to One 
 are much easier to handle, especially when the subject is. 
 in the bass. In this rhythm of three notes to a measure, 
 it is often advantageous to use an ornamental resolution, 
 for a suspension. By " ornamental resolution " is meant 
 the writing of a note between the suspension and its normal 
 resolution. This interpolated note is usually a note of 
 the chord over which the suspension takes place; but a 
 changing note foreign to the harmony may often b& 
 
Syncopated Counterpoint 
 
 117 
 
 introduced with good melodic effect; for example, at (a) 
 we have a suspension with normal resolution: 
 
 at (6) an interpolated note which is a factor (the fifth) of 
 the harmony delayed by the suspension; and at (c) a 
 changing note, used in the normal way, — that is, it is taken 
 by a leap of a third and resolves diatonically to a note 
 within. To secure an effective cadence in this order, 
 it is always necessary to adopt an ornamental resolution 
 for the stispension ; fpr example, 
 
 At (a) and (c) the interpolated note is part of the harmony; 
 at (b) and (d) it is obviously a changing note. The fifth 
 of a chord may even be taken below the root as an orna- 
 mental resolution, without any ungrammatical implica- 
 tion of six-four harmony; for example, 
 
 §84. Two simple examples are now submitted to be 
 analyzed by the student: 
 
 r^chn 
 
 ^ 
 
 F^ 
 
 ==^ 
 
 » _ » 
 
 ^r^ 
 
 a 
 
 t: 
 
 ^ 
 
 ^ 
 
 F^ 
 
 
 
 3 
 
 ? 
 
 -«-= 
 
 6 
 
 — 0- 
 
 6 
 
 -^ 
 
 J} 
 
 2^ 
 
 
 6 
 
 • 
 
 
 
 ^ \> Is 
 
 t 
 
 —J 
 
 
 k=i 
 
 
 
 = 
 
 :id 
 
 4=j 
 
 
 byi 
 
 IV V 
 
 vns 
 
ii8 
 
 Tonal Counterpoint 
 
 Observe that in the fifth measure at (a) dominant seventh 
 harmony is effectively used. 
 
 ^ 
 
 g^ 
 
 SE 
 
 ^^m 
 
 % 
 
 m 
 
 m 
 
 m 
 
 m 
 
 i 
 
 ^ 
 
 This example is noteworthy for the variety in the minor 
 scale. At (a) we see the melodic form, and at (b) the minor 
 sixth introduced in a descending passage. 
 
 § 85. Place a syncopated counterpoint both above and 
 below the following subject; 
 
 Although the exercises assigned to this chapter are few 
 and simple, they should be carefully worked out. The 
 advantage gained will be evident when we come to the 
 next order, — florid counterpoint. 
 
CHAPTER VI 
 
 Two-Part Counterpoint in the Florid Style 
 
 § 86. In this order known as " florid counterpoint," all 
 the forms heretofore studied are used, with the exception 
 of the first (note against note), and the object is to secure 
 as far as possible variety of rhjrthm and of melodic 
 design. In fact, we have here the first opportunity to cul- 
 tivate and develop a rhythmical instinct. Previously the 
 same rhythm has been followed throughout an exercise, 
 iDut now in general no two successive measures should have 
 the same rhythm or a like melodic outline. In his first 
 attempts the student will doubtless find himself writing 
 some very unrhythmical phrases. A good way to begin is 
 to take the time signature f and to see how many patterns 
 may be constructed in accordance with the ftmdamental 
 principles of rhythm. Some of these principles briefly 
 stated are as follows: The accent comes on the first and 
 third beats ; therefore long notes should be used on these 
 beats and motion kept up on the weak unaccented beats, 
 the second and fourth. If several measures are to consist 
 ■of intermingled half notes and quarter notes, the half notes 
 should occur in the first part of the measure, and not 
 vice versa; for example, the following passage is very 
 bad, on account of the position of the half notes at the 
 end of each group, 
 
 s 
 
 ^m 
 
 ^m 
 
 ^ 
 
 just where a lively rhythm should carry the mind along 
 to the next accent. 
 
 Rhythmic Patterns 
 
 t\'[\[ rn r ^ 
 
 ^rrrr" m^ ^ 
 
120 
 
 Tonal Counterpoint 
 
 bad 
 
 bad 
 
 good in two-part writing. 
 
 bad 
 
 %{'• rir ir ^ 
 
 very bad 
 
 In the application of these patterns to actual notes the 
 following observations may be made: when the second 
 order (of two notes to one) is used, which is comparatively 
 seldom, the second note is tied to the first beat of the fol- 
 lowing measure ; for example, 
 
 The third and fourth orders are those most frequently 
 used in florid counterpoint, the former to secure a lively 
 rhythm, and the latter for a temporary change of accent, 
 with, as a result, greater variety. There should not be 
 too many measures, especially in succession, consisting 
 merely of four quarter notes. It is generally better to 
 substitute two eighths on either the second or fourth beat ; 
 sometimes on both. Figures like the following are 
 always available: 
 
 good, to be used rarely 
 
 The student is cautioned, first, against the use of eighth 
 notes on the strong beats, the first and third ; for example^ 
 
Two-Part Counterpoint 
 
 121 
 
 such combinations as the following always disturb the 
 rhythm. 
 
 ba^ bad 
 
 Second, against allowing a leap to appear between the 
 two eighth notes; for example, 
 
 bad 
 
 bad 
 
 Jii^"i , iri^ 
 
 Figures such as these give a restless effect to the counter- 
 point which is seldom desirable. 
 
 §87r The employment of the fourth order (syncopa- 
 tion) in florid counterpoint requires some attention, as 
 much variety is gained by the use of ornamental reso- 
 lution. 
 
 The following table gives some of the most common and 
 useful syncopations, and it should be carefully analyzed 
 and committed to memory by the student. 
 
 #^ 
 
 -r^ 
 
 FfM 
 
 tMi 
 
 N=^ 
 
 =¥h 
 
 ^ 
 
 nh 
 
 1r±f*^- 
 
 W 
 
 m^ 
 
 
 o 
 
 JM= 
 
 « ** 
 
 ^4^ 
 
 
 Tj — 
 
 Hal*'* 
 
 — *-2fl 
 Sj — " 
 
 /i^i,i ii MrJij i r^Jr-i^J . ^ ^'ni,'JTi,i 
 
 At (a) we see a syncopated note with simple resolution; 
 and at (fe), (c), {d), etc., various types of ornamental reso- 
 lutions. Care must be taken not to repeat the suspended 
 note and its resolution by the ornamental interpolated 
 notes of the second beat; for example, the following 
 resolutions are monotonous and weak : 
 
 #4^ 
 
 ^M 
 
122 
 
 Tonal Counterpoint 
 
 The student must clearly understand that the suspension 
 always resolves on the third beat of the measure. For 
 instance, the following passage, 
 
 though tempting, is not valid, for it is obvious that the 
 suspended c really does not resolve at all.* 
 
 §88. Occasionally a syncopated note, a minor seventh 
 above the bass, does not resolve till the following measure; 
 for example. 
 
 In this case if an ornamental resolution be adopted, to 
 quicken the rhythm, it should be above; that is, 
 
 §89. In general, a suspended note, especially if it 
 be a quarter, shovild be taken by a leap; example (a) 
 is far stronger than (6), in which the ascending diatonic 
 passage, instead of leading to a new accented note, is merely 
 checked in its course. 
 
 (o) (6) 
 
 §90. In the use of ornamental resolutions fifths' and 
 octaves often appear, but as they have no harmonic 
 import they may be freely used; for example, 
 
 8 
 
 J i iC i rp i JUn iii , iiJ[ini', 
 
 * Although effects analogous to this can be found in music, they had better not 
 be used for the present. 
 
Two-Part Counterpoint 
 
 123 
 
 In regard to groups of four eighth notes, though possible 
 on either half of a measure, they should be used but very 
 seldom. When the group occurs on the first half of the 
 measure, the first eighth should invariably be tied to the 
 last note of the preceding measure; for example, 
 
 Interpolated measures like the following, 
 
 bad 
 
 P i ' 'r^ I ^ 
 
 give the rhythm a spasmodic animation entirely foreign 
 to the best style of florid counterpoint. The following 
 table gives some useful patterns for the opening measures. 
 
 \n\jL 1 
 
 
 1^4 
 
 
 •» 
 
 — »- 
 
 
 4# 
 
 g|^3:" — 
 
 -f^'VV 
 
 = ^^ 
 
 
 ^'Uf^r-^ 
 
 'J" 
 
 -^-i-i-.-- 
 
 =f=^-- 
 
 - 1 r 
 
 
 The best types of cadences are the following. 
 
 or 
 
 h 
 
 Occasionally a free rhymic effect may be produced in the 
 cadence, as at example (a) by the use of a dotted quarter 
 note followed by an eighth anticipating the final harmony. 
 Observe .that if the subject ends as at example (6) and is 
 in the upper voice, syncopation is impossible. Compare 
 the corresponding case in the fourth order. Florid coun- 
 terpoint must have vigor) unity and rh3miic variety; hence 
 
124 
 
 Tonal Counterpoint 
 
 be tnaly melodious. So many different types are afforded 
 of rhymic and melodic outline that the student has little 
 excuse for writing monotonously. It is, therefore, rarely 
 good for consecutive measures to have the same pattern. 
 Passages like the following are to be avoided : 
 
 >J j^JJ . jnJ J i I .nJ I I .^ 
 
 §91. The beginner is advised, however, not to make 
 his counterpoint too elaborate or too animated, and in 
 regard to the important quality of unity, he is strongly 
 urged to avoid the far too common habit of writing his 
 exercises measure by measure. Nothing is more insidi- 
 ous than the habit of writing a measure of counterpoint, 
 and then after closing tight the ears and eyes, of proceed- 
 ing to the next. An exercise finished in this manner will 
 have about as much real musical value as a picture which 
 consisted of adjoining stripes of various colors. On the 
 other hand, it is wise to read the whole subject through, to 
 play it over, in case it is not vividly grasped by the inner 
 hearing, and then to sketch a general outline. Jot down 
 phrases that immediately occur to the imagination, espe- 
 cially at the beginning and end, and fill in details after- 
 wards. Strive at first to cultivate ingenuity and facility 
 in writing, even at the cost of slight mistakes, rather than 
 to have everything exact and labored. The rhythm should, 
 in general, begin in a dignified way and become more and 
 more varied and animated as the end is approached. The 
 exercises are to be regarded as instrumental rather than 
 vocal, and in writing them the student should imagine 
 how they would sound if performed on the pianoforte, the 
 organ or by two stringed instruments. Good examples 
 of counterpoint will greatly interest and encourage the 
 student, and for this purpose nothing can surpass the 
 works of Bach. We recommend for analysis the first 
 dozen measures or so of the following Fugues from the 
 " Well-Tempered Clavichord": First Book, Fugues 4 and 
 
Two-Part Counterpoint 
 
 125 
 
 16; Second Book, Fugues 7, 9, 14 and 17. A few examples 
 are now worked out as models: 
 l?i Violin 
 
 \t^ \ -ri 
 
 ^^^^'p 
 
 k-ffrrt 
 
 ■k2X£ 
 
 |ppW.|J 
 
 mm&A 
 
 Ljri^ 
 
 
 
 « 
 
 f^Li 
 
 
 
 U:;^'' 
 
 
 r* 1 
 
 -e 
 
 
 At (a) the sequential imitation justifies the use of the same 
 pattern in. consecutive measures. At (6) and (c) modu- 
 lations are made into related keys. 
 Viola 
 
 [mM — 
 
 
 
 
 
 
 riS 1 
 
 n- 1 
 
 
 Itb'' ^" 
 
 < Cello V 
 
 f *)■' . 1.4 _ y 
 
 ffr^ 
 
 ff 
 
 
 • 1 n 
 
 •r^ 
 
 tl rt , ^^ . 
 
 m^ 
 
 \/ VS,'\ 
 
 X444- 
 
 -1 — 
 
 ^^ 
 
 i-J-L 
 
 1 1 
 
 1K>|-I^f 
 
 Mf4J 
 
 iig,i> — 
 
 
 
 tt- 
 
 
 ■e 
 
 
 
 
 — 
 
 
 
 w 
 
 a 
 
 1r^=l 
 
 
 iri 
 
 Vn 
 
 ^ 
 
 fffi 
 
 F^ 
 
 ^ 
 
 ffrfr 
 
 « 
 
 ililL^^E 
 
 M-S 
 
 
 P 
 
 ^1 
 
 tf ' 1 
 
 4-U- 
 
 ? 
 
 \i — 
 
 ^-^ 
 
 1 M 1 r 
 
 
 At (a) note the effective use of the melodic scale of C minor. 
 
 Exercises 
 
 J if^ 1 
 
 => 
 
 
 — »- 
 
 «» 
 
 
 i^ 
 
 o 
 
 
 
 \ Piano forfr 
 
 
 _ii_ 
 
 
 
 
 
 
 
 
 \ ^ H X f J ~ 
 
 
 
 
 
 
 
 
 
 
126 
 
 Tonal Counterpoint 
 
 ^ 
 
 -a rr 
 
 3.< 
 
 N B 
 
 ^^ 
 
 ^ 
 
 / 
 
 s 
 
 Ilia \ 4 
 
 
 TY 
 
 
 pXEj 
 
 -o- 
 
 TV" 
 
 
 
 pm 
 
 
 
 
 TT 
 
 
 
 -1 
 
 If^M^^ 
 
 ■■rf' 
 
 ^ 
 
 
 
 
 
 
 
 
 X&: 
 
 
 
 
 
 Ai. 
 
 /■|, jN-^i^ 
 
 :ffl 
 
 M— 1 
 
 
 
 
 
 1 1 
 
 zz: 
 
 ^z 
 
 
 
 
 ^; 
 
 ~~ 
 
 ^ 
 
 6. 
 
 ^ 
 
 ^^ 
 
 i 
 
 etc., like No. 5 except 
 transposed. 
 
 If the student has thoroughly grasped the principles set 
 forth in this chapter, and has carefully worked out the 
 above subjects, he will derive much profit from the setting 
 of florid counterpoint to melodies which in themselves are 
 of free, varied rhythm, In these exercises, contrast and 
 balance of rhythm between subject and counter-melody 
 should be earnestly sought for; that is, when the rhythm 
 is lively in one part there need be less motion in the other. 
 The following short example will illustrate what is meant: 
 
 Moderate 
 
Two-Part Counterpoint 
 Exercises 
 
 I2Y 
 
 From Handel 
 
 ft i rJfiriij3:JjJ i Jr% i rr i f°^'i' i^ 
 
 j /n'i/rrr i -iJ^ i .iJJi'^-^fTf^ 
 
 Wagner 
 
 
 Bach 
 
 6. 
 
CHAPTER VIl 
 Three-Part Counterpoint 
 
 §92. If the student has acquired the facility in writing 
 to be expected from his study of two-part counterpoint 
 in the five fundamental orders, the hardest part of the 
 training is over and he will readily progress to counter- 
 point of various kinds in three and four voices. In all the 
 exercises heretofore worked out, we must bear in mind 
 that no matter what we may have called the two parts 
 with reference to vocal range, from a harmonic standpoint 
 they have been soprano and bass, that is, outside parts. 
 So far the basis of our harmony has consisted of incom- 
 plete or outline chords, for not even a simple triad could 
 be fully represented. We have invariably tested its valid- 
 ity, however, by imagining that the two inner voices 
 were supplied and then seeing whether the harmonic pro- 
 gressions were correct. But in three-part counterpoint, 
 the added part must define the chords which the two parts 
 suggested; and whereas in harmony an added inner part 
 often consists largely of holding notes, which merely bind 
 the harmonies together, in contrapuntal writing, on the 
 other hand, this added part should be as far as possible 
 melodic in character and of independent interest. In three- 
 part counterpoint in general we can have our chords in 
 their complete form, with root, third and fifth present, 
 — for even of a seventh chord one of the best arrangements 
 is root, third, seventh, with fifth omitted. 
 
 §93. Any combination of voices is possible in three- 
 part counterpoint, and counterpoint of whatever kind we 
 prefer may be in any one of the three voices ; or the motion 
 may be interspersed among the several voices in the florid 
 style. We shall expect the student, however, to vyork out 
 only those exercises from which he will derive the most 
 technical training, and which have the most direct bearing 
 on practical composition. For instance, it is very rare for 
 a composer to write three-part counterpoint in notes of 
 equal length (note against note), though Mendelssohn has 
 for a special effect harmonized a choral in this manner (No. 9 
 in " St. Paul "), the soprano and alto being doubled on the 
 melody. (This reference should be looked up.) As for three- 
 part counterpoint with the chief melody in the soprano 
 
 I3S 
 
Three-Part Counterpoint 
 
 i2g 
 
 and the counterpoint in the bass, or vice versa, all that is 
 necessary is to take almost any of the exercises already 
 done, separate the two outer parts so that a middle voice 
 ■can be inserted, and we shall have three-part counter- 
 point of a certain kind. But when, the subject being either 
 in the soprano or in the bass, the student has to write a 
 contrapuntal middle voice (the second, third and fifth 
 orders are most useful), — or, better still, when the inner 
 voice itself is the subject, and the two outer voices, bass and 
 «oprano, have to be invented, — such combinations yield 
 him real musical profit. In three-part counterpoint the 
 •chief new considerations, over and above what remains 
 in force from our studies in two-part writing, are three in 
 -number: first, spacing of the voices; second, doubling; 
 third, the character of the inner voices. 
 
 §94. First, the three voices should be spaced as equi- 
 distant as possible, since this grouping gives the most 
 sonorous effect; that is, 
 
 This is often impossible, however, on account of melodic 
 .Tange; in which case the wide interval shotdd be between 
 the bass and the inner part, and not between the two upper 
 parts, at any rate for long; that is. 
 
 but not 
 
 i 
 
 ^ 
 
 The important factor, the third, should be placed in the 
 upper or middle register and not buried close by the bass 
 for example, 
 
 or not or 
 
 Mb 
 
 $ 
 
 *).» " 
 
ijo 
 
 Tonal Counterpoint 
 
 §95. Second, doubling. All three factors- of a chord 
 'should be present, especially on the strong beats, where- 
 ever this can be effected without loss of melodic interest, 
 which is the chief thing to be sought. For this reason it 
 is often advisable to omit the fifth, and to have the chord 
 consist of two roots and a third, rarely of two thirds and 
 one root. More rarely still it is necessary to omit the 
 root and to have the chord consist of thirds and fifths;, 
 this causes harmonic ambiguity. A chord of the sixth, 
 however, is often used in this arrangement; for example,. 
 
 In general, however, doubled major thirds should be 
 avoided (minor thirds are less prominent) , especially where 
 they are adjoining voices at the distance of an octave; for 
 example. 
 
 i 
 
 The leading tone is to be doubled very rarely, and only 
 when some particular melodic effect is gained thereby.* 
 §96. Third, in three-part counterpoint the student has 
 to pay especial attention to the formation of a melodious 
 inner voice. In three-part writing for voices it is 
 extremely difficult to make an inner voice uniformly inter- 
 esting on account of the restricted range. But as the 
 exercises to this chapter will be instrumental, for strings. 
 
 * But, as a last word on this broad subject, any doubling, even at times that of 
 the leading tone, is preferable to an unmelodious part. The following examples, 
 from Cherubini are instructive. At (a) we have every chord complete; at (d) we 
 have Cherubini's corrections, broxight about by free doubling, to obtain more flow- 
 ing melodies: 
 
 A a. 
 
 
 
 
 
 
 b 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 W\ 
 
 
 
 
 
 
 
 
 
 
 
 
 ■3^ 
 
 9^ 
 
 — 0- 
 — 0- 
 
 
 
 
 
 -«M»- 
 
 w 
 
 -0- 
 — <»- 
 
 ■«»■ 
 1 '^ 1 
 
 
 * 
 
 ^ 
 
Three-Part Counterpoint 
 
 131 
 
 organ or pianoforte, we shall be freed in a great measure 
 from our limitations. The range of the instruments is 
 far wider than that of voices. In writing for instruments 
 the parts do not have to be grouped so closely for mutual 
 support as in vocal compositions; hence more room for 
 melodic movement. Lastly, wemajz-a^aiLcwHBelsiesJreely 
 ofthe_advantages of crossin p fTEeinn er , a-tid JipP ^^ part.s - 
 TEis is espe'iiiallyelltjctive in trios for strings, where the 
 viola and the first violin constantly cross {vid. the following 
 examples from Dvorak's Trio for strings. Op. 74) : 
 
 V I^VioUn 
 
 as well as upon the organ, where the two manuals allow 
 free crossing without any inconvenience to the performer 
 {vid. Bach's six Trio Sonatas for organ, with some of which 
 the earnest student shotild make himself familiar); for 
 example, 
 
 xst Trio Sonata, ist Movement 
 
 In writing for the pianoforte, crossing of the voices is 
 obviously not so effective. At first in three-part writing 
 the student had better not try to make the inner part too 
 elaborate. As we have said, it is characteristic of inner 
 voices to be more quiet and sustained than the more promi- 
 nent outer voices. Hence repeated notes may often be 
 used in an inner part although they would be intolerable 
 in an outer. Indeed, a quiet inner part is often the very 
 
132 
 
 Tonal Counterpoint 
 
 thing to be sought. Suppose the chief melody to be in. 
 the bass, and the secondary contrapuntal part in the 
 soprano. In this case, a too elaborate inner part detracts 
 attention from the balance of the two other parts ; it may 
 often be quite subordinate. In two-part counterpoint it 
 is best to avoid concealed fifths and octaves altogether, 
 save where one part moves by a semitone. In three parts, 
 however, they are less objectionable, and may often be 
 used, when the parts can thereby be made more melodi- 
 ous. The considerations stated in §39, Chapter II, still 
 remain in force. The best cadences for the second order 
 in three parts are the following forms : 
 
 
 rt so 
 
 
 
 >b 
 
 
 
 
 
 
 
 
 ^ 
 
 3£ 
 
 1 
 
 "k^ 
 
 
 
 
 < 
 
 tT 43. 
 
 « 
 
 -WW 
 
 
 'I 
 
 ^ 
 
 
 
 
 
 
 
 
 1 
 
 9^ 
 
 i. 
 
 ■-4 
 
 
 11. 
 
 
 — 
 
 \ 
 
 r a 
 
 _ 
 
 - J- 
 
 
 
 
 
 m 
 
 w 
 
 :i== 
 
 m^ 
 
 ^^ 
 
 A few of the most useful positions are now worked out for 
 analysis : 
 
 iifi^-i-i 
 
 P- 
 
 
 
 _ 
 
 
 -0 
 
 
 
 
 
 C.P., 
 
 
 — e — 
 
 ~fT" 
 
 3 
 
 
 -n 
 
 f¥ 
 
 =m 
 
 -p — 
 
 
 *^^i5 - 
 
 
 —U. 
 
 
 "^ 
 
 
 
 -1—4- 
 
 J — p_j 
 
 -« — 
 
 
 
 ^80 
 
 
 
 
 — 
 
 
 
 
 
 
 
 
Three-Part Counterpoint 
 
 133 
 
 rf^ 
 
 
 
 _ 
 
 — 1 
 
 
 
 
 — 1 
 
 
 
 r" — 
 
 — 1 
 
 
 n 
 
 
 1 — n 
 
 
 <v 
 
 -« — 
 
 
 — « 
 
 ~n 
 
 
 _o 
 
 |-n- 1 
 
 -« 
 
 —1:1 
 
 : 
 
 C.P. , 
 
 *>■■ 8 
 
 — \-p- 
 
 
 _ 
 
 re 
 
 a 
 
 
 __ 
 
 ©- 
 
 
 
 Fh 
 
 
 
 h 
 
 =Fr 
 
 
 1 
 
 ^- 
 
 y 
 
 
 
 
 Ivii 
 
 B 
 
 s 
 
 
 § 
 
 
 -^ 
 
 
 »rj 
 
 
 ^ 
 
 r"-)j 
 
 
 - 
 
 
 ^^ 
 
 -p- 
 
 2: 
 
 
 B 
 
 _J 
 
 p# 
 
 rp- 
 
 ^ 
 
 ; 
 
 — « — 
 
 4# 
 
 -e 
 
 -ci- 
 
 w*^ — 
 
 
 a 
 
 
 In 
 
 — » 
 
 L" 
 
 
 
 
 ^ 'tl2° 
 
 d 
 
 
 -» 
 
 
 id 
 
 
 
 
 
 
 
 E 
 
 
 =d 
 
 
 
 l-tl 
 
 ' 
 
 
 ^^ 
 
 VNVlT 
 
 ^ 
 
 ^ 
 
 ^ 
 
 C.P. 
 
 1^ 
 
 ^M 
 
 ^ 
 
 ^ 
 
 H i' |» 
 
 ^ 
 
 At (a) in Nos. 2 and 3 we employ two harmonies in the 
 measure; this device is occasionally useful. The stu- 
 dent, however, should not resort to it too frequently. In 
 No. 4 at (a) note the minor seventh between tonic and 
 submediant in both ascending and descending progression. 
 In this exercise let the student ask himself why it would 
 have been unmelodic for the last note of the counterpoint 
 to be the third-c. 
 
 Exercises 
 
 Counterpoint in inner part 
 
 Counterpoint to be in soprano 
 
 -Sr- 
 
 etc. No. I transposed 
 
134 
 
 Tonal Counterpoint 
 
 Counterpoint in soprano 
 
 
 ^ 
 
 pr-] 
 
 p- 
 
 z 
 
 z= 
 
 f^ 
 
 
 Fl 
 
 f=Fi 
 
 sa 
 
 
 2_ 
 
 Fl 
 
 
 ^ 
 
 ~ 
 
 "^ 
 
 ^^ 
 
 3. y"iiJ f 
 
 N 
 
 
 
 y 
 
 1=; 
 
 =1= 
 
 
 — 
 
 -1— 
 
 =1 
 
 
 y 
 
 — 
 
 
 ^ 
 
 B 
 
 M=J 
 
 Ly 
 
 Work two versions; counterpoint in inner part, and also in soprano 
 
 §97. The exercises in the second order have purposely 
 been made short and few, for not only are the third and 
 fifth orders in three parts much easier, but they are also 
 much more interesting and useful. If the detailed expla- 
 nations, already given, of the third order in two parts 
 have been fully understood, we may begin at once with 
 the rhythm of four notes against one in three-part writing. 
 
 Examples for Analysis 
 
 H ^ =■ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ro — *-* 
 
 
 
 
 -IN 
 
 
 
 
 
 «r — *-o 
 
 
 
 
 •^_ 
 
 
 
 
 
 \ 
 
 
 3j 
 
 t 
 
 i^mf- 
 
 ■?'" 
 
 
 = 
 
 : 
 
 ■ 
 
 fn 
 
 s 
 
 ■ 
 
 
 K. 
 
 B 
 
 m. 
 
 
 m 
 
 E 
 
 
 
 m 
 
 ^ 
 
 '^"itt" 
 
 - 
 
 
 -o 
 
 .^1 
 
 = 
 
 
 
 
 = 
 
 s: 
 
 
 H 
 
 - 
 
 -e- 
 
 
 
 -e- 
 
 V 
 
 z 
 
 = 
 
 |LJi.'4irJj| 
 
 — 1 — rt" 
 
 =1=Tf 
 
 FH=ffi 
 
 -ff? 
 
 b-=T« = 
 
 
 Itp^r* 
 
 -^^ 
 
 :^iJ: 
 
 ffo 
 
 M^ 
 
 
 4:^ 
 
 ^i'^ 
 
 «* 
 
 -« 
 
 85! 
 
 -e 
 
 -a 
 
 W 
 
 
Three-Part Counterpoint 
 
 135 
 
 At (a) in No. 2 is an example of a repeated note in an inner 
 part, and at (6) a passing modulation to the dominant is 
 introduced. 
 
 \m' 1 
 
 >■ 
 
 
 T« 
 
 
 ■0 — 
 
 n 
 
 n 
 
 
 
 rn 
 
 e 
 
 ffP 
 
 ^ff*' 
 
 m 
 
 'ttftif 
 
 l*itl*y 
 
 
 Hi) ^-y*? 
 [f^ — 
 
 U it^, 1 
 
 -« — 
 
 It 
 
 
 --H-- 
 
 ■« — 
 
 1 — 1- 4- 
 
 '1*^11 
 e 
 
 
 In regard to No. 3, note that, though in general a counter- 
 point of four notes to one should be flowing and cantabile 
 in character, at times skips are necessary for harmonic 
 reasons as at (a) ; also that they secure a wider range and 
 often give a vigor and life to a passage, as at (6), which 
 otherwise wot^d be rather monotonous. The same sub- 
 ject is now treated in the inner voice; a few chromatics 
 have been introduced in the counterpoint to show the 
 possibilities of free treatment: 
 
 A. C.P. 
 
 r 
 
 
 d 
 
 
 sB 
 
 ^ 
 
 \^¥m 
 
 g 
 
 2E 
 
 g 
 
 i| 
 
 Sfft 
 
 flg 
 
 * 
 
 i^ssm 
 
 Irs^ 
 
 H 
 
 - 
 
 p-n 
 
 . s 
 
 5 
 
 
 H 
 
 t^\i 
 
 ^ 
 
 — 
 
 
 
 ■*Y 
 
 
 
 
 
 5 
 
 a. 
 
 ^ 
 
 IE 
 
 u 
 
 
 
 |^m4= 
 
 
 
 
 £> 
 
 
 
 
 
 " 
 
 ^ 
 
 ?'^"i^".- 
 
 « — 
 
 
 
 
 
 
 
 ■« 
 
 
136 
 
 Tonal Counterpoint 
 
 |i4i'jJJur ^ 
 
 i 
 
 f^m^m 
 
 T*=9 
 
 ^ 
 
 ^ 
 
 lf#t^ 
 
 — 
 
 r=f=p^ 
 
 F=H 
 
 
 f4+Ni 
 
 
 
 — 1 
 
 r- 
 
 r~t~1 
 
 F^ 
 
 -^ 
 
 
 II n L 
 
 n — 
 
 1--1. 1 
 
 * m 
 — — 
 
 =* 
 
 '*'d 
 
 - 
 
 J J 
 
 ^ 
 
 T 
 
 ;^ 
 
 ^M^ 
 
 Lm. 
 
 
 K^J,^ 
 
 
 
 -« 
 
 1" 
 
 -0 
 
 
 
 
 
 
 
 
 
 *):,l» „ 
 
 
 
 
 b 
 
 
 
 
 ^21^- 
 
 "" . 
 
 — 
 
 
 
 K\ -■ 
 
 =D 
 
 i 
 
 =d 
 
 Es 
 
 
 — 
 
 
 — 
 
 
 Note that tne exercise is begun with a chord of the sixth 
 from the tonic. This may be done occasionally for the 
 sake of variety, and in free music it is not uncommon to 
 begin with the first inversion of the dominant. At (a) 
 the tied note is effectively introduced by a leap. At (6) 
 it is unfortunate that the final tonic had to be anticipated, 
 but the harmonic demands of the subject seemed to leave 
 no other way. The next two examples illustrate what 
 effective use may be made of groups of changing notes. 
 
 
 1 rrfrcrjfn 
 
 -Ss 
 
 Wfff^ 
 
 f= 
 
 \^=^ — 
 
 -p s 
 
 1 1 1 1 1 rj-4- 
 
 -■-i r, 
 
 
 =T 
 
 
 ^=- — 
 
 1 J 
 
 ^J 
 
 r '^ 
 
 -B '^ 
 
 -fiL 
 
Three-Part Counterpoint 
 
 137 
 
 §98. When the counterpoint is to be in the bass, the 
 student should, strive earnestly to acquire the power of 
 making this part flowing, characteristic and truly melodi- 
 ous. All aimless wandering about over a few notes is in- 
 tolerable in the bass. A beautiful example of a running 
 bass in free pianoforte style may be found in the Trio to 
 the Menuetto of Beethoven's Pianoforte Sonata, Op. 22. 
 The student should search out other examples for himself. 
 Two examples follow to show the general style. 
 
 r^ 
 
 
 1^ 
 
 
 a ^ 
 
 fT« 1 
 
 Ti 
 
 V 
 
 
 -n- 
 
 ni) 4o — 
 
 =s- 
 
 
 It 
 
 11 
 
 « 
 
 Ji 
 
 » 
 
 9 
 x« 
 
 
 1^-*^ — 
 
 K\ 
 
 1 
 
 h 
 
 
 
 
 
 
 — 
 
 9=*^^ 
 
 ^*'- 
 
 Hr" 
 
 -ff 
 
 '■^^ 
 
 •f"' 
 
 flf 
 
 ?ff 
 
 ^^- 
 
 ^ 
 
 
 L^-L4-J 
 
 Lf=p-j 
 
 W\i 
 
 V 
 
 4-pH 
 
 M Ml 
 
 fHf 
 
 
 
 At (a) note the effective progression of the leading tone 
 upward to the third to avoid too much of the tonic, espe- 
 cially just before the end. At {b) the two harmonies in 
 the measure prevent IV and V from being adjoining triads 
 both in ftmdamental position. 
 
 The same subject treated in freer style :. 
 
 9. 
 
 
 
 
 ■0 — 
 
 
 
 
 
 It 
 
 e 
 
 it 
 
 
 11^ »?" — 
 
 
 ■»» — 
 
 1 
 
 
 «ll-l 
 
 
 1 *« 
 
 M ^ 
 
 MViil 
 
 U 
 
 fe 
 
 u 
 
 p^^ 
 
 i'^* 
 
 ^ 
 
 m 
 
 mm 
 
 Observe the smooth diatonic ascent in the soprano, and 
 the range and varied design of the flowing bass. 
 
ijS 
 
 Tonal Counterpoint 
 
 fe 
 
 i^ 
 
 ^^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 i 
 
 ^^ 
 
 i@ 
 
 ^==g: 
 
 ^^ 
 
 ^ 
 
 i 
 
 ^ 
 
 ^ 
 
 S 
 
 ^ 
 
 At (a) an effective modulation is made to avoid a repeated 
 note in an outer voice. At {b) and (c) the octave skips 
 prevent the long diatonic passages from becoming 
 monotonous. At {d) the chromatic auxiliary note gives 
 variety to the cadence. 
 
 §99. At first there is always difficulty in working in the 
 minor mode. A few extra examples are therefore given 
 for analysis. It is by no means enough merely to read 
 these exercises through; they must be played over fre- 
 quently and transposed into other keys, if the harmonic 
 progressions and- the melodic designs which they illustrate 
 are to become a living part of the student's equipment. 
 
 At (a) we see the leading tone doubled (a passing modu- 
 lation into the relative major is understood) to preserve 
 the diatonic course of the counterpoint. At the same 
 eime there is vigorous contrary motion between the voices. 
 
Three-Part Counterpoint 
 
 139 
 
 '■'"> f'tj- l CiXi m [Urmrl CQifiJ^j^ 
 
 1^^ 
 
 m 
 
 ^^i 
 
 ^m 
 
 m 
 
 fe 
 
 ^ 
 
 ^ 
 
 ^ 
 
 g 
 
 At (a) we see the inner part drop below the bass, merely 
 for a moment and on a weak part of the group. 
 
 6. |V«f,^nrr^J^'r'| il l r l (TH[!'^ ^ 
 
 Though the subjects given are few, many exercises may 
 be worked out with them by making use of the various 
 combinations already explained, and by suitable trans- 
 position of key. All this manipulation is purposely left 
 to the student under' the supervision of his teacher. Only 
 by working out his own salvation will he acquire facility 
 
140 
 
 Tonal Counterpoint 
 
 in writing aiid certainty of musical judgment. Modula- 
 tions may be freely introduced, not only where distinctly 
 implied by accidentals in the subject, but wherever they 
 seem desirable. 
 
 § loo. We now pass on to that form of three-part writing 
 in which the second and third orders are combined in the 
 voices which accompany the subject, and lastly, we shall 
 have one or both these voices in the florid style, while the 
 subject may be of notes uniform in length, or sometimes 
 itself a melody of varied rhythm. By that time the stu- 
 dent's writing will be entirely free, and his object, to make 
 all the voices equally melodious and free in rhythm. 
 
 M 
 
 m 
 
 m 
 
 This example, combining two varieties of rhythm, requires 
 no explanation. In counterpoint of this kind certain very 
 useful effects of dissonance may be produced between the 
 accompanying voices, by the use of accented passing notes 
 and of changing notes, provided that the voices are in 
 contrary motion, and that each, or at any rate the part in 
 quarter notes, progresses diatonically, By these devices 
 the counterpoint secures more freedom and individuality, 
 and the incidental dissonances serve to prevent the har- 
 monic background from becoming commonplace. A- 
 group of illustrative examples is given, which will repay 
 careful analysis. It is not enough that these illustrations 
 and subsequent ones should be merely read; they must 
 be played over open, and even transposed into other keys. 
 
Three-Part Counterpoint 
 
 141 
 
 Here at (a), (6) and (c) we have dissonant effects between 
 the two upper voices produced by the use of accented pass- 
 ing notes. Note that between either one of the two upper 
 voices and the bass, the harmonic relationship is in accord- 
 ance with the usual rules. 
 
 Here the effective scale passage would justify almost any 
 passing dissonance if the harmonic foundation were sound. 
 Occasionally a dissonant passing note, following the anal- 
 ogy of " changing notes," may leap a third in the opposite 
 direction from its normal course. Combinations of inde- 
 pendent voices like the following are very characteristic, 
 although they are not to be used too often: 
 
 At (a) and (6) we see leaps of a third in the counterpoint, 
 after a temporary dissonant seventh has been formed. 
 
 ^S 
 
 g^^ 
 
 ^M\' } I" 
 
 At examples (a) and (b) we find contrary motion between 
 the parts making the temporary dissonance. This is 
 -usually advisable, but at (c) we see a corresponding effect 
 
142 
 
 Tonal Counterpoint 
 
 with parallel motion. The combination is justified by the 
 fact that both voices descend, and that the second harmony 
 in the measure is a chord of the sixth. 
 
 In this example the two adjacent sevenths are of good 
 efEect, as the c is accounted for as an auxiliary note, and 
 the b as an accented passing note. The student will read- 
 ily see that the harmony outlined is a chord of the second 
 between two chords of the sixth. In the following meas- 
 ure from Bach's first Trio Sonata for Organ is a good illus- 
 tration of freedom in the use of dissonant passing notes : 
 
 The student will find many analogous passages in the same 
 sonata. We give one last interesting example quoted 
 from Dubois: 
 
 ^ 
 
 i 
 
 i 
 
 S 
 
 ^ 
 
 W 
 
 ^ 
 
 '^m 
 
 m 
 
 P 
 
 fe 
 
 m 
 
 ^ 
 
 ^ 
 
 m 
 
 m 
 
 Two short exercises are given for the student to complete : *' 
 
 * It is left for the teacher to decide how much practice the individual student: 
 needs in these strict combinations. - 
 
Three-Part Counterpoint 
 
 143 
 
 §101. A few examples are now submitted of three-part 
 counterpoint in which one or both of the accompanying 
 voices is in the florid style. In this kind of writing the 
 student must practise reserve in the use of eighth notes. 
 Seldom more than two in a group are to be used. The 
 motion must not be kept for long exclusively in one voice; 
 on the other hand, we shotild strive for contrast and bal- 
 ance of rhythm between the contrapuntal voices. The 
 general style will be somewhat as follows: 
 
 ^^ 
 
 ^ 
 
 ^ 
 
 ^m 
 
 ^^ 
 
 m 
 
 ^ 
 
 ^gn 
 
 S 
 
 Of these examples (a) is somewhat better than (b) in which 
 at (*) the inner voice lacks rhythm for rather too long a 
 time. Often a monotonous holding note may be avoided, 
 without any alteration in the harmony, by some such 
 rhythmic device as this: 
 
144 
 
 Tonal Counterpoint 
 
 Note that when two voices are in florid style, dotted notes 
 play an important part in securing variety of rhythm. 
 When they are introduced, care must be taken to keep up 
 vigorous motion in the neighboring voice. A few short 
 subjects are now worked out for analysis. This style of 
 Writing will furnish the student the most valuable practice 
 he has had thus far. Nothing will help so much toward 
 his command of free, flowing part-writing as the ingenuity 
 and facility derived from the careful study of these exer- 
 
 cises : 
 
 te 
 
 3 
 
 m. 
 
 m 
 
 n 
 
 ^ 
 
 1^ 
 
 m 
 
 9^ 
 
 w 
 
 ^ 
 
 s =- 
 
 1 
 
 It is well to individualize the accompanying voices by let- 
 ting them enter at different parts of the first measure, or 
 even sometimes, as in the example just given, at entirely 
 different measures. 
 
 In the above example note carefully the balance of rhythm 
 between the two lower voices. 
 
 iJlI-a - 1 
 
 VF^ 
 
 ^=^ 
 
 Ff=f=1 
 
 ^' 
 
 9-^ 
 
 a^ 
 
 -^ 
 
 3=r^ = 
 
 |[g|>4.' 
 
 
 1=4 
 
 TS 
 
 ,s)-^ 
 
 e 
 
 r* — 1 
 
 e 
 
 44 
 
 ■w 
 
 •^gpesjH 
 
 P ^" 
 
 ■\ 
 
 
 1 11. 
 
 1 o 
 
 fPm- 
 
 
 — i — H 
 
 
 3b^? 
 
 ^ 
 
 w 
 
 ^u 
 
 ^- 
 
 m 
 
 ^ 
 
 ip 
 
 1- l«l 
 
Three-Part Counterpoint 
 
 145 
 
 At the beginning the octave-leaps in the outer voices 
 answer each other effectively. Notice the flowing, melo- 
 dious character of the bass part throughout its range. 
 
 ff#¥i — 1 
 
 ?»• 
 
 
 ■;; 
 
 
 
 
 q. 
 
 
 -4» 
 
 41 " 
 
 \=A 
 
 u 
 
 -0 1 
 
 X 
 X 
 
 
 
 
 
 w 
 
 (b) 
 
 
 » 
 
 At (a) is a good example of a passing dissonance formed by 
 an auxiliary note in the alto against a passing note in the 
 bass. Effects like this prevent the counterpoint from 
 becoming dull and uninteresting. At (6) a group of four 
 eighth notes is introduced in the latter part of the meas- 
 ure. Such groups must not be used often, as they tend 
 to give an undue restlessness to the rhythm. The student 
 is urged to pay particular attention to those exercises which 
 have the subject in the inner voice, as in them he may 
 practise at the same time the formation of a good bass and 
 a good melody. A short example follows. 
 
 At (a) we meet for the first timje with a dotted quarter 
 note. They are usefiol occasionally for variety of rhythm, 
 provided the motion is kept up in another voice. 
 
 Exercises 
 
 To this subject write two lower voices in florid counter- 
 point. 
 
14'^ 
 
 Tonal Counterpoint 
 
 2, ^^^ = ^^ = ^%%P^5^-^ = ^S5l 
 
 Two upper voices 
 
 u 
 
 in 
 
 2ffl 
 
 florid counterpoint: 
 
 Smm 
 
 ffl-S 
 
 3. W^v ^ rJP UJ. 
 
 t=tt 
 
 
 ■I-l-l- 
 
 ^^ 
 
 '11 1 — t^ 
 
 ±ii4J-q 
 
 f-4-L- 
 
 To this choral melody in the alto a bass and soprano are 
 to be written; the rhythm of two quarters against each 
 half is to be kept up in one or other of the voices. A 
 possible beginning would be the following: 
 
 55 
 
 ^3 
 
 m 
 
 §102. The student who has worked intelligently and 
 faithfully at the somewhat' formal* and gymnastic exer- 
 cises of the foregoing chapter may now attempt some work 
 of a more distinctly artistic nature. Very useful and inter- 
 esting practice is afforded by the composition of short 
 trios for organ or for strings, either with a choral melody 
 as a basis or with all three voices entirely original. Good 
 examples of this style of writing. for organ may be found 
 in Merkel, Op. 39, and in Rheinberger, Op. 49. Quite 
 pleasing short pieces may be composed with either the 
 major or minor scale as the chief melody in -any one of the 
 voices. Two examples follow, — first, the major scale as 
 subject in the bass: 
 
Three-Part Counterpoint 
 
 147 
 
 In the above example note how the contraptintal phrases 
 in the two lower voices answer and balance each other. 
 
148 
 
 Tonal Counterpoint 
 
 As the scale is the chief melody, of course the melodic form 
 is used. At (a), (6) and (c) we see the introduction of 
 chromatic auxiliary notes. At (d) the leading tone in 
 the inner part descends in order to gain a complete chord 
 on the first beat of the measure. At (/) the augmented 
 second is used in a descending passage to give character 
 and variety. This interval is easy of execution on strings 
 if the tempo be not too rapid. The student may now 
 write two flowing melodious voices above the minor scale 
 in the bass. A good beginning would be as follows : 
 
 % 
 
 fe 
 
 ^ 
 
 ^^ 
 
 p 
 
 ^ 
 
 
 eit: 
 
 S 
 
 ^m 
 
 1 
 
 ^ 
 
 i 
 
 Several trios should now be written, both in major and 
 minor, in quadruple as well as triple rhythm, with the 
 scale as subject, in each of the three voices in turn. Those 
 which have the scale in the inner voice afford particularly 
 good practice. A trio with the major scale in the inner 
 voice might begin as follows: 
 
 These two exercises may be extended at will to the com- 
 pass-of small pieces by means of several measures of intro- 
 duction in two parts, before the scale melody enters, and 
 by the addition of a free coda. 
 
 §103. We may now attempt some three-part counter- 
 point in free style for strings and for the organ, using as 
 subjects chorals and various periodic melodies. In these 
 the bass part may be treated with freedom, and not sounded 
 on every beat. A judicious introduction of rests 'will 
 give hghtness and variety to the lower voice. One or two 
 exercises are begun as models of style, and then some 
 
Three-Part Counterpoint 
 
 149 
 
 melodies are given at which the student unassisted may- 
 try his own hand : 
 
 Violin 
 
 In connection with this exercise observe the effective use 
 to be made of pizzicato and arco phrases in the 'cello part. 
 The light bass makes the flowing inner part stand out with 
 greater prominence. Where the voices are rather more 
 widely separated than would ordinarily be the case, as at 
 (a), it is well to have the bass sostenuto, that is, coll' arco,* 
 to give more support to the upper voices. 
 
 §104. As three-part contrapuntal writing is particularly 
 effective upon the organ, we may now begin a simple trio 
 for that instrument, using a well-known choral melody: 
 
 ,Sw. OhoejfL 
 
 * Coll' arco =with the bow. 
 
150 
 
 Tonal Counterpoint 
 
 At (a) note the chromatically altered triad, from which 
 the so-called Neapolitan sixth chord is derived, in the 
 fundamental position. At (6) is an effective accented pass- 
 ing note. 
 
 Exercises 
 
 put. 
 
 jj i j i rriJ . J i J'r i r i 'r'r i Wcr^ i Ji 
 
 Here the sequence would seem to justify the use of 
 the same fi^re for successive groups in the counter- 
 point. 
 
 I mViolin 
 
 CMC 
 
 ^>= vi^PrMj i rrrr i rrr JKrr j 
 
 ^ 
 
 |.^''Vcr^JU J,^jjjte 'rr i rii^r^'-'^^-a 
 
 At (a) and at (c) we have the arpeggio of the tonic and 
 dominant chords. In all writing for strings arpeggi may 
 be freely used. They serve not only to define the harmony 
 clearly, but also to give a more extended range to the coun- 
 terpoint. At (6) the octave-skips are melodically charac- 
 teristic and help to avoid the constant repetition of notes 
 
Three-Part Counterpoint 
 
 151 
 
 in the same register. In contrapuntal -writing, — in fact, 
 to a greater or less extent in all melody formation, — the stu- 
 dent should not forget to look along the whole range of 
 the melody, and to avoid rigorously all aimless wandering 
 "back and forth over a limited compass of notes. In gen- 
 eral, the broader sweep a melody has, the more character- 
 istic and interesting it will be. 
 
 ■MViolbt 
 
 Cello ,^_j 
 
 i 
 
 ^ 
 
 ^^ 
 
 ® 
 
 ^# 
 
 s 
 
 After working out the above exercise it will prove of value 
 for the student to compare its harmonic basis with that 
 of No. I . He will see that the melodic intervals are iden- 
 tical in both exercises, the only changes being those of 
 iey and rhythm. 
 
 At. (a) the inner voice is crossed above the melody. Hence- 
 ■forth this efEect may occasionally be introduced to broaden 
 the range of the counterpoint. In free writing for strings, 
 
152 
 
 Tonal Counterpoint 
 
 that is, in the string quartets of Haydn, Mozart and 
 Beethoven, the two upper voices move about, one above 
 the other, with the greatest freedom. 
 
 The student may now try a well-known melody from 
 Beethoven in the inner voice, with a flowing counter- 
 melody above and a light bass : 
 
 »• 1st Violin 
 
 ^ 
 
 ^^ 
 
 w 
 
 ^ 
 
 1^^ 
 
 pl«. 
 
 Wpi fj — »a» 
 
 -fr# — d — K- 
 
 — 1 — 
 
 
 — -1* z 
 
 
 — 1—1 
 
 Hi) [ FY 
 
 Y ''*'' ^^ 
 
 =»^ 
 
 LjfJJ 
 
 [A^^ 
 
 
 -r^\ 
 
 §105. Valuable practice in counterpoint of three notes 
 against one may be secured by taking exercises Nos. 4. 
 and 5 and altering the time so that the melodies wilt stand, 
 as follows. These exercises are difficult, but the student, 
 is urged to work at them steadily. They practically 
 exemplify a motion in triplets which is often found very 
 useful in free composition (see, for example, the Finalfe 
 of Brahms' Sonata in F minor for pianoforte). 
 
Three-Part Counterpoint 
 
 153 
 
 7. 
 
 J J. I I il I ^'FPfR 
 
 l l!i>l ii;!)^4trr 
 
 M 
 
 ^ 
 
 \ 'HM)f^ \ lyi ^m 
 
 f r' i J-r- i n j.J- i r'rhri'M^^'J-iJ- j. g 
 
 Before working out Exercises 7 and 8, the student should 
 carefully analyze the composition of the three-note groups 
 in the counterpoint of the opening measures. In gen- 
 eral, in counterpoint of three against one, arpeggi must be 
 freely used for a part of the group at least. It is seldom 
 that a diatonic phrase can be continued for any length. 
 Often an accented passing note will be found useful for 
 the introduction of a short run as at (a). Let the stu- 
 dent ask himself why the leading tone is resolved as at (b). 
 
CHAPTER VIII 
 
 Four-Part Writing 
 
 §io6. We shall now begin writing in four parts; at first 
 in very simple style for voices, and later, in freer style and 
 at greater length, for strings and for organ. The fourth 
 voice, though it adds much to the completeness of the 
 harmony, increases but little, if in any way, "the difficulty 
 of the task. The student .who has mastered the princi- 
 ples set forth in the chapters on two- and three-part writ- 
 ing will need few preliminary recommendations before he 
 works in four parts. He must continually bear in mind, 
 however, that even in the simplest note-against-note writ- 
 ing for voices, it is never enough to have the harmony cor- 
 rect and the progressions valid. The melodic interest of 
 each voice, individually aijd in relation to the others, is 
 the point for which he must, strive. To secure this end, 
 the voices may sometimes be crossed, especially the two 
 inner voices (even the alto is now and then taken above 
 the soprano for a note or two, although the bass is 
 very rarely crossed above the tengr). Occasionally two 
 adjoining voices may overlap; that is, 
 
 ^ 
 
 As to repeated notes, the harmonic considerations regarding 
 the advisability of retaining in the same voice the common 
 note of consecutive chords do not apply here, because 
 
 / 
 
 pMn 
 
 — «— 
 
 b 
 
 -rs — 
 
 
 c 
 
 ~r\ — 
 
 
 
 
 6 
 -H- 
 
 Ik 
 
 6 
 
 ■e- 
 
 o 
 
 n 
 
 6 
 -«- 
 
 V 
 
 z_g— ti_ 
 
 
 ' Ik 
 
 
 -"— 
 
 
 in contrapuntal writing repeated notes in general make for 
 monotony rather than for melodic life and interest. For 
 example, the combinations at (6) and (c) are better con- 
 trapuntally than that at (a) on account of the freedom 
 
Four-Part Writing 
 
 155 
 
 of movement of each voice. Only at (c) is there a repeated 
 note in the tenor. We must distinguish carefully between 
 outer and inner voices. Repeated notes in the inner 
 voices are often necessary and even effective in contrast to 
 the more animated outer voices. In the soprano, how- 
 ever, there should rarely be more than one repeated note, 
 and in the bass, with very few exceptions, repetition 
 shduld be avoided altogether. A stationary bass instantly 
 destroys the melodic flow and life of this most important 
 of the parts. The student is cautioned, nevertheless, in 
 his early attempts at four-part writing not to try to make 
 all the voices equally melodious at the same time. Even if 
 this were possible, it would be hardly desirable, for as 
 counterpoint is essentially a matter of contrast, a parti- 
 cularly melodious voice is invariably felt to be so in com- 
 parison with other less melodious adjoining voices, or 
 possibly with those voices which are melodious in some 
 different way; as, for example, where a slow sostenuto 
 melody in one voice is contrasted with one of bolder 
 intervals and of more animated rhythm in another voice. 
 Only in the most elaborate " a capella " works of Bach, 
 for instance, or in the complex tissue of modem orchestral 
 writing are all the parts of equal melodic importance for 
 any length of time. The student must cultivate the power 
 to look along the whole length of a part, and must see to 
 it that somewhere in its course it shall arise and " utter 
 some glorious thing." 
 
 §107. We now give a few illustrations. Though the first 
 exercises are for voices, so far as style is concerned, no at- 
 tempt is made as yet to use actual words. Words of cor- 
 responding metrical rhythm can easily be imagined, how- 
 ever, in connection with all these vocal exercises, and in 
 no case should the student fail to sing over each one of 
 the parts. The naturalness of the intervals and the mel- 
 odic life of the part are best proved by actual singing. 
 
 fe 
 
 P 
 
 ^^^^^ 
 
 i 
 
 ^m 
 
 ^ 
 
 ^ 
 
 i 
 
 ;==s^ 
 
 
 
 m 
 
 =^= 
 
 izc 
 
 w 
 
156 
 
 Tonal Counterpoint 
 
 ^ 
 
 =^ 
 
 c\ 
 
 m 
 
 ^m 
 
 ^ 
 
 M 
 
 m 
 
 ^ 
 
 ^ 
 
 p^^ 
 
 !»• • 
 
 &fa 
 
 ^ 
 
 ^^ 
 
 S 
 
 m 
 
 m 
 
 Though, these exercises at first are to be mainly note 
 against note, passing notes may be used occasionally for 
 the formation of flowing melodious phrases in the several 
 voices. Upon examination of each of the three lower 
 voices in the above exercise, we find first a good though 
 simple bass, that is there are no repeated notes, a very 
 ample range is secured, the part is an effective combina- 
 tion of diatonic phrases and natural leaps, and lastly, the 
 part when sung is felt to have an onward sweep fron> 
 beginning to end. 
 
 The writer has actually known this bass to be written to 
 the above melody, and if harmonic correctness were the 
 only consideration, it would be a perfectly possible lower 
 part. But when examined as a professed melodious outer 
 part, it is seen to be decidedly inferior throughout its course, 
 for it either weakly repeats itself or leaps aimlessly about. 
 In the two inner voices we find as usual repeated notes, 
 but the alto from the fifth to the tenth measure has a mel- 
 odious phrase, while the tenor has an unusual amount of 
 range and variety. In this case the tenor is a better inner 
 voice than the alto. In simple writing for voices we shall 
 seldom be able to make the alto and tenor voices equally 
 good. We now tiranspose the same subject into G major 
 and place it in the bass, with one altered note at the end 
 to secure a better cadence. Our aim must now be to com- 
 pose a good counter-melody in the soprano and to make 
 the inner voices as varied as the simple style will allow. 
 
Four-Part Writing 
 
 ^57 
 
 ^ 
 
 r I T r r 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 fe 
 
 ^ 
 
 :^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ? 
 
 S 
 
 '^'^l if I J J I j f' 
 
 ■il .1 J I -^ 
 
 i 
 
 ^ 
 
 m 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^^^ 
 
 ^m 
 
 m 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ft 
 
 s 
 
 ^ 
 
 (^ 
 
 ^ 
 
 ^a 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 In this setting also the tenor is a rather more melodious 
 voice than the alto. 
 
 §io8. At the discretion of the teacher, this melody and 
 the subsequent ones may now be placed in the alto and 
 tenor voices. It is freely acknowledged that these exer- 
 cises, even when in simple style, are difficult. Never- < 
 theless the good results coming from an intelligent and 
 methodical practice upon them are so lasting and so evi- 
 dent that the student is urged to persevere. In this sub- 
 ject, as in others, there is no short and easy road to the 
 summit of Parnassus.' Nothing but the most consci- 
 entious work will ever equip a man with the facile ingen- 
 uity and the sure judgment which are the most valued 
 , characteristics of the cultivated musician. We must always 
 remember, moreover, that there is no glory in coun- 
 terpoint exercises per se; they are not an end in them- 
 selves, but a means to an end, namely, — the power of 
 free part-writing. So at this point in his studies, con- 
 tinuing at the same time his strict practice, the student 
 may well refresh his mind along various side lines. First, 
 he should try his own hand at original composition, that 
 is, short four-part songs and hymn tunes, at first in 
 
158 
 
 Tonal Counterpoint 
 
 " a capella " style, and later with simple accompaniment. If 
 the student has any genuine aptitude for musical com- 
 position, and if the study of counterpoint is to mean any- 
 thing more to him than a general mental training, he must 
 have often felt the instinct to utter some musical thoughts 
 of his own. This feeling he should from now on sedu- 
 lously cultivate. In fact, counterpoint as a living study 
 is of little value except as it trains us to express our own 
 thoughts with greater ease and certainty. The musical 
 imagination, like anything else, grows stronger under reg- 
 ular practice. Secondly, he should analyze the most 
 noteworthy chorals of Bach, Mendelssohn and others, with 
 reference both to their harmonic and their contrapuntal 
 aspects. This work will be found to be most interesting 
 and stimulating. Works which contain particularly beau- 
 tifvil chorals are the " Passion Music according to St. 
 Matthew," of Bach; the " Christmas Oratorio" of the 
 same composer; the " St. Paul," and " Elijah " of Men- 
 delssohn, and Bach's Cantatas. 
 
 In this exercise we have a periodic melody of sixteen 
 measures, consisting of two sentences of eight measures 
 
Four-Part Writing 
 
 159 
 
 each. Each sentence is divided into two four-bar phrases 
 which in turn may be subdivided into sections of two 
 measures each. By a still finer subdivision we reach the 
 motive, which in this case is an accented note preceded 
 by one unaccented. 
 
 §109. Henceforth, before beginning the harmonization 
 of given melodies, the student should sing and play through 
 the entire melody, and count the number of measures. 
 Most melodies contain an even number, that is, eight, 
 twelve, sixteen, etc., and these will subdivide naturally 
 into phrases of two or four measures in length. Although 
 the student who has been well grounded in harmony will be 
 familiar with the usual types of cadence, authentic, plagal, 
 half cadence, deceptive, etc., he should now strive for 
 familiarity with all the cadential possibilities for the ends 
 of phrases. A phrase may finish on any degree of the scale, 
 and this in turn may be approached from any degree. It 
 is very valuable practice to make out, under the guidance 
 of the teacher, a table of all the possible cadences for the 
 several scale degrees. For instance, a phrase ending on 
 the tonic will have one of the following progressions : 
 
 -f-^ 
 
 -rr- -^ 
 
 t' \ 
 
 =^ 
 
 [J 
 
 rrri 
 
 fV 
 
 
 N 
 
 =f= 
 
 {' (^ 
 
 « 
 
 ¥^ 
 
 yjLy 
 
 
 
 
 c 
 
 M 
 
 -&- 
 
 
 
 1 f II 1 1 
 
 yy] 
 
 A little thought will show that each of these groups may 
 have several different harmonizations which in turn may 
 be used according as they occur in the course of a melody 
 or at the end of the last phrase, (a) and {h) allow the fol- 
 lowing different treatments: 
 
 fe 
 
 =f= 
 
 A 
 
 ^ 
 
 A 
 
 J. 
 
 A 
 
 P^pg 
 
 A 
 
 A 
 
j6o 
 
 ' 1 onal Counterpoint 
 
 It is obvious that the notes 
 
 fi r II ri r 
 
 can be found also in C minor and will allow an equally- 
 varied harmonization in that key. (c) will give us either 
 
 d=^ 
 
 ^ 
 
 
 i 
 
 u 
 
 J. 
 
 ^ 
 
 u 
 
 r 
 
 or will imply a modulation to the key of A minor. 
 
 In like manner the student should make out a chart for 
 phrases ending on the supertonic, that is, for the follow- 
 ing groups : 
 
 |,i;iMr i i nri^ i i'J i r i inr i if i r^ 
 
 and so on, with all the scale degrees. Now to return to 
 the melody in F minor given on p. 158, the student will 
 see, on counting the measures, that the chief cadences 
 occur at (a), (6), (c), (d), (e) and (/), 
 
Four-Part Writing 
 
 i6i 
 
 although each group of two notes has a more or less defi- 
 nite cadential effect. At (a) we have used a deceptive 
 cadence to avoid any effect of finality at the very outset. 
 At (&), where a diminished seventh chord is resolved into 
 its own tonic, both chords are in inverted positions in 
 order to keep up the feeling of progress. At {c) we have 
 a cadence in the dominant of the relative major, and at 
 id) a perfect cadence in the related key of Dt major (a 
 modulation being demanded by the gt in the melody 
 itself). At {e) instead of the cadence used there might 
 have been a half close in F minor; that is, 
 
 but as the melody must soon end in that key, more variety 
 is obtained by holding off from it as long as possible. If 
 the student will now play through the above exercise, he 
 will observe that each cadence is different from any one 
 of the others. This matter of variety of cadence is one of 
 the most important points that have been so far discussed. 
 There is hardly any more practical or interesting way to 
 develop musicianship than in trying to obtain character- 
 istic and varied cadences. The same cadence should 
 seldom be used twice in a melody, and it is never good to 
 repeat the same cadence for consecutive phrases. In the 
 middle of a melody a perfect cadence in the tonic key 
 should be avoided as far as possible. From now on the 
 student should carefully analyze the cadences in whatever 
 music he plays or hears. The wotks of Schumann are 
 particularly rich in daring and individual cadence-effects. 
 Some interesting examples are herewith cited from vari- 
 ous composers. 
 
1 62 
 
 Tonal Counterpoint 
 
 Mendelssohn. 
 
 " St. Paul," No. II 
 
 Painb. "CEdipus,*' No. 2 
 
 Hva lowtrt 
 
 'HMi\V\'ii \ tm 
 
 ^m 
 
 ^ 
 
 n j^ 
 
 ? 
 
 ^ 
 
 ^^ 
 
 M 
 
 ^m 
 
 ^ 
 
 r, JjjJ: pr 
 
 I I diifi.eWit. I r I 'WP I 
 
 ^ 
 
 fsf 
 
 Paine. " Birds of Aristophanes," No. 2 
 
 .Sw« lower 
 
 ^ 
 
 
 1 
 
 F^ 
 
 —s — 
 
 ^44- — "n^ 
 
 -«^ 
 
 r 1 
 
 8^ 
 
 '5 
 
 
 -Iw 
 
 
 
 
 =-— 
 
 Let us return for a moment to the version with the- 
 melody in the soprano. At (a) the third is doubled in 
 the tenor to gain a fresh note at the end of the ascending- 
 phrase, the skip downward from c to g being also efEe^tivfe. 
 It is seldom good to have the tenor and bass move so long- 
 in Tjarallel thirds as at (6); in this case, however, they are 
 justified by the sequence in the melody, the usual weak 
 effect of continuous thirds being removed by the fact that, 
 the first notes in each group of quarters are accented pass- 
 ing notes and form a characteristic dissonance with the 
 upper voice. 
 
 § I ID. The same melody is now transposed into B\> minor 
 and placed in the bass. 
 
Four-Part Writing 
 
 163 
 
 ^ 
 
 g^ 
 
 m 
 
 ^ 
 
 ^ 
 
 /2_bja 
 
 ^ 
 
 ^ 
 
 ^ 
 
 It 
 
 it 
 
 ;p=F 
 
 m 
 
 m 
 
 E^ 
 
 s 
 
 ^ 
 
 ^ 
 
 i^mf 
 
 i 
 
 o 
 
 ^ 
 
 ^m 
 
 This exercise has been purposely harmonized in simple 
 style, note against note. We now take the same bass 
 melody and, preserving the former harmonic basis, con- 
 struct short melodious phrases in the different voices. 
 This procedure has been adopted as a model for the stu- 
 dent in his treatment of subsequent exercises, and until he 
 can rely upon his harmonic instinct, working subconsciously, 
 so to speak, it will be found a very helpful method, 
 though it must not be allowed to degenerate into a mere 
 mechanical formula. 
 
 m 
 
 ^ 
 
 i 
 
 
 -m 
 ^^ 
 
 m 
 
 M 
 ^ 
 
 
 ^ 
 
 
 m 
 
 m 
 
 ]Mjg 
 
 ^ 
 S 
 
164 
 
 Tonal Counterpoint 
 
 iM'\' \ r'\ 
 
 f9?\ 
 
 m 
 
 g 
 
 m 
 
 m 
 
 p 
 
 B 
 
 m 
 
 i»ck 
 
 m 
 
 M 
 
 m 
 
 ^ 
 
 m 
 
 &k 
 
 m 
 
 m 
 
 m 
 
 m \ >i' I' 
 
 m 
 
 ^ 
 
 m 
 
 ^ 
 
 m 
 
 m 
 
 /7\ 
 
 i 
 
 m 
 
 m 
 
 ^ 
 
 p 
 
 ^ 
 
 The above exercise is by no means put forth as perfect 
 counterpoint. The tenor is rather monotonous for a good 
 independent melody, and the other voices, as the student 
 doubtless sees for himself, are constrained and awkward 
 in places. It is simply an example of possibilities in 
 a rather limited field. At the discretion of the teacher 
 the same melody may be treated in the alto voice in the 
 key of B minor, and in the tenor in the key of E minor. 
 
 Exercises 
 
 hf \ rri fHrUu-^i^if i j^i'^ 
 
 The same melody to be placed in the bass in the key of F 
 major, in the tenor in E major, and in the alto in Ab major. 
 For the version in the bass, in order to allow a better 
 cadence, the last few measures may be altered as follows : 
 
 . Q B '.. i-T , 1 „ o 1 , ,, ^1 1 1 1— r , 
 
 fef- = =^=P=#=-^ = =^ = ^-==P-=- 
 
 This melody may be treated in turn, in the bass, key of 
 A major; tenor in E major, and alto key of B\> major. 
 
Four-Part Writing 
 
 i6s 
 
 ^ 
 
 r-' (iU>r, JT\ 
 
 1^ 
 
 ^ 
 
 ^^= ^ 
 
 1^^ 
 
 ^ 
 
 ^ 
 
 ^^ 
 
 ' j'^ i f rr 
 
 Same melody with motion of quarter notes in the different 
 voices : 
 
 etc 
 
 The same melody to be treated in like manner in the three 
 other voices, — that is, first in simple style, then with mixed 
 counterpoint of two notes against one in the accompanying 
 parts. Choice of key is left to the discretion of the stu- 
 dent. 
 
 In the harmonization of this melody suitable keys for the 
 different voices are Bb major for the bass, D major for 
 the alto and A major for the tenor. 
 
 §111. Very valuable practice is afforded in the forma- 
 tion of a flowing contrapuntal voice "by writing a bass part 
 of two notes against one ^ith the melody in aiiy oiie of the 
 upper voices. Three examples of this kind follow. 
 
i66 
 
 Tonal Counterpoint 
 
 No. 2 is the same melody in the alto with a like treatment 
 in the bass. At (a) the fifths between tenor and bass 
 are saved by the exceptional change of harmony on the 
 second beat, which sufficiently diverts the attention: 
 
 transposed from above 
 
 2. 
 
 1^^ 
 
 m 
 
 etc. 
 
 ^1 
 
 ■2=&- 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^^ 
 
 faJfU 
 
 ibc 
 
 W^ 
 
 3. 
 
 ^ 
 
 P 
 
 ^ 
 
 ^ 
 
 e/c. 
 
 ^^ 
 
 ^=F 
 
 ^ 
 
 ^^ 
 
 S 
 
 IH J J Nil *' S 
 
 _^.a,,j{u ,_^ ^1 — ^ ■ ■ ■ ^ „ >, n ■ i ^ 
 
 ri'TJijJhiriMrirrirnrrirJi^^w 
 
Four-Part Writing 
 
 167 
 
 While working on the above exercises the student is 
 advised to look up as models of style for this kind of writ- 
 ing, Choral No. 164 in Bach's " 371 Four-voiced Chorals," 
 and also the second chorus in Mendelssohn's " Athalie." 
 A more elaborate example of a " basso continuo " may 
 be found in the wonderful " Credo " of Bach's Mass in B 
 minor, and also in the final elaborate treatnient of the theme 
 in the Tannhaiiser March, Act II, Scene 4. These and 
 analogous examples which the student should search out for 
 himself will repay careful study. As to the actual render- 
 ing of the three exercises given above, we may imagine 
 voices in unison on the melody, and the harmonic accom- 
 paniment played on the organ, with the running bass made 
 especially prominent on the pedal. 
 
 Supplementary Exercise 
 
 rfv'Vr Frrr 
 
 ^ 
 
 m 
 
 ^ 
 
 ^ 
 
 fe 
 
 ^ 
 
 ^ 
 
 ^m 
 
 ^ 
 
 ^ 
 
 eic. 
 
 ^ 
 
 |>7j.j | jr i iiprr i -irif''r i rr i nir'f i V'p ^ 
 
 ' §112. These, and similar melodies should now be worked 
 out with a flowing counterpoint in one of the inner voices. 
 It will now be more difficult to compose an interesting and 
 varied counterpoint, on account of the limitations in range 
 incidental to the inner position. Of course when we come 
 to free writing for strings and are composing a flowing part 
 for the second violin for example, we shall often cross it 
 above the first violin or below the 'cello. In these present 
 exercises, however, the student should avail himself of 
 this freedom somewhat rarely, if at all. A most valuable 
 part of the practice in counterpoint exercises consists in 
 the attempt to achieve artistic results with simple material 
 and with certain self^mposed limitations. Several exer- 
 cises are begun, to be completed by the student. 
 
Tonal Counterpoint 
 
 Same melody as No. 3, §111 ; transposed into-F major. 
 
 2. 
 
 ^^ 
 
 ^^m^^w 
 
 ^^ 
 
 i^ Vtrrnr 
 
 #qc 
 
 P 
 
 V'^aif i 
 
 etc. 
 
 ^ 
 
 ? 
 
 Same melody as No. i, §iii ; transposed into D major. 
 
 Occasionally a suspended note may be used as at (a), but 
 with tlie note struck again, not tied, in order that the motion 
 may not be broken. 
 
 M J I r V r 
 
 ^ 
 
 J Ir -J r y-^ 
 
 !.. :t f y 
 
 ^ 
 
 >i,r » 
 
 I , ■,» (» rj r^ 
 
 ^S 
 
 ^s 
 
 ^^ 
 
 e/c 
 
 l^g 
 
 ^ 
 
 ^m 
 
 w =^ 
 
 W — m = m =iZ 
 
 j^^'iTffiy c i rr^i i Hi piJJ^iJf^pifr^pi 
 
^Four-Part Writing 
 
 At (a) and (6) we have purposely crossed the tenor above 
 the alto, to illustrate the actual adoption of this device for 
 extending the range of an inner voice. At both places 
 we are saved from going over again the same notes as in 
 preceding measures. The student may now work out 
 the same melody with a flowing alto voice, which may 
 occasionally cross above the soprano, or drop below the 
 tenor. This should not be done, however, at the first indi- 
 cation of difficttlty, but only when distinct advantages 
 in interest and variety are thereby gained for the contra- 
 puntal part. As far as possible one should strive to 
 construct a good alto voice in its normal position. The 
 exercise may begin as follows : 
 
 Same melody as above 
 
 5. 
 
 ^ 
 
 m 
 
 ^ 
 
 ^^ 
 
 1^ 
 
 t^ 
 
 ^ 
 
 fe^S 
 
 1^ 
 
 etc. 
 
 ^m 
 
 ^^ 
 
 ^^ 
 
 m 
 
 ^ 
 
 ^ 
 
 §113. Let us now take up the harmonization of some 
 of the standard choral melodies. In this work, as soon as 
 possible, all the ingenuity and skill of the student should 
 be expended upon the melodic independence of each voice. 
 At first, however, as he will doubtless have to pay con- 
 siderable attention to the harmonic basis, he should con- 
 
1^0 
 
 Tonal Counterpoint 
 
 tent himself with plain chords and occasional passing notes. 
 The chief aim should be to secure firmly moving progres- 
 sions in the bass, and in the early stages of the work there 
 should be no attempt to make the inner voices elaborate. 
 To illustrate the general style of treatment, we now har- 
 monize a choral. The one selected is the German choral 
 " Freue dich, O meine Seele ": 
 
 Ott 
 
 . 
 
 
 1 
 
 
 
 /rs 
 
 
 
 
 1 
 
 re\ 
 
 
 
 
 
 
 fr*a 
 
 
 
 AM J- 
 
 3:^ 
 
 ^ 
 
 --I 
 
 i 
 
 ^ 
 
 V 
 
 Vi 
 
 — -*■ 
 
 l=i^ 
 
 
 ^=K 
 
 S^ 
 
 
 ptj 
 
 W 4 f 
 -M !3 
 
 V" 
 
 S 
 
 ^ 
 
 -P«J V 
 
 ^ 
 
 -I, 
 
 fT\ 
 
 ■-K 
 
 
 — 1 
 
 1 — , 
 
 -4-+1 — 1 
 
 
 
 y ffr. 
 
 h 
 
 = ^ 
 
 ^ 
 
 ^ss 
 
 -^ 
 
 ""I* 
 
 E: 
 
 I"* 
 
 f 
 
 S:y4oi5j 
 
 •f 1 
 
 
 
 
 a-' 
 
 — 1 
 
 
 
 
 
 
 
 3-1 
 
 
 
 
 ■f-^ 
 
 
 
 The cadences are plainly indicated by the holds, and it is 
 always best for the student to sketch these in first. When 
 the first line is repeated, as is often the case, the repetition 
 should be written out and new effects of cadence and of 
 modulation introduced. It is seldom good in any form 
 of composition to repeat a phrase or period literally; the 
 attention and interest of the hearer should always be pre- 
 served by some change of harmony or some new touch of 
 rhythm. At the end of the first phrase it is obvious that 
 there may be either a plagal cadence in the key or an 
 authentic cadence in the key of the dominant. As the latter 
 is the more varied, we save it for the, repetition. Note that 
 in general the mediant in the melody will demand tonic har- 
 mony. At (a) , however, variety is gained by a modulation 
 to the dominant of the relative minor. The other cadences 
 need no explanation save the one at {b). Here, after the 
 modulation into a minor, we have somewhat exceptionally 
 used the last beat of the measure for a return -to the naain 
 key. The cadences selected are written out in close score. 
 
 M 
 
 ^^ 
 
 ^m 
 
 ^M 
 
 B 
 
 
 
 
 ^ 
 
 I 
 
 i 
 
 P 
 
 «• ^ a.-V I L I 
 
 V ". • 1 e.« V ' 
 
 * The natural hiatus between the phrases removes all bad efEect from the cross- 
 relation. 
 
Four-Part Writing 
 
 171 
 
 The student will readily understand the following simple 
 version without any comments. 
 
 fc 
 
 A JJ*'«' | j J 
 
 /^ 
 
 M 
 
 ^ 
 
 o 
 
 ^ 
 
 i 
 
 Hii nffrp 
 
 ^ 
 
 ^ 
 
 ^ 
 
 e 
 
 m? 
 
 S 
 
 C\ 
 
 ^ 
 
 B«*^-^ 
 
 i^ 
 
 ^ 
 
 m 
 
 ^ 
 
 ^ 
 
 p 
 
 ^ 
 
 ^a if-tff 
 
 ^ 
 
 fc 
 
 :i^ 
 
 /T\ 
 
 ^ 
 
 Observe that the last note of the melody is lengthened 
 and a free ending added. This is often done by Bach, Men- 
 delssohn and others in their treatment of choral melodies, 
 and the' practice may be adopted by the student, as he 
 will thereby be afforded a valuable opportunity for the 
 exercise not only of his fancy but of his good taste. An 
 instructive example of this form of ending may be found 
 
1^2 
 
 Tonal Counterpoint 
 
 in the choral "Sleepers, Wake," from Mendelssohn's " St. 
 J'aul." These extended endings (almost invariably with a 
 pedal point in one voice or in several at once) are by no 
 means limited to vocal music. Very interesting examples 
 of their use may be found in the following preludes and 
 fugues from the "Well-Tempered Clavichord": 
 
 Prelude No. IX, Book I 
 
 VH^^rKf^^^ 
 
 
 # 
 
 ^ 
 
 r 
 
 ^ 
 
 Fugue No. VII, Book I 
 
 Vi» 
 
 For a more elaborate modem example see the following 
 passage in Brahms' variations for orchestra on a choral 
 theme by Haydn: 
 
 Variation No. 3 
 
 §114. We now give for analysis two different harmoni- 
 zations of the same choral taken from the works of Bach. 
 
Four-Part Writing 
 
 173 
 
 The first, composed of simple chords, is largely harmonic 
 in style, though the inner voices are by no means devoid 
 of interest. The second, with its wonderful florid part- 
 writing, may be considered as the style towards which, in 
 general, the student's work should tend. For some time, 
 however, his attempts will look far more like the former 
 example, and rightly so. 
 
 Bach, " Johannes Passion " 
 
 In this version the following points are especially worthy 
 of notice: The varied range and sturdy swing of the bass; 
 the repeated notes in the tenor at (o), which would seem 
 
174 
 
 Tonal Counterpoint 
 
 to justify its derivation (teneo, I hold); likewise the sus- 
 tained alto part at (6) ; and, lastly, the rather unusual modu- 
 lation into the subdominant at (c). 
 
 Bach. Cantata, " Sehet, wir gehen hinauf " 
 J7\ , ^ ftN I f^ 
 
 In this example the student should play through each of 
 the four voices by itself and observe their extraordinary 
 variety and range of movement. The choral is a com- 
 bination of four separate melodious parts, in which there- 
 are hardly any repeated notes; only once in the tenor at 
 
Four-Part Writing 
 
 175 
 
 (a) and once in the alto at (b). Note that at two places, 
 (c) and {d), the range of'the inner voice has been widened 
 by crossing. Even the bass is once for a moment crossed 
 above the tenor at {e). The use of anticipations in the 
 bass shown at (/) is rather rare, though common in an upper 
 part. Among manifold points of melodic interest in_ 
 this beautiful choral which the student may discover for' 
 himself, the majestic sweep of the bass in the ascending 
 diatonic passage of the opening measures is especially 
 noteworthy. 
 
 Exercises 
 
 Chorals to be harmonized. 
 
 " Christus der ist mein Leben." 
 
 i. y'MiJiJjiJ I' \f.'l\ J \' \ f >l I J J u p 
 
 ^'•I'rr i rr i rr i Hh^ ^uj 
 
 ^ 
 
 m 
 
 " Mach's mit mir Gott, nach deiner gut." 
 
 Nun danket alle Gott." 
 
 3. i f / ir i rrrrirr'rr^r i -J^"- i i ^1^ 
 
 ^>"j, Ji^frrrfT i rrrr'f7i^^ 
 
 m 
 
 " Auf meinem lieben Gott." 
 
 I7\ 
 
 " Wer nur den lieben Gott lasst walten." 
 
 I 
 
 «5 
 
 
 h 
 
 r^i irirrrrir-prnrrrc/T ^ 
 
1^6 
 
 Tonal Counterpoint 
 
 " Nun ruhen alle Waldem." 
 
 Erhalt uns, Herr, bei deinem Wort." 
 
 " Mein Augen schliess' Ich jetz." 
 
 Schmiicke dich, Hebe Seele." 
 
 ^ 
 
 ir\ 
 
 
 
 
 
 ^ 
 
 
 n n ■'^ 
 
 
 
 - 1 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 W (' r 
 
 ^ 
 
 :i 
 
 
 -^ 
 
 ^ 
 
 "^IT 
 
 j^iy^ 
 
 Vf^ 
 
 
 ^ 
 
 - 
 
 — 1 
 
 tr 
 
 -t — r-' 
 
 
 
 
 hV— ' 
 
 
 
 
 y-Pf-tj 
 
 
 
 
 
 "AUein Go 
 
 tt in der 
 
 Hoh', sei 
 
 Ehr." 
 
 iF=|=1 
 
 1 J J j .11 
 
 10-%-tVs: 
 
 t^N=^ 
 
 ^M^ 
 
 
 ' m 
 
 J ^ J • 
 
 " O Haupt vol! Blut und Wunden." 
 
Four-Part Writing 
 "Gott erhalte Franz den Kaiser." 
 
 m 
 
 " Ein feste Burg ist unser Gott. " 
 
 /7\ 
 
 §115. We now give some short and simple melodies to be 
 harmonized in contrapuntal style for four stringed instru- 
 ments, — first and second violin, viola and 'cello. Although 
 we shall not expect these exercises to exemplify all the 
 subtle points of detail in effective writing for strings (for 
 this it will be necessary to wait until we come to speak of 
 homophonic style and its relation to writing for string 
 quartet), still it is well for the student thus early to do 
 some simple four-part writing with strings in his mind as 
 the means of performance. The chief method of learn- 
 ing how to write for strings is to practise writing for them. 
 Even in the simplest style we are freed from certain limi- 
 tations of vocal writing, and we gain many advantages. 
 The fact that there need be no consideration of words en- 
 ables us at once to make the rhythm of the parts much more 
 varied and contrasted. In music written" to words it is 
 necessary, in general, that all the voices should sing the same 
 word or syllable at the same time, though often one voice 
 may sing a word to a note of a certain length, while other 
 voices have flowing parts of two, three 'or four notes to 
 the same word. This, however, can only be done with 
 certain words. Only in the most florid, fugal style of Bach 
 are all the voices singing in different rhythms for a long 
 time, and if this style were attempted by a novice, a mere 
 jumble of syllables and notes would be sure to result. But 
 in writing for strings the utmost freedom and contrast in 
 rhythm is possible. In fact, our aim should be to give 
 each part, as far as possible, a distinct rhythm of its own 
 
j'^S Tonal Counterpoint 
 
 and at the same time to keep the writing natural. Good 
 writing is never labored or constrained. Likewise we 
 need not consider the breathing; a stringed instnxment 
 can sustain a note as long as it is desirable for it to be 
 heard. Again, the range of strings is far greater than that 
 of voices. At first, however, the student is advised in this 
 respect to treat his instruments like "idealized" human 
 voices, and not to write at length, either in the highest or 
 lowest part of the compass. For practical purposes the 
 
 range of the 'cello may be said to be from 
 
 of the viola, from 3g 
 
 of the second violin, from ffk ^" 
 
 m 
 
 and o£ the first violin, from jL In 
 
 u 
 
 156 ^ 
 
 ■5 
 
 Strings can also move at a far greater speed than voices, 
 hampered as the latter are by the fact that the words must 
 be distinctly pronounced. Bolder leaps may also be taken 
 by strings and more chromatic intervals used, though at 
 first the student is earnestly cautioned against the use of 
 strange, unmelodic intervals until he has acquired the cul- 
 tivated judgment to know just when some special effect 
 is worth while. He is by no means expected to introduce 
 at once all the complicated chromatic chords he may know. 
 Only little by little will his work for strings look very dif- 
 ferent from that for voices. From the very outset, how- 
 ever, his eye must be trained to read that form of open 
 score peculiar to writing for strings. The 'cello which 
 
 plays the bass, is written either on the F clef *)' 
 
 or that which has middle C here, | | ^ 
 
 according as the position is low or high; the viola, which 
 
Four-Part Writing lyg 
 
 plays the tenor, is written on the clef which has middle C 
 
 ■on the third line; that is Bjj - 
 
 while both the second vioHn and the first violin, which 
 play the alto and soprano parts, respectively, are written 
 
 on the G or so-called violin clef ; that is, 
 
 The chord of C major written in open position will now 
 look like this: 
 
 l4 Violin 
 
 24 Violin 
 
 Viola 
 
 Cello 
 
 §ii6. We now take the following short melody from 
 "Gluck and harmonize it for strings: 
 
 Gluck 
 
 It is obvious that the simplicity of the theme will demand 
 ^ simple style of treatment, and we shall use nothing but 
 the harmonies inherently impUed by the melody itself. 
 At the same time we shall try to make all the parts as 
 interesting as possible, and strive particularly for variety 
 ■of rhythm. 
 
 1^ Violin 
 
 ^^ 
 
 ^^ 
 
 ■ f 
 
 ^ 
 
 
 ^ 
 
 p 
 
 24 Violin 
 
 t, 2'tVi2i 
 Viola^,^ I 
 
 * d . 
 
 Cello- 
 
 ^^ 
 
 P 
 
 V-'iilf- Pf 
 
 m 
 
i8o 
 
 Tonal Counterpoint 
 
 In this example, simple as it is, the student, by playing 
 over the several parts, will see that each one has a distinct 
 rhythm of its own which, as far as possible, is made to 
 contrast with that of any oile of the three other voices in 
 a given measure. In fact, in only three places do too- 
 voices have the same rhythm. In the second measure the 
 alto and bass are alike ; in the third, the soprano and tenor, 
 and in the next to the last the two inner voices. In the 
 fourth and fifth measures notice how effective are the sus- 
 tained notes in the tenor and alto. At (a) mark the pleas- 
 ing effect of dissonance caused by the accented passing; 
 note c in the alto heard against the c# in the bass. 
 
 § 1 1 7. We now treat in like manner the following melody 
 from Schubert: 
 
 Allegretto 
 
 ^'hi^\n^[X! \ ^y^.^ \ r p rj JifN^'^ 
 
 ^ V rn.., i l k* M m , rriffff Ki Rgf^ 
 
 As the melody in itself is more varied rhythmically than 
 the preceding, we shall use a more florid style. The melody 
 is also periodic, as the student will see on playing it over 
 and counting the measures. It is an eight-bar sentence 
 expanded into ten. ' As the student who has studied " mu- 
 sical form" will know, one of the very best ways of 
 marking the subdivisions of a musical sentence is by modu- 
 lations into related keys. So at the fourth measure, as 
 the melody allows it, we shall make the time-honored mod- 
 ulation into the dominant; and at measures 2 and 7, the 
 a#'s in connection with the d's following wdll naturally 
 
Four-Part Writing 
 
 i8i 
 
 lead us into the related and yet contrasting key of B minor. 
 Although these exercises are written for strings, nothing 
 as yet has been said about "bowing" and the special marks 
 of phrasing which are always indicated in writing for 
 stringed instruments. It has been thought best to reserve 
 this important feature for a later chapter, in which the 
 more intricate points in writing for strings will be explained. 
 For the present it is understood that all the parts are to 
 be played legato, with the natural phrasing any violinist 
 would instinctively use, except where the special effects of 
 staccato or of pizzicato are marked. The professional 
 musician will readily condone this omission. 
 
 n^^ pr prir iJTllJ p^ 
 
 r-fC^ m 
 
 ^^ 
 
l82 
 
 Tonal Counterpoint 
 
 After an analysis of this illustration, which, indeed, is 
 distinctly vocal in the smooth, melodic flow of the parts, 
 the student will understand more clearly the meaning of the 
 statement that in general it is possible to make the rhythm 
 freer and more varied in writing for strings than for voices. 
 If the above melody were to be sung by voices, the exi- 
 gencies of the words would be such that only in a very 
 florid style could we have the contrasts we have made. In 
 the eighth measure, for instance, the second violin holds 
 a note for five beats, while each of the other parts has a 
 different rhythm. 
 
 Exercises 
 
 §ii8. Whenever the following exercises are of a florid 
 character and have notes of different length, the student 
 before working them out should play each melody through 
 carefully, and as far as possible decide beforehand just 
 which notes he will treat as harmony notes, and which as 
 passing notes (both unaccented and accented), or as aux- 
 iliary notes. In this matter it is impossible to state any 
 hard-and-fast rule as to which notes should be treated so as 
 to outline the harmony. In general, those notes should be 
 selected which give the strongest harmonic progressions, 
 and very seldom should each note of the melody be har- 
 monized with a different chord. Much depends, of course, 
 upon the speed of the music. At a rapid tempo the har- 
 monic changes need not be, in fact ought not to be, so fre- 
 quent as at a slow tempo, when it is generally very weak 
 and monotonous to continue the same chord or related 
 chords through many notes of the melody. In this impor- 
 tant particular the student must strive to cultivate a 
 true harmonic instinct, and must follow carefully the criti- 
 cisms and recommendations of his teacher. 
 
 Larghetto 
 
 Mozart 
 
Four-Part Writing 
 
 Andante 
 
 183 
 
 Beethoven 
 
 The student will find it valuable practice to treat the 
 above melody twice. First, in simple style, in which case 
 the first phrase might be. somewhat as follows: 
 
 Andante con moto 
 
 Afterwards a more florid version may be made, in which 
 the motion of four sixteenths to a beat is to be kept up in 
 some one of the parts. The last note of the melody may 
 be prolonged, and the student may try his hand at an 
 elaborate ending. 
 
 The following measures will indicate the general style of 
 this setting: 
 
 Andante 
 
i84 
 
 Tonal Counterpoint 
 
 Largheito 
 
 3. 
 
 SCHUBBRT 
 
 f'' i >''i( pi r-^^Jpir r ?rnC j ^ j'ii' ^\\\\ ^ 
 
 In working out these exercises the student should con- 
 stantly strive to secure freedom and individuality by the 
 use of accented passing notes, suspensions, appoggiaturas, 
 etc., and especially should he kindle his enthusiasm and 
 improve his style by looking up examples of free writing 
 for strings in the works of the great composers. A few 
 illustrations are cited. 
 
 Adapted from Chadwick's " Harmony " 
 
 
 From Schubert's Quartet in D minor. 
 
 Andanie eon moto 
 
Four-Part Writing 
 
 185 
 
 ^ 
 
 S 
 
 i 
 
 ^ 
 
 * 
 
 cresc. 
 
 ^ 
 
 m 
 
 ^ 
 
 ^ 
 
 ♦# 
 
 ^^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 j3^ 
 
 ^ 
 
 
 
 S 
 
 P 
 
 P 
 
 cresc. 
 resc. 
 
 cri 
 
 ^ 
 
 •1.'^ P JJ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 This wonderful example of writing for strings should 
 be carefully studied and each voice sung throughout. 
 Although it is entirely without variety of rhythm, yet the 
 chords are grouped so artistically that the effect is one of 
 perfect beauty. 
 
 Intermezzo 
 
i36 
 
 Tonal Counterpoint 
 
 'I'Tif J'r 'I'J".^^ 
 
 ^ 
 
 This beautiful movement from Schumann's String Quar- 
 tet in A minor, quite apart from aesthetic considerations, 
 affords a most inspiring model of style for the student, for 
 it abounds in suspensions, syncopations, accented passing 
 notes and subtle chromatic effects. 
 
 * At (o) and (i) let the parallel fifths be accounted for. 
 
CHAPTER IX 
 
 Double Counterpoint 
 
 §119. It is necessary now to learn something of that 
 form of counterpoint known as " double counterpoint," 
 not only because its practice affords valuable mental train- 
 ing, but because it is an integral part of the structure of 
 such common forms of composition as the pianoforte in- 
 vention, the fugue, and in most cases of the sonata and of 
 the symphony.* Furthermore, a free and incidental use 
 of double counterpoint is often made where the average 
 listener would not recognize it as such, although he might 
 be aware of some carefully planned design in the harmonic 
 structure. In Sullivan's well-known hymn tune, " On- 
 ward, Christian Soldiers," for instance, the sopranos and 
 the tenors answer each other in double counterpoint. 
 
 ^ I I I I , K I . . ■ B , \J, 
 
 1 
 
 '^^ 
 
 ^ 
 
 ^ 
 
 X-J- 
 
 S 
 
 
 J J 
 
 liiii 
 
 i.ij 
 
 Likewise in the opening measures of Chopin's Ballade in 
 A\> major there is free double counterpoint between two 
 of the voices; for example. 
 
 §120. By double counterpoint, therefore, we mean " in- 
 vertible counterpoint " ; that is, when two melodies, written 
 to be played or sung together, are capable of inversion, 
 either being above or below the other, they are said to be 
 
 * In almost any symphony may be found interesting examples of double coun- 
 terpoint. The first movement of Tschaikowski's Sixth Symphony is suggested as 
 a movement likely to inspire the student. The first and second aiovements of 
 Brahms' Second Symphony are also rich in examples. 
 
 187 
 
i88 
 
 Tonal Counterpoint 
 
 in double counterpoint. The inversion may take place at 
 any interval, but the two kinds which are most used, and 
 are of the greatest practical advantage to the student, are 
 double counterpoint at the octave and at the fifteenth. 
 Double counterpoint is also triple or quadruple, according 
 as we have a combination of three or four melodies, any 
 one of which may be the highest, the lowest, or an inner 
 part. In this brief manual we shall treat only of double 
 counterpoint at the octave and the fifteenth, for two or 
 for three voices. Those who are interested in double 
 counterpoint at the less usual intervals are referred to the 
 exhaustive treatises of Dubois, Prout and Bridge. 
 
 §121. Double counterpoint at the octave and at the 
 fifteenth are virtually identical as far as harmonic consid- 
 erations are concerned, the only practical difference being 
 one of position; that is, in double counterpoint at the 
 octave the two melodies in their first grouping are not to be 
 more than an octave apart, and the inversion is made by 
 placing the original lower voice up an octave, or the orig- 
 inal higher down an octave, while in either case one voice 
 remains as it is: for example, 
 
 Haydn. " Creation " 
 
 In this example the inversion is made by placing the 
 original melody up an octave, while the contrapuntal 
 voice retains its original position. 
 
 Subject Hahdbl. Te Deum in Bl> 
 
 ^ 
 
 ^ 
 
 S 
 
 m 
 
 w 
 
 K 
 
 m 
 
 ^ 
 
 Inversion 
 
 ^m 
 
Double Counterpoint 
 
 i8g 
 
 In the above example, on the other hand, the upper voice 
 is placed an octave below. Observe in both these exam- 
 ples that the distance of an octave between the subject and 
 the counterpoint is never exceeded. In double coimter- 
 point at the octave, whenever the two voices in the original 
 grouping are more than an octave apart, no real inversion 
 can take place by the change of only one of the voices, but 
 merely a contraction; for example, suppose that we wish 
 to invert the following phrase 
 
 ^^ 
 
 ^ 
 
 M 
 
 * 
 
 f>-»- 
 
 r=m- 
 
 by placing the lower voice an octave higher. As the 
 voices at * exceed the interval of an octave, it is evident 
 that here no inversion can be made; for example. 
 
 Here the latter part of voice A is still above voice B, 
 although the distance between the voices is contracted 
 
 from 
 
 S 
 
 to 
 
 I 
 
 ^ 
 
 The objection is sometimes made to double counterpoint 
 at the octave that the limitation of range hampers effective 
 writing, — that the necessity for not exceeding the dis- 
 tance of an octave between the parts is fatal to freedom 
 of movement. Doubtless this is true to some extent, yet 
 as Handel in the chorus, "We worship God," in "Judas 
 Maccabseus, " did not seem to be fettered by the limitation, 
 
igo 
 
 Tonal Counterpoint 
 
 or Mozart in his Mass in C minor, it will be well for the 
 student in early exercises to cultivate his ingenuity by the 
 formation of a melodious counterpoint without exceeding 
 the limit of an octave. 
 
 Handel. " Judas Maccabsus " 
 * 
 
 m 
 
 Mozart. Mass in C minor 
 
 e/c. 
 
 S 
 
 ^ 
 
 m 
 
 te^ 
 
 ^ 
 
 P 
 
 i 
 
 ^ 
 
 §122. In double counterpoint at the fifteenth (double 
 octave), the inversion is ordinarily made by raising the 
 lower voice an octave and at the same time lowering the 
 upper an octave. As a result, the position of the voices 
 is often much better than if only one had been changed, 
 and in the original grouping the limit of an octave need 
 not be preserved; for example, in the following phrase, 
 
 as the two voices are sometimes more than an octave apart, 
 it is clear that no continuous inversion can be^made by 
 lowering the upper voice an octave or by raising the lower. 
 If the upper voice is lowered two octaves, the register is too 
 low, while if the lower is raised two octaves, it is too high. 
 By moving each voice an octave, however, and in oppo- 
 site directions, a perfect inversion is secured and both 
 voices are in a convenient position; for example, 
 
 * Let the student write out the inverison for each of these examples. 
 
Double Counterpoint 
 
 igi 
 
 Some examples are now cited of phrases in double coun- 
 terpoint at the fifteenth. 
 
 Beethoven. Mass in D 
 
 2. 
 
 Inversion 
 
 Albrechtsberger 
 
 Phi-r^_ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 J -QJ i J 
 
 ^^ 
 
 /i^afij r r 
 
 -'• »> 
 
 -r—m — '-F~ 
 
 — ■ — 
 
 
 
 
 U 
 
 In the above example observe that, although the two 
 voices are within the range of an octave, the inversion is 
 made by transposing each voice, just as if the original 
 grouping had been made with reference to double coun- 
 terpoint at the -fifteenth. This plan is often adopted. 
 
ig2 
 
 3. 
 
 Tonal Counterpoint 
 
 Haydn 
 
 Inversion 
 
 [frVn 
 
 m 
 
 , m m» 
 
 -* ]P rr— 
 
 
 
 -^ 
 
 -■ 1. 
 
 1 r f 
 
 n rrrf 
 
 p 
 
 lU) — LiJ — 
 
 
 
 * * Vjj 1 — 
 
 
 4. 
 
 I 
 
 Handel 
 
 ^E 
 
 ^rrrrrry 
 
 tjf'Vi^i' r M >.. f r ir 
 
 p/rJ. 
 
 Inversion 
 
 ^^ 
 
 ^ 
 
 ^ 
 
 ^^rrrf^^ 
 
 e/r. 
 
 A^. B. — In the above example (No. 4), to gain a special 
 vocal effect, the upper voice "is lowered two octaves. 
 
 Mozart. Fugue for Orchestra 
 
 5. 
 
 I 
 
 m 
 
 'MarJjjIjjJJlpffplrc 
 
 Inversion 
 
 ^ 
 
 ^ 
 
 ^m 
 
 ^ 
 
 m 
 
 §123. When the above examples have been analyzed 
 it will be evident that they greatly resemble in general 
 
Double Counterpoint 
 
 193 
 
 appearance the previous exercises in simple, two-part coun- 
 terpoint. The student is far too likely to think of double 
 counterpoint as something recondite or almost cabalistic. 
 -This is by no means the case. Very often counterpoint 
 written with no reference to the rules of double counter- 
 point is yet perfectly capable of inversion. This statement 
 may be verified by referring back to examples in Chapter IV. 
 Infact, the arbitrary restrictions to be observed in writing 
 ■double counterpoint are few and simple, and we shall see 
 •clearly just what these limitations are if we compare all 
 the intervals within the octave with their inversions. 
 
 _fl * * 
 
 Intervals: i, 2, 3 
 
 (4, s), 6, 7, 8. 
 
 •oe- «P •«■ «■ 
 
 ^^^g^^m 
 
 # =good 
 
 Inversions : 8,7,6 
 
 (S. 4)> 3> 2. I- 
 
 It is evident, on examination of this chart, that thirds 
 and sixths invert in a satisfactory manner. Likewise the 
 unison and the octave, although they should not be em- 
 ployed often in two-part writing, except on the first and 
 last notes of an exercise. As the intervals seconds and 
 sevenths are of no harmonic significance in two-part writ- 
 ing,- they may be left out of consideration. Our atten- 
 tion, therefore, is centered upon fifths and fourths, and 
 these intervals chiefly require the student's care. 
 
 §124. Consecutive perfect fifths are, of course, forbidden, 
 and consecutive perfect fourths are equally objectionable, as 
 upon inversion they become perfect fifths. Even a single 
 interval of a perfect fifth is practically never used in double 
 ■counterpoint except on the accented beats as a disso- 
 nance regularly prepared and resolved, or on the weak beats 
 
 as a passing note; for example, not :(^ j I » 
 
 in the inversion of which the empty fourth 
 
 with a leap in the lower ^^__^ 
 voice is too prominent, but ^^' P ' f' 
 
 which inverts smoothly into 
 
ip4 
 
 Tonal Counterpoint 
 
 The following chart illustrates other correct and effective 
 uses of the fifth and of the fourth. 
 
 Inversions 
 r ^ 
 
 h 
 
 c 
 
 d 
 
 
 
 ftrfi 
 
 IIOuB.i ii 
 
 rPf^ 
 
 «^ 
 
 n 
 
 ^-- 
 
 M'- 
 
 oil laJTcIn 
 
 ^^ 
 
 rtS 
 
 I 
 
 : 
 
 ^ 
 
 lb#^ 
 
 SLO;^ 
 
 ^ 
 
 ^^IgcSU 
 
 f^ n"^ > ' 
 
 S- 1 I 
 
 i 
 
 
 -1 — 1 
 
 
 \ 
 
 ^fc 
 
 fU 
 
 
 = M 
 
 Of these exarapleSj (a), (6) and (c) are self-explanatory. 
 At {d) we see a fifth used as an accented passing note, and 
 at (/) a fourth is introduced even on an accented beat,, 
 where it is clearly an unessential note — an appoggiatura. 
 
 §125. The augmented fourth, however, and its inversion, 
 the diminished fifth, may be freely used on accented or 
 unaccented beats; for example, 
 
 A perfect fifth followed by a diminished fifth, resulting 
 when inverted . in a perfect fourth followed by an aug- 
 mented fourth, should not be used in double counterpoint 
 in two voices. The empty intervals are too prominent in 
 the outer voices; for example, 
 
 (a) (6) 
 
 Neither (a) nor (6) is good in two-part writing; (6) might be 
 
 altered into 
 
 Pf 
 
Double Counterpoint 
 
 195 
 
 In this case, the g being a passing note, the grammar is 
 perfectly correct. In three-part writing, however, when 
 the objectionable intervals are between an inner and an 
 outer voice, these fourths and fifths may be freely intro- 
 
 duced: for example. 
 
 §126. The augmented sixth is not available for double 
 counterpoint in two parts on account of the unsatisfactory 
 effect of its inversion, the diminished third: for example, 
 
 §127. The diminished seventh, however, may be used 
 if care be taken in the resolution; that is, if one of the 
 notes which form the interval be resolved before the other: 
 for example. 
 
 The diminished seventh must not be resolved to a fifth 
 upon an accented beat, on account of the fourth restdting 
 
 InTeision 
 
 from the inversion: for example 
 
 §128. The student should now look up for himself 
 examples of double counterpoint from the works of the great 
 composers. In this way he will form a good style far more 
 quickly than by merely reading the rules. A few well- 
 known passages are cited. 
 
 Leo. " Eyrie " 
 
 1^ 
 
 ^P^ 
 
 n 
 
 m 
 
 m 
 
 p 
 
 ^M 
 
 m 
 
 j^^=^ 
 
ig6 
 
 Tonal Counterpoint 
 
 Inversion 
 
 ji't i -i-^ r j c li' ^ ''^^^H-^ 
 
 i^ 
 
 |l|Lll'lll| 
 
 » ^ fj — fl 3X 
 
 Handel. ' ' L' Allegro " 
 
 Il ijM: J I J. J)J c m^ Cjl i; ; 
 
 ^M 
 
 ^m 
 
 ^ 
 
 w^m 
 
 Inversion 
 
 fi^tr - 
 
 ji-rr^ 
 
 ^ 
 
 ^ 
 
 ^m'^=r=i 
 
 *}n:r — 
 
 
 
 Ls — • 
 
 pi 
 
 biH 
 
 ^ 
 
 =^ 
 
 — •— — 
 
 9-= 
 
 ^ l><^ r. 
 
 
 C3 
 
 
 
 
 
 -S-IN 
 
 :^=£^ 
 
 ^ 
 
 Handel. Anthem 
 
 etc. 
 
 Inversion 
 
 ^m 
 
 (a) 
 
 W 
 
 ^ 
 
 ^ 
 
 m 
 
 m 
 
 mm 
 
 •y-hlitr 
 
 m 
 
 ^ 
 
 f 
 
 §129. In the above example there are certain liberties, 
 »ften to be found in free contrapuntal writing. At (a) a 
 passing modulation is introduced, and in the inversion the 
 
Double Counterpoint 
 
 197 
 
 passage is lengthened by the insertion of an extra measure 
 \h). Observe particularly the contrast in rhythm between 
 the voices. 
 
 Andante 
 
 Haydn. Symphony in D 
 
 §130. Of this passage the first eight measures are in 
 simple two-part harmony, though in the orchestral score 
 each part is doubled in the octave. At {b) the voices are 
 strictly inverted, and inner parts (not quoted) are added 
 to vary and strengthen the effect. 
 
 §131. A charming example of double counterpoint may 
 be found in No. VII, of Mozart's Pianoforte Variations on 
 " Unser dummer Pbbel meint." See also the following from 
 Beethoven: - — 
 
igS 
 
 Tonal Counterpoint 
 
 §132- 
 
 Beethoven. Quartet in C minor, Op. 18, No. 4 
 
 ii-' T ^ 
 
 \ i'^A^:m^ 
 
 §133. In the scherzo of Beethoven's Pianoforte Sonata, 
 Op. 26; may be found an excellent example of double coun- 
 terpoint. The student can easily look up the passage for 
 himself. It begins as follows: 
 
 §134. Likewise in the first movement of Beethoven's 
 Sonata in D Minor (Op. 31, No. 2) and in the finale of the 
 Sixth Sonata there may be found most inspiring examples 
 of double counterpoint. 
 
 §135. Finally in Bach's Passacaglia in C Minor for the 
 Organ there are most wonderful and elaborate passages in 
 double counterpoint that will repay careful analysis. 
 
 §136. Examples in free pianoforte style: 
 
 Schumann. " Nachtstflcke," No. z 
 
Double Counterpoint 
 
 Lento 
 
 Schumann. " Kreisleriana," No. a 
 
 jjg j2j— J j._j^ 
 
 [137. In order to illustrate the suggestions set forth in 
 §§123—127, we now work out a few simple two-part exer- 
 cises in double counterpoint. Many of these exercises 
 should be thought of as written for different combinations 
 of strings, — violin, viola, and 'cello. Not only do they 
 sound better when played on these instruments rather 
 than on the pianoforte, but valuable practice is gained in 
 the use of the special alto and tenor clefs. 
 
 I. To the following subject we are to write below a 
 double counterpoint in the octave. 
 
 Vtola 
 
 As the inversion is to be in the octave, the counterpoint 
 must never be more than an oclave below the subject. 
 The counterpoint must be not only a good bass to the 
 
200 
 
 Tonal Counterpoint 
 
 subject, but a melody which will be good when placed 
 above. Variety of rhythm between the two voices is espe- 
 cially to be sought, — that is, when the subject has long 
 notes the counter melody must be animated and flowing; 
 on the other hand, when the subject moves along, the 
 counterpoint must either move faster or else be sustained. 
 
 Viola s 
 
 Note carefully the contrasts in rhythm that are evident 
 both to the eye and the ear. 
 
 2. 
 
 , Violin 
 
 ^ 
 
 r i^t r 
 
 Viola 
 
 ^fji J^ 
 
 ^^ 
 
 ^^ 
 
 W 
 
 Violin In version 
 
 f.yioiu 
 
 ^^ 
 
Double Counterpoint 
 
 201 
 
 The only special points to be observed in this exercise are 
 the passing modulations into related keys. At (a) 'the 
 accented passing note is effective. 
 
 In this example in the minor mode, observe the smooth 
 resolution at (a) of the diminished seventh. At (b) we 
 use the melodic minor scale. 
 
 §138. It is by no means advisable to think of all these 
 exercises as if they were for strings. Double counterpoint 
 is extremely useful and effective in compositions for the 
 pianoforte, and some of these melodies should be treated 
 with reference to performance upon that instrument. In 
 two-part writing for the pianoforte it is generally better 
 not to have the voices near together; that is, neither both 
 high nor both low, but to place the voices so that both 
 registers of the instrument are used, the upper for the 
 right hand and the lower for the left. This arrangement . 
 makes for a greater sonority of tone. For example, to the 
 following subject: 
 
 Let us write a counterpoint two octaves below, and then, 
 make the inversion by altering the position of each voice. 
 
202 
 
 Tonal Counterpoint 
 
 Moderate 
 
 P^ 
 
 s 
 
 9'j'jjr jfriJj 
 
 ^^ 
 
 ^ 
 
 ^ 
 
 » 
 
 ^ 
 
 At (a) we see an example of a chromatic passage which, 
 in general, is of good effect if introduced with discretion 
 in pianoforte writing. In vocal counterpoint such a pas- 
 sage would be questionable. We now invert by placing 
 the upper voice two octaves below, and the lower the 
 same distance above. 
 
 §139. As a last example we give a musical sentence 
 that will illustrate the possibilities of free modulation into 
 neighboring keys. 
 
 iWfff^ 
 
 
 f^ 
 
 l„ J Jj 1 
 
 
 =F^ 
 
 rt=fi 
 
 nfen 
 
 a 
 
 
 rV^ 
 
 '4f 
 
 
 i# 
 
 
 
 5=^ 
 
 
 '^^"3. 
 
 Wf'^ 
 
 
 --^^ 
 
 
 ?afc= 
 
 5i4- 
 
 «U-J^ 
 
 
Double Counterpoint 
 
 203 
 
 In this case, to show the possibilities of combination and 
 to secure a better effect on the pianoforte, we make the 
 inversion by changing each part only one octave. 
 
 / 
 
 Inversion 
 
 __ 
 
 Fff 
 
 :p:5 
 
 -i 
 
 R 
 
 -^ 
 
 :;=i 
 
 
 j_ 
 
 
 
 
 
 
 [— 
 
 — 
 
 — -. 
 
 p-g 
 
 
 *>:ii,i>.4.frrr 
 
 :« 
 
 ^ 
 
 
 ^ 
 
 ^ 
 
 
 i 
 
 ? 
 
 
 ■i 
 
 iT 
 
 ^•^ 
 
 z 
 
 • ' 
 
 ^ 
 
 ■V 
 
 \ 
 
 s 
 
 ^ 
 
 
 =d 
 
 ■v^ 
 
 it 
 
 
 -\— 
 
 -M- 
 
 £ 
 
 5 
 
 ^ 
 
 P 
 
 ^ 
 
 r 
 
 — 
 
 ~ 
 
 
 §140. The student should now write double v counter- 
 point sometimes above, sometimes below, to the following 
 subjects, modeling his style in accordance with the pre- 
 ceding examples. 
 
 f iirrr i i^i J i'Ti^^JiIIlu^ 
 
 In No. 5 it is suggested that the counterpoint be written 
 in the rhythm of two eighth notes against each quarter 
 note of the subject. 
 
 In No. 6 let the counterpoint move in the rhythm of four 
 sixteenths against each quarter note of the subject. 
 
 §141. In connection with the above exercises the stu- 
 dent should also write short sentences in two-part double 
 counterpoint, in which he himself invents both subject and 
 counterpoint. This work will prove to be interesting and 
 
^04 
 
 Tonal Counterpoint 
 
 most stimulating to his ingentiity. As soon as a reason- 
 able degree of facility has been acquired, he should begin 
 to analyze the two-part inventions of J. S. Bach.* When 
 the simple principles of form and style have been mas- 
 tered, he should begin to compose short inventions 
 in two voices. Attempts in this field are always most 
 delightful to the musician with a natural enthusiasm for 
 creative work, and often short pianoforte pieces of per- 
 manent artistic worth are the result. 
 
 §142. Let us now analyze one of these two-voiced 
 inventions. They are all written in what is known as .two- 
 part or binary form, and we see in them the same simple 
 design that runs through all early instrumental composi- 
 tions, — prelude, allemande, courante, gavotte, sarabande, 
 etc.f In the first invention, for example, we find a short, 
 melodious phrase given out in the upper voice : 
 
 This theme which, as we shall see, is the foundation of 
 the entire composition, is at once repeated in the lower 
 voice, while the upper voice continues with an appropriate, 
 contrasting counter melody; that is^ 
 
 §143. The counter melody, however, may not be written 
 in free style, but is to be planned with reference to inversion ; 
 that is, so that it may be used either above or below the chief 
 theme. It is just here that double counterpoint plays a 
 definite part in the structure, for when we come to what 
 is known as the second part of the invention, we always 
 find the theme and the counter subject in an inverted 
 relationship. After the tonality has been established in 
 
 * The instructive edition of Busoni, published by Breitkopf and Haertel, is espe- 
 cially recommended. Compare also that of Bockelman. 
 
 t As this is not a book on Musical Form the student is lefened, for detailed infor- 
 mation, to those most useful treatises of Prout's, — " Musical Form " and '* Applied 
 Forms." 
 
Double Counterpoint 
 
 205 
 
 the opening measures modulation always begins, and it 
 is generally along the simplest and most natural lines; 
 that is, if the invention is in the major mode, the first mod- 
 ulation is to the dominant; *if in the minor mode either 
 to the relative major or to the dominant minor. For exam- 
 ple, in the invention in C major which we are analyzing, 
 when the key of G major (the dominant) has been reached, 
 we find the themes presented in the following inverted rela- 
 tionship, that is, the theme is given out in the lower voice, 
 is repeated above, and the counter subject appears in the 
 lower voice instead of the upper : 
 
 \ '\^^^kJ^ 
 
 The last part of an invention is rather free, and no fixed 
 rules can be given for its construction. In the return to the 
 original tonic key, passing modulations are always intro- 
 duced (into related keys), — that is, into the three relative 
 minors and into the subdominant. The structure is 
 •always so carefully designed that the second part, as a 
 .whole, may be subdivided into two more parts. Thus 
 the composition in the main exhibits strong tendencies, 
 as far as key relationship is concerned, toward three-part 
 form; that is. 
 
 First Part 
 
 Second Part 
 
 Third Part 
 
 Tonic (major) Dominant Rettim to original key 
 
 (minor) „ (minor) 
 
 or relative major ; related keys (coda) 
 
 During the modulatory passage at the end of Part I and 
 throughout Part III, the student should strive to avoid 
 all aimless wandering about. To this end let him employ 
 sequences and frequent simple imitations between the 
 voices. He should play and carefully analyze inventions 
 Nos. I, 8, 10, 4, 3, 2 and 5 (to begin with — the freer ones 
 later). The only way to acquire a good style in this form 
 of writing is to observe the varied devices with which Bach 
 
 * Rarely to the relative minor; compare, however, the fifth invention. 
 
206 
 
 Tonal Counterpoint 
 
 always holds the interest of the hearer. In the first 
 invention, for example, after the related key of A minor 
 has been reached in the fifteenth measure. Bach takes the 
 original motive and transforms it from 
 
 f^F^r 
 
 into 
 
 that is, the same phrase in contrary motion, and 
 then, after playing about with simple sequences in the 
 keys of D minor and F major, he works to a strong close in 
 C major with the motive in its original form. We now 
 give a few themes for inventions which should be worked 
 out in accordance with the model from Bach analyzed 
 above. As soon as the form is clearly understood the stu- 
 dent should himself invent some motives suitable for 
 treatment. 
 
 Allegro moderato 
 1. 
 
 Allegro non troppo 
 
 2 
 
 Andantino 
 
 3 
 
Double Counterpoint 
 
 207 
 
 Allegro con spirito 
 
 Tempo moderato 
 
 ^m 
 
 ^m 
 
 ^m 
 
 ^ 
 
 * 4 J * 
 
 ^m 
 
 i'h:0 
 
 J rr^ J jjtr 
 
 ^^ 
 
 etc. 
 
 m 
 
 ^ 
 
 ^ 
 
 It must be clearly understood that in these exercises the 
 counterpoint is to be written with reference to subsequent 
 inversion. For instance, in No. i, the first definite modu- 
 lation will probably be to the dominant, and the second 
 part would begin thus: 
 
 ^^ 
 
 ^M 
 
 I ^rriirii jil 
 
 m 
 
 It is evident that this is the same counterpoint below (with 
 the exception of one note, to avoid an empty fourth at the 
 beginning of the measure) which was used at the begin- 
 ning above the subject. . In working out No. 3 it is sug- 
 gested that the first modulation be made to the dominant 
 
208 
 
 Tonal Counterpoint 
 
 minor instead of the relative major, 
 the two voices invert as follows: 
 
 This would make 
 
 §144. For the student who has thoroughly grasped the 
 principles of double counterpoint in two voices, triple and 
 quadruple counterpoint will present but few additional 
 difficulties; By these terms we mean three or four inde- 
 pendent melodies, so planned that each one is capable of 
 being the highest -part, the lowest part, or one of the inner 
 voices. In all the combinations the harmony so formed 
 must be correct. Three independent melodies written in 
 double counterpoint are obviously capable of six different 
 combinations. It generally happens that certain of these 
 combinations are more effective than others, and it is sel- 
 dom necessary or advisable to use all six positions. Each 
 one of the three voices, however, should be introduced 
 once in the bass. This test will most readily disclose 
 faults, for the only essential way in which triple counter- 
 point differs from ordinary double counterpoint is in the 
 treatment, in any one of the upper voices, of the fifth of a 
 chord (either a triad or a chord of the seventh) with refer- 
 ence to its subsequent appearance in the bass. Unless 
 very carefully handled, it will make bad six-four and three- 
 four chords. No definite rules can be laid down in regard 
 to this point without hampering the student more than 
 helping him. He must simply study good models, prac- 
 tise under supervision, and gradually cultivate a reliable 
 judgment. In general, it is better in the upper voice to 
 use the fifth sparinelv. especially in the sec ^^^firy t"''^'' 
 ot tne J£ey (,11, iii, vi), as the second inversions of these weak 
 chords are seldom satisfactory. When the fifth is int ro- 
 du ced, it shotdd almost invariably be by step and not by 
 'leap. ' — ' 
 
 §145. It is evident that consecutive chords of the sixth 
 are not available in triple counterpoint. 
 
 6 6 6 
 
Double CouHierpoint 
 
 2og 
 
 as in some of the inversions parallel fifths will necessarily 
 be the result. 
 
 §146. Four independent melodies written in double 
 counterpoint will allow twenty-four possible combina- 
 tions. It is needless to say that all these positions are not 
 used in a single composition. Composers select only those 
 which seem most effective and interesting. 
 
 §147. A few original exercises are now given for the 
 student to work out. He will seldom have occasion to 
 use triple and quadruple counterpoint except in advanced 
 fugal and symphonic writing. By that time, wherever 
 double counterpoint would increase the organic structure 
 of a composition or add to the vital interest, there will be 
 little trouble in using it properly. Double counterpoint, 
 introduced merely for its own sake, always sounds labored 
 and pedantic. For the present, the student's time will 
 be much better employed in analyzing and copying well- 
 selected examples of double counterpoint from the works 
 of great contrapuntal writers: Bach, Handel, Mozart, etc. 
 In the fourth fugue of the first book of " The Well-Tem- 
 pered Clavichord," we find three melodies treated in double 
 counterpoint. 
 
2 TO 
 
 Tonal Counterpoint 
 
 The six possible combinations of these voices are all 
 satisfactory, and are actually used in the course of the 
 fugue, though sometimes in related keys. It simplifies, 
 matters, however, to retain one key, and it will be well for 
 the student to complete {h) and (c) and to write out the 
 other three combinations. 
 
 §148. Other beautiful and instructive examples of triple 
 counterpoint from the forty-eight Preludes and Fugues are 
 the following: Prelude in A major, No. 19, Book i (four 
 of the six possible combinations are used); Fugue in C# 
 major. No. 3, Book i. The Fugue in Bb major, No. 21, 
 Book I, with the exception of two episodes, is i^Titten 
 throughout in triple counterpoint, and will furnish a most 
 stimulating model for the student. The three-part Fugue 
 in F# major. No. 13 of Book 2, is particularly valuable as 
 an illustration from the fact that all six possible inversions 
 are used. We give the first appearance of the three con- 
 trasted melodies, written out in open score, that the mel- 
 odic line of each part may be more easily followed. We 
 strongly advise the student to adopt this method in 
 analyzing the various examples in triple and quadruple 
 counterpoint. Not only do the individual melodies stand 
 out more clearly, but most valuable practice is afforded the 
 eye with reference to subsequent reading of orchestral 
 scores. In this a wide and accurate range of vision is 
 absolutely indispensable. 
 
 Let the student write out the other three positions for 
 himself, beginning at measure forty-four. In the follow- 
 ing example taken from a chorus in Handel's opera, " Her- 
 cules," 
 
Double Counterpoint 
 
 211 
 
 Moderato 
 
 BIIH 1, 
 
 
 
 
 
 — = 
 
 
 -» 
 
 ■m-w- 
 
 
 
 
 •4 
 
 C!! 
 
 
 «. 
 
 
 rA 
 
 
 
 
 
 
 
 il<iiAr,;r 
 
 ^ 
 
 i 
 
 t^H^F- 
 
 1 
 
 =£ 
 
 
 
 
 F=4= 
 
 
 
 m^ 
 
 
 
 
 ^ 
 
 '^ 
 
 
 
 
 •-^— 
 
 ^•-^ 
 
 e 
 
 w= 
 
 -f^ 
 
 ^ 
 
 
 ■ — 
 
 
 *); l'>, r 
 
 
 u 
 
 !=!d 
 
 ^ 
 
 S 
 
 
 iTirf 
 
 fiCSK 
 
 W- 
 
 - 
 
 i: 
 
 C 
 
 ?fi 
 
 »• 
 
 :n 
 
 K 
 
 
 
 
 
 
 
 
 ^ 
 
 
 = ^ 
 
 ^ 
 
 
 
 1 
 
 iSt 
 
 
 
 
 
 
 r 
 
 
 all SIX positions are effective and should be written out, 
 thou^ in the actual score the composer uses but four. 
 As a last illustration let the student look up the magnifi- 
 cent examples of triple counterpoint found in Bach's well- 
 inown organ Fugue in G minor. 
 
 "All six positions of these wonderfully contrasted voices 
 are used in the course of the fugue. 
 
 1. 
 
 I 
 
 iXERCI 
 etc. 
 
 3ES 
 
 
 
 
 
 iiptf,f{.rr^ 
 
 
 etc. 
 
 
 
 
 " 
 
 
 
 -1 — — 
 
 
 =N^ 
 
 
 1 1 1 
 
 
 
 '' "Hi »• pr 
 
 y=w 
 
 
 y,_^f » 
 
 -sU- 
 
 t^ 
 
 \ rJ ' \ 
 
 y 
 
 While he is completing voices A and B, let the student 
 bear in mind their subsequent use as a bass. They should, 
 therefore, be kept simple. All six inversions are satis- 
 factory. 
 
ii2 
 
 Tonal Counterpoint 
 
 rA-^ 
 
 V-- 
 
 — 
 
 
 
 
 
 
 
 
 
 1 1 
 
 
 
 
 , 
 
 ^* g 7 
 
 
 a 
 
 ^ 
 
 
 
 
 
 
 
 
 — 
 
 
 
 
 — - 
 
 |fetfe= 
 
 - p 
 
 ^^ 
 
 
 
 
 
 
 
 
 ^ 
 
 
 
 
 = 
 
 ^w^ 
 
 
 f — h 
 
 
 -o- 
 
 
 
 3e: 
 
 
 
 
 
 
 
 
 
 
 ^ ^ s ° 
 
 
 z: 
 
 
 -e- 
 
 
 
 
 
 
 -«- 
 
 S 
 
 
 
 pn-j 
 
 H 
 
 l/li- Jjj'ji 
 
 e/c. 
 
 
 
 
 1 
 
 Cn 'J — ''»i0 
 \ipA o r — 
 
 etc. 
 
 
 
 
 
 
 liTiL' ° 
 
 ^>Hi d — 
 
 
 -T"— (5^ 1- 
 
 ^^J_ 
 
 ?9 
 
 
 i^ 2 M fi) — 
 
 
 ' 1 1 ttJ 1 
 
 
 L^:z^ 
 
 LiiJ 
 
 ^ 
 
 '^■■'iplr' r i rr 
 
 ^bs 
 
 i 
 
 e 
 
 ^ 
 
 ^ 
 
 ^ 
 
 f ^d ^ 
 
 5. 
 
 .[. .. .1 ii 1 n.- 
 
 
 
 
 
 
 ^,^'"1 rirri^h|Ci h 
 
 
 pgs 
 
 ^ 
 
 :* 
 
 ■ 1 
 1 [ ll 
 
 In working out the above exercises let the student bear 
 in niind that it frequently happens that certain positions 
 of triple counterpoint sound more satisfactory than others. 
 
Double Counterpoint 
 
 213 
 
 In regard to the fifth, of course it is not to be avoided alto- 
 gether; the chief point is to introduce it with thoroughly- 
 good results. 
 
 §149. When four voices are so written that any one may 
 be used in any position we have quadruple counterpoint. 
 If all the inversions are made, there are twenty-four pos- 
 sible combinations. It is needless to say that out of this 
 number only the most interesting ones are selected. For 
 this kind of counterpoint no new rules are necessary; the 
 fifth of a chord always needs special care, and the student 
 shotdd endeavor to make each voice distinct in character 
 from the others. It is always of good effect to have the 
 voices enter in succession, and it is never necessary to have 
 all the voices moving at the same time. Rests properly 
 introduced afford great contrast and variety. As quad- 
 ruple counterpoint from its complexity is much less com- 
 mon than double or triple, a few examples and exercises 
 will suffice. One of the most comprehensive and inter- 
 esting illustrations may be found in the four-voiced Fugue 
 in E major (No. 9 of the second book of the " Forty-Eight "), 
 beginning at the sixteenth measure. The passage has 
 been written out in open score, as if for string quartet, in 
 order that the melodic course of each voice may be more 
 readily followed. 
 
 i 
 
 ^ 
 
 * 
 
 ifcilE 
 
 ms 
 
 J Jji 
 
 eai,^jJ..JJ3, i 
 
 ^ lljj j ^ ^ 
 
 f 
 
 g I D 
 
 ^ 
 
 m 
 
 ^ 
 
 i 
 
 'JiWiH^ 
 
 ^^^^^^ 
 
 ^^^^^^ 
 
 w 
 
 ^ 
 
 ^^^ 
 
 ^ 
 
 m 
 
 ^ 
 
214 
 
 Tonal Counterpoint 
 
 In the Fugue in F minor (No. 12 of the first book) there 
 may also be found an instructive passage in quadruple 
 counterpoint at the thirteenth measure. The inversion 
 takes place at measure twenty-seven. Lastly, a most won- 
 derful example (both in its complexity and yet in its per- 
 fect freedom) may be found in the finale of Haydn's 
 Quartet in C major, Op. 20, No. 2, which is a fugue on four 
 subjects. The student can hardly do better than to look 
 up this movement and copy out the various positions. 
 
 §150. Complete the following exercises in quadruple 
 counterpoint, and write out at least three inversions; that 
 is, test the voices by using each one in the bass. 
 
 KA- 
 
 S[ 
 
 ^ 
 
 ^ 
 
 M^A 
 
 ^ 
 
 ^ 
 
 P 
 
 ^ 
 
 mi' J 
 
 ^ 
 
 ^ 
 
 f 
 
 ^^ 
 
 2. A 
 
 m 
 
 m 
 
 p 
 
 j^U'^jjj 
 
 ^ 
 
 1^ 
 
 ^ 
 
 ^m 
 
 m 
 
 §151. For a marvelous example of quintuple counterpoint 
 let the student study the finale to Mozart's "Jupiter" 
 Symphony, in which five separate subjects are combined in 
 all varieties of inversion and combination. 
 
CHAPTER X 
 Imitative Counterpoint 
 
 §152. The student should now work out some exercises 
 in which the principle of iinitation is systematically intro- 
 duced. Imitation consists in the repetition of the same 
 melodic figure in various voices on different scale degrees 
 and oftentimes in different keys. Every one is aware of 
 the great coherency and interest imparted to music by 
 imitation and of its frequency in the works of all good 
 composers. In all elaborate polyphonic writing (such as 
 canon and fugue) imitation plays an important and essen- 
 tial part, but even in the freest and lightest forms of com- 
 position, its subtle use is far more frequent than is generally 
 supposed. The subject is so broad and indefinable that 
 no fixed rules can be given for the use of imitation. Some 
 examples are cited to show the general style, and then sev- 
 eral exercises should be worked out. 
 
 Schumann. Song 
 
2l6 
 
 Tonal Counterpoint 
 
 §153. See also the Sixth and Seventh Novelettes, the 
 first intermezzo of the Third Romance, Op. 28, and the 
 last of the Fantasie-stiicke, Op. 1 2 , for charming examples of 
 free imitation. Schumann's compositions, in fact, abound in 
 masterly and artistic uses of imitation, and the student is 
 earnestly advised to look up examples for himself. A 
 beautiful example in vocal style may be found in the chorus 
 of "Houris" in the "Paradise and Peri" of the same 
 composer. The older contrapuntists devoted much time 
 and skill to imitation (so much so that at times their work 
 sounds labored and artificial) ; the compositions of Bach, 
 however, are an inexhaustible mine of instructive exam- 
 ples for the student. 
 
 '■Well-Tempered Clavichord," Book i, Prelude IV 
 
 f-^ ^r 
 
 'Well-Tempered Clavichord," Book i. Prelude VII 
 
 §154. See also Preludes Nos. 9 and 23 of the first book 
 of the " Forty-Eiglit," and Prelude No. 7 of the second 
 book, for interesting examples of free imitation. Through- 
 out Beethoven's sonatas there are plentiful passages to 
 illustrate this principle. In the finale of Op. 26 the stu- 
 dent niay see the close relationship between double coun- 
 terpoint and imitation; in fact, they are very often found 
 together. 
 
 §155. That the imitation need not be literal nor too exact, 
 in order to produce the delightful effect of answering voices 
 so noticeable in modem composition is shown by the 
 following striking passages: 
 
Imitative Counterpoint 2 if 
 
 Andanta Tschaikowski. Concerto, Op. 23 
 
 ^ 
 
 ^ 
 
 g 
 
 fTf^ 
 
 ^ 
 
 1^^ 
 
 j^ 
 
 ^m 
 
 Hf^fi^^\i'-f^ ^ 
 
 marcato 
 
 ^m 
 
 ^M 
 
 ^n jQj J 
 
 Jj9«f^4f ^f 
 
 p 
 
 ^ 
 
 
 ^ 
 
 f 
 
 s 
 
 jdj^ 
 
 5^ 
 
 ~-i ^ 
 
 r^r ^F-^F 
 
 Brahms. Vocal Quartet, Op. 64 
 
 " hcni g . r^ii 
 
2l8 
 
 Tonal Counterpoint 
 Exercises 
 
 ^^ 
 
 ^^ 
 
 ^^ 
 
 ^^^ 
 J^t 
 
 S 
 
 « 
 
 ^^ 
 
 §156. With each of the above motives let the student 
 compose a miusical sentence of twelve or of sixteen meas- 
 ures.* Modulation into related keys should be freely used. 
 It is also very interesting and beneficial to improvise at 
 the pianoforte or organ short preludes in which some 
 motive is introduced and developed in the various voices. 
 Two models of style are given for the organ. 
 
 
 m 
 
 W^ 
 
 r- 
 
 ^4W^ 
 
 m 
 
 etc. 
 
 ^ 
 
 §157. The following prelude from one of Tschaikowski's 
 songs (Op. 28, No. 3) will furnish a beautiful motive for 
 development in free pianoforte style : 
 
 * The working out should be in open score. 
 
Imitative Counterpoint 
 
 210 
 
 §158. Some longer periodic melodies should now be 
 treated with imitative counterpoint. In each of the fol- 
 lowing exercises, for instance, continue to introduce in the 
 different voices, as often as it will appear naturally, the 
 short melodic phrase with which the counterpoint begins. 
 
 (hi. 
 
 M 
 
 %Z Iff. 
 
 ^ 
 
 m 
 
 etc. 
 
 m 
 
 ^ 
 
 ^m 
 
 The same melody in the alto with an ascending phrase 
 for the figure. 
 
220 
 
 3. 
 
 ^ 
 
 Tonal Counterpoint 
 
 m 
 
 ^P 
 
 i^^S 
 
 ^^ 
 
 p 
 
 ^ 
 
 c<e. 
 
 ^ 
 
 ^ 
 
 Good practice is also afforded by the treatment of the 
 same bass with a descending figure. 
 
 §159. For a beautiful example of the treatment of a 
 choral melody with imitations, see Bach's version of the 
 melody "Vom Himmel hoch da komm Ich her." * 
 
 C.F. 
 
 ^E 
 
 i'l r - 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 i^'^^'^ c^ r 
 
 ^ 
 
 ^^ 
 
 ^ 
 
 * This is to be found in the Appendix to the eleventh volume of the Bach- 
 Gesellschaft edition. 
 
Imitative Counterpoint 221 
 
 Here the imitating voices which accompany the soprano 
 lire derived (by diminution) in the most ingenious way 
 from the melody itself. The whole choral will repay care- 
 ful analysis. 
 
 §160. Henceforth in all his work, especially that for 
 voices or for strings, the student shotdd be on the watch 
 to introduce imitative phrases, not so often, to be sure, 
 as in the above exercises, where the repetition, to secure 
 facility, was somewhat mechanical, but wherever the 
 organic structure of the composition may be strengthened. 
 Only a mature artistic judgment can decide jiist where and 
 just how often imitation may be introduced with happy 
 and convincing effect. Meanwhile the cultivation of this 
 tendency is a most effective cure for a diffuse and wan- 
 dering style. 
 
CHAPTER XI 
 Pianoforte Writing 
 
 §i6i. We shall now give some melodies which are to be 
 harmonized with especial reference to their effectiveness 
 upon the pianoforte. First, however, something .must be 
 said of the distinction between homophonic and polyphonic 
 style, for the student has doubtless noticed in compositions 
 for the pianoforte how seldom all the parts are of equal 
 importance, and how free the writing is in regard to the 
 number of voices, range, etc. 
 
 §162. In polyphonic music , as we have seen , all the voices 
 are held to be of equal melodic iniportance and are treated 
 accordingly, whereas the essential of homophonic rausic 
 is that there shall be one chief melody (either in an upper, 
 a middle, or a lower voice, as the case may be), while, 
 the other parts are kept frankly subordinate and merely 
 furnish a harmonic background, or accompaniment. In 
 most music, however, of any worth, this accompaniment 
 is so contrived that it has some independent rhythmi- 
 cal interest which is secured by the continued use of 
 the same accompaniment figure, — often some charac- 
 teristic arpeggio or group of iterated chords. In all 
 modern writing for the pianoforte, beginning with Bee- 
 thoven, this homophonic style predominates, although in 
 compositions of large extent we often find both styles. 
 Composers themselves differ, in that some are more contra- 
 puntal in their tendencies than others. Chopin, for exam- 
 ple, writes in many instances in the style of an idealized 
 modernized Bach. Schumann is very polyphonic in much 
 of his pianoforte music. The chief essential in learning 
 to write effectively for the pianoforte is to free ourselves 
 from some of the very tendencies which are so important 
 in compositions for voices or for strings, — that is, a fixed 
 number of parts and a definite, melodic individuality for 
 each voice. The keys of a pianoforte are not personalities 
 like the singers in a chorus or the players in a quartet or 
 orchestra, whose interest has to be kept up by the com- 
 poser. In writing for the pianoforte it is entirely a matter 
 of artistic judgment whether the number of parts shall be 
 two or ten. In fact, some of the most beautiful composi- 
 tions known are largely in two-part writing, with an occa- 
 
Free Writing for Pianoforte 
 
 223 
 
 sional appearance of fuller harmony where effects of forte 
 or of sforzando are required. This is equally true of the 
 works of Beethoven, of Schumann, or of Chopin — three 
 great masters of pianoforte style. In this style of writing, 
 thinness of harmony is avoided by a frequent use of broken 
 chords and arpeggios, and sonority of effect is gained by 
 a free use of the damper pedal. These points are clearly 
 shown in the following illustrations : 
 
 Beethoven. Sonata Path^tique, Rondo 
 
 Allegro 
 
 Allegro con brio 
 
 Beethoven. Sonata, Op. 22 
 
224 
 
 Andantino 
 
 Tonal Counterpoint 
 
 Schumann. Little Study, Op, 68 
 
 i\" ^ 1 / %y CcP 
 
 ^ 
 
 Schumann, jth Novellette, Trio 
 I 
 
 Pedal sefnpre 
 
 »/T" J niJ J i 
 
 ' 'JtISIUe?' 
 
 ^ 
 
 : '» j^ : 
 
Free Writing for Pianoforte 22^ 
 
 Chopin. Funeral March 
 
 Chopin. Op. 22, Polonaise 
 
 §163. In these beautiful and very instructive examples, 
 observe how distinctly the cantabile melody stands out, 
 while at the same time the harmonic basis outlined by the 
 accompaniment figures is uniformly rich and satisfying. 
 In the selections from Schumann and Chopin observe the 
 wide extent of the arpeggios (so characteristic of the modem 
 school) in contrast with the grouping used by Beethoven 
 and the older classic masters, who generally kept arpeggios 
 within the octave. 
 
 §164. The accompaniment to a melody may often con- 
 sist of a series of iterated chords. When this form of 
 accompaniment is used the melody is generally character- 
 istic enough to justify the subordination of the harmonic 
 background.. But even in the chords themselves, when 
 the student applies this treatment to his own work, a cer- 
 tain distinction should be sought, for nothing is more 
 monotonous than the endless repetition of a few trite 
 harmonies. 
 
226 
 
 Tonal Counterpoint 
 
 Allegro 
 
 Mozart. Sonata in A minor 
 
 ^ 
 
 r I u 
 
 etc. 
 
 ffffffff 
 
 ffTTTTfr 
 
 i 
 
 Allegro 
 
 Beethoven. Sonata, Op. 14, No. x 
 ~jB. 
 
 Allegro 
 
 Schumann. Jugend Album, No. 10 
 
 Largo 
 
 Chopin. Preludes, No. 4 
 
 espress. 
 
 fffmmmff^'ff ^m 
 
 §165. Unfortunately, it is impossible to lay down any 
 fixed rules to teach the student how to write effectively for 
 the pianoforte. His best method of work is to harmonize- 
 certain melodies in pianoforte style, as soon as possible to- 
 try his own hand at short original pieces, and to follow the 
 criticisms and suggestions of his teacher. Above all , let him. 
 play and analyze the standard works in pianoforte litera- 
 ture, especially the compositions of Chopin, Schumann,. 
 Heller, and Liszt. The pianoforte, as an instrument, has. 
 great advantages. Its compass is very large, it is well 
 
Free Writing for Pianoforte 
 
 222 
 
 suited to the homophonic, and also (with modifications) to 
 the polyphonic style, the uniformity of tone quality through- 
 out its compass is of great practical advantage,* and music 
 written for any other instrument can be suitably tran- 
 scribed for it. On the other hand, it has certain deficien- 
 cies which must be carefully considered; for example, 
 sounds cannot be sustained with uniform' strength as 
 with the voice, the organ or violin, or with most orchestral 
 instruments, and of course a crescendo on a held tone is 
 absolutely impossible; — whatever sustaining power the 
 instrument possesses is far greater in the lower and middle 
 registers than in the higher compass. From these inherent 
 characteristics certain deductions can be made which 
 should prove helpful. 
 
 §i66. First: In general (especially in early attempts), let 
 the style be light. Two- and three-part writing is always 
 effective on the pianoforte, as the student may see for 
 himself from the numerous examples in the works 
 of Bach, Schumann, Chopin and Mendelssohn; well- 
 grouped arpeggios, sustained by the pedal, may always be 
 counted upon, for sufficient sonority. 
 
 Second : Avoid thick and muddy chords. In the writings 
 of Haydn, Beethoven and their contemporaries, we often 
 find chords like the following: 
 
 Adagio 
 
 Haydn. Sonata in Eb Beethoven. Op. 2, No. i 
 
 * In writing for voices or for orchestral instruments, great attention has to be 
 paid to the diiferent registers, — chest tone, head tone, or grave, me^um and acute 
 register of clarinet, flute, etc.. and often the composer is seriously hampered by 
 mechaiiical difficulties. 
 
228 
 
 Tonal Counterpoint 
 
 §167. The reason is not far to seek. The instruments of 
 the latter part of the eighteenth century and the early part 
 of the nineteenth had a rather light, thin tone, and compos- 
 ers, in their endeavors to secure richness and brilliancy, often 
 wrote chords which upon our more heavily strung and 
 richer toned pianos sound thick and coarse, and in which 
 the sonority is deadened rather than increased. In gen- 
 eral, chords should be so grouped that there are spaces 
 between the factors in which the harmonics may vibrate; 
 if everything is filled in, more noise is made, but not more 
 clear, ringing, musical sound. In this connection avoid 
 placing the third or doubling the third in the lower register. 
 Thirds in close position do not sound well in that part of 
 the instrument. For instance, such doubling of thirds 
 and of leading tones as may be found above in example (a) 
 is seldom advisable, and the low thirds in example (&) and 
 (c) have a rather gruff effect. In example (d) a modern 
 composer would have undoubtedly resolved the last beat 
 of the measure in this position, — 
 
 W 
 
 a^^^ 
 
 f 
 
 m. 
 
 f 
 
 T 
 
 f 
 
 with a great gain in real sonority. This rule about thirds 
 is applicable also to arpeggios. In older compositions 
 we find figures like this:' 
 
 
 
 WF^ 
 
 q 
 
 
 
 
 
 ^^\% 
 
 = :^ 
 
 idfc 
 
 -i«- 
 
 
 
 
 
 
 but since the time of Von Weber and Chopin, who were the 
 pioneers in using widely dispersed positions, it is far more 
 common and better to find the third treated as a tenth and 
 to employ a more open grouping; that is, 
 
 ^fa 
 
 Of course care must be taken not to write arpeggios actually 
 beyond the compass of the human hand. Groups like the 
 
Free Writing for Pianoforte 
 
 22() 
 
 following are entirely impossible on the piano at a high 
 rate of speed, 
 
 Allegro 
 
 and are really violin figures. Only a mature judgment 
 and an intimate knowledge of pianoforte technique will 
 enable the student to decide in' every case just what is 
 practicable, — -klaviermassig, as the German term is. 
 Hence at the outset let the style be simple and direct. 
 Avoid chords which consist of huge handfuls of notes — 
 especially when they imply rapid change of position — 
 and also fantastic groupings of arpeggios. 
 
 §i68. Third: When, for variety, the polyphonic style is 
 used, and this is often the case, avoid many complicated, in- 
 dependent parts . Two- and three-part writing will generally 
 suffice; each additional voice not only increases the tech- 
 nical difficulty for the player, but renders the music less 
 easy to be followed clearly by the hearer. In all two-part 
 writing care should be taken not to have the separate 
 voices too far apart; when they are so separated there is 
 an effect of thinness and emptiness which, in general, 
 is not desirable. A cantabile melody should practically 
 always be given to the medium part of the instrument, 
 as there the singing power is strongest. 
 
 § 169. We now take a simple melody by Mozart, and pro- 
 ceed to harmonize it in pianoforte style. It will be ad- 
 visable for the student to try his own hand at this melody 
 in accordance with the suggestions given above, and then 
 compare it with the version which is submitted as an illus- 
 tration of the main points in pianoforte style, but not as 
 the only treatment of which the theme is capable. 
 
 Tempo di minuetto 
 
230 
 
 Tonal Counterpoint 
 
 rf»t|!J jTjl 
 
 ij^ji 1 
 
 iJ]^- JiJjii 
 
 if ^- •'IJIJ- A 
 
 
 
 
 
 ^ 
 
 
Free Writing for Pianoforte 
 
 231 
 
 The following points in the above version are to be care- 
 ftilly noticed by the student : The light style of the open- 
 ing measures, thoroughly in keeping with the simplicity 
 of the melody. Often the theme stands out better if it is 
 entirely without accompaniment for a few notes, as in 
 measures three, five, etc. Observe the freedom from a 
 fixed number of parts; sometimes the chords have two 
 parts, sometimes six. In the last measures animation is 
 gained by changing the eighth-note motion to triplets. Of 
 course at (o) and (6) sonority is gained by the sustaining 
 pedal. 
 
 §170. A set of melodies is now given which the student 
 is to treat himself. Strive for variety and beauty in the 
 accompaniment. Mendelssohn's "Songs without Words" 
 furnish an endless variety of accompaniment figures for 
 lyric melodies, and they may be studied with great profit 
 in connection with the original work. 
 
 !• Andante cantabile 
 
 Mozart 
 
232 
 
 Tonal Counterpoint 
 
 fnr i rr j rrr i J'rr^ i n vr'i cj i rrf^ 
 
 The next melody gives opportunity to use an accompani- 
 ment of iterated chords, which may he interchanged in 
 places with other figures. 
 
 2» Presto agitato 
 
 Mendelssohn 
 
 0tl.L i 
 
 
 
 1 Pn 
 
 
 
 ||^ 1 , .^gN ,<-^ , 
 
 
 
 <*rP-4-- 
 
 ^ 
 
 -M^ 
 
 ^m 
 
 -* 
 
 3 
 
 «t^^s^ 
 
 ^ 
 
 =ff*^ 
 
 y ^ 
 
 
 
 p ^ 
 
 
 
 6res(•^^ 
 
 
 K 1 
 
Free Writing for Pianoforte . 2jj 
 
 3. Adagio espressivo Bebthovbn 
 
 At (a) observe the slight change in the figure to avoid the 
 doubling of the leading tone B. Such attention to detail 
 conduces to clearness of style. 
 
 4. Andante vivace 
 
 Beethoven 
 
 f^ 
 
 f rr i r[7fn^C£rir-^i) i r-C£^^ 
 
 5^ AndanUno 
 
 AUBBR 
 
Tonal Counterpoint 
 
 jp tfjf 1 ^ - 1 
 
 J— 
 
 *-r—r 
 
 T^-pV — 
 
 FfF 
 
 1-^ 
 
 
 
 ^?= 
 
 i<^ '^ r - 
 
 y 
 
 Li^ 
 
 4i^ 
 
 
 ^ 
 
 P=^ 
 
 \fm-^ 
 
 
 AUBER 
 
 i^^T r. pr^-i J j)iP^nir^i^' ' P i r p i V:Hff^ 
 
 I ^w- r P i Tfi 7 jji J j)i :n Mr • I ^^^f i fato^ ^ 
 
 |Arcrir' i crnrnrcr i crri^cr i ffr-irr i 
 
 7 • Tempo di Marcta 
 
 BOIELDIEN 
 
Free Writing for Pianoforte 
 
 235 
 
 §171. In connection with these exercises the student is 
 strongly urged to begin work entirely original. Short 
 pieces should be composed for the piano in some of the 
 dance rhythms, — minuet, gavotte, bourr^e, scherzo, — and 
 in two-part or three-part form. A constant effort should 
 be made to stimulate the inventive faculties and to enliven 
 the imagination. Like any other of our powers, the im- 
 agination grows, strong from practice. Nothing will teach 
 the student so much about pianoforte style as to try his 
 own powers, under competent supervision, in actual orig- 
 inal composition. No matter how latent they may seem 
 at first, they will surely gain strength little by little. 
 Facility of expression oftentimes reacts most favorably 
 upon the ability to have something to express. 
 
CHAPTER XII 
 Writing for String Quartet 
 
 §172. We now give a set of melodies of varied character, 
 which are to be treated with special reference to effective 
 performance upon a string quartet. Melodies have been 
 selected which call for a free application of the principles 
 of imitation and double counterpoint treated in the fore- 
 going chapters. Likewise the homophonic styfe may often 
 be applied to writing for strings, though a little more care 
 has to be taken to make the subordinate parts interesting 
 to the players than is the case in the writing of an accom- 
 paniment for a keyed instrument. Above all, the student 
 is expected to analyze some of the ever-beautiful quartets 
 of Haydn, Mozart, Beethoven and Schubert. In these 
 days of cheap editions of the classics, there is no reason 
 for not owning and studying thoroughly certain models 
 of style. 
 
 The following are especially recommended: from 
 Haydn, any of the five in Op. 76; from Mozart, of the set 
 dedicated to Haydn, those in C major, A major and D 
 major. From Beethoven, the thr^e in Op. 18 are good ones 
 with which to begin.* In a short, practical book, it is 
 obviously impossible to enter upon all the intricacies of 
 a perfectly free string-style. Perhaps one of the most 
 important points is the freedom with which the inner 
 voices may cross: for example, 
 
 Sotto voce Mozart. Religious March from *' Idomeneus" 
 
 ,1^ Violin 
 
 * These may all be procured in the pocket edition, known under the name of 
 "Payne's Kleine Partitur Ausgabe." 
 
 136 
 
AndatOe 
 
 Writing for String Quartet 2^7 
 
 Haydn, Symphony in D 
 
 I i1 Violin 
 
 R.Strauss. " Till Eulenspiegel ' 
 
 §173. Simple as these passages are, they illustrate quite 
 •clearly the freedom with which the inner voices may cross in 
 •order to gain variety of melodic outline and to give certain 
 important chord factors to just the most spnorous register 
 of a given instrument. Any one who has ever heard 
 the following passages from the symphonies of Schumann 
 and of Brahms will remember the remarkable richness and 
 sonority gained by careful grouping of the chord factors 
 And by preserving the melodic interest in each voice. 
 
238 
 
 Tonal Counterpoint 
 
 Schumann. 2d Symphony" 
 
 Brahms, ad Symphony 
 
 P espr^ss 
 
 We now attempt a harmonization for string quartet of' 
 the following melody: 
 
Writing for String Quartet 
 
 Allegretto 
 
 As elaborate counterpoint would be entirely foreign to the 
 simplicity and grace of the melody, it is better to treat the 
 three lower parts as an accompaniment and to use chiefly 
 the homophonic style. The harmonies should be simple 
 and natural, so as not to detract from the individuality of 
 the melody, but they need not be grouped in a clumsy or 
 trite fashion; on the other hand, by " crossing," the inner 
 voices may be made quite interesting. 
 
240 
 
 Tonal Counterpoint 
 
 (rf»J. J Kl 
 
 M 1 1^5^ 
 
 FfrfF^ 
 
 ij:lJ.mi 
 
 ^f=3= 
 
 
 
 1 — I- 
 
 -1 — In — c 
 
 
 
 H — fd — zhi 
 
 J — 1^ — K- 
 
 
 
 
 
 
 
 
 In this version observe the crossing of the second vioHn and 
 the viola in the third and fourth measures. At (a), as the 
 outer voices are separated by a wide range, " double Stop- 
 ping" is used in the viola for two chords. In this way the 
 harmony of the accompanying voices is often enriched. 
 At (6) observe how the suspension saves the harmonic 
 progression frora being commonplace. 
 
 §174. The student should now treat the following melo- 
 dies in the same general" style as the preceding example. 
 In No. 3 the writing at times may be more polyphonic. 
 It is neither necessary, nor in fact desirable, to keep all the 
 parts constantly going. Often certain of the instrJiments 
 may rest, and two- and three-pa?t writing be employed. 
 
 Adagio 
 
 Haydn 
 
Writing for String Quartet 
 
 Andante grazioso 
 
 Andattlino 
 
 Beethoven 
 
 §175. We now treat a melody for string quartet in the 
 polyphonic style, and then give some longer, mcye elabo- 
 rate melodies in which imitation, double counterpoint 
 and other devices may be freely used. The student should 
 also make every endeavor to have his exercises and cora- 
 positions performed. More is to be learned from the actual 
 hearing of what is written than in any other way. 
 
 Poco adagio 
 
 Haydn 
 
 1^^ 
 
 m 
 
 s 
 
242 
 
 Tonal Counterpoint 
 
 In this version observe the free use of imitation in the last 
 seven measures. In the next exercise also there will be 
 frequent opporttmity for the parts to answer each other. 
 
 Andante con moto 
 
Writing for String Quartet 
 
 243 
 
 'Aim 
 
 §176. We now give an exercise in which two motives are 
 "to be worked out simultaneously. Imitative phrases of 
 like melodic design and of corresponding rhythm should 
 "be freely introduced. 
 
 Adapted from Dubois 
 2. Andante 
 
 t 
 
 m 
 
 ^ 
 
 ^ 
 
 ^ 
 
 m^ 
 
 w 
 
 ^ 
 
 AiindDminanl) 
 
 ^^ 
 
 ^ 
 
 1 
 
 ?F*3 
 
 ^ 
 
 m 
 
 T 
 
 ^ 
 
 f^ I JjJ* J^J ^i"^--^ *' j^ 
 
 «^ 
 
 ^^ 
 
 ^ 
 
 ^5^ 
 
 ^ 
 
 ^ 
 
 s 
 
 etc. 
 
244 
 
 Tonal Counterpoint 
 
 . ou-rn 
 
 
 
 ^ 
 
 
 -^ 
 
 ^^ 
 
 ^ 
 
 
 -^ 
 
 isl 
 
 ^j 
 
 
 M. 
 
 "* 
 
 p- #v^ 
 
 #%M 
 
 KT 
 
 1 
 
 ° 
 
 W 
 
 M; 
 
 # 
 
 £ 
 
 5^ 
 
 -&*- 
 
 fT« 
 
 1 
 
 < 
 
 s 
 
 = 
 
 z 
 
 --^ 
 
 c) aresc. 
 
 
 
 b^d-^ 
 
 '^ 
 
 ./ ■ 
 
 LHsH 
 
 '"4^ ' 
 
 1—= 
 
 J -1 
 
 — 
 
 
 
 p 
 
 
 
 §177. The melody in G major from Haydn, given on 
 p. 239, may also be treated successfully in contrapuntal 
 style, that is with a flowing obligate in one of the inner 
 voices. We work out a few measures to show the general 
 style : 
 
 i 
 
 ^^ J i'j >} 
 
 ^^ 
 
 ^^^Ij ;j ;JJ ^^ ^Ir nJ Jip- p 
 
 Schubert 
 
 4", Andante con motq 
 
 h 
 
 llPJ-JlJ-JIJJ'g^^ 
 
 #_ ^^ ^ — " * --i-- ^ cresc. - I 
 
 i 
 
 jj^U^I,UliJl|JJ.^U.-^>jl 
 
Writing for String Quartet 
 
 245 
 
 |/j4 j i ri^[ i r i '! i ^""^ ' j i L' ii,iJi 
 
 
 §178. We now give an exercise in which double counter- 
 point is systematically used for the presentation and 
 development of two themes. 
 
 Adapted from Dubois 
 
246 
 
 Tonal Counterpoint 
 
 -ttf- 
 
 Se 
 
 m 
 
 m 
 
 VV i .rJr'i'r i 
 
 g 
 
 W^ bblij 
 
 l>u. ' l| 
 
 ^'^ l .lv;. ,. ^ .1^° Ij^ g 
 
 ^ 
 
 I 
 
 Se 
 
 1^ 
 
 ^ 
 
 J-m^v^f^ 
 
 S 
 
 s 
 
 ^aziE 
 
 ' P' r p i^a i 
 
 i 
 
 ^^ 
 
 SE 
 
 ^ 
 
 1^ 
 
Writing for String Quartet 
 
 247 
 
 While working out the above design a constant endeavor 
 should be made to treat the voices in imitative counter- 
 point. At the same time the style must be natural and 
 flowing. Portions or modifications of either one of the 
 chief motives can often be introduced with good result. 
 All the voices need not be kept going throughout. Rests 
 are often the best preparation for the effective entrance of 
 an important melodic phrase. 
 
 §179. Two short basses are now given, to which three 
 upper voices are to be written in free, rhythmically varied 
 counterpoint. Work of this kind affords practice of the 
 highest value. The composer Rossini, as is well known, 
 taught himself harmony by an analogous method. He was 
 accustomed to copy the cello (bass) part of a Haydn quar- 
 tet, and then, after racking his ingenuity to conjecture 
 what interesting upper voices might be implied by the 
 bass, to compare carefully his own version with the 
 original. In truth, there-could hardly be a better method 
 of gaining facility of expression. 
 
 Quoted from Prout 
 
 v-jirrJpirrrrif [a: ;rjiJJ^ i rjjjii ^ 
 
 Quoted from Prout 
 
CHAPTER XIII 
 Supplementary Exercises in Various Styles 
 
 § 1 80. We now give a last set of supplementary exercise- 
 to be treated either for voices or for strings, in which the 
 style should be as free as possible; that is, the student 
 should endeavor to introduce into the harmonization all the 
 devices of imitation, varied rhythm, syncopation, etc., by 
 which part-writing is made more organic and more full 
 of interest. Especial care should be paid to the exercises 
 in which the melody is in the alto or the tenor voice. 
 Whether written for voices or strings, the arrangement of 
 clefs for a string quartet had better be preserved, as the 
 musician can hardly have too much practice in this form 
 of open score. 
 
 Andante con moto 
 
 § 181. In this simple diatonic melody an elaborate rhyth- 
 mical scheme would be out of place. An even, flowing 
 motion, however, should be sustained, especially at the end 
 of the phrases. A. short melodic phrase repeated in the 
 different voices will help to give unity to the treatment. 
 The melody might be commenced as follows: 
 
 248 
 
Supplementary Exercises 
 
 249 
 
 Observe that, although the harmonic scheme is very simple 
 and natural, by crossing the inner voices at (a) an inter- 
 esting dowipward phrase is secured for the alto, while the 
 short motive with which the bass begins is imitated in 
 several of the other voices. 
 
 Same melody in the alto: 
 
 Same melody in the tenor: 
 
 v-'wj" r 
 
 r I''" -J '^ I " 
 
 This melody, with its numerous thirds, is not practica- 
 ble in the bass. ' The following melody, however, is capa- 
 ble of satisfactory treatment in each voice: 
 
250 
 
 II y ttjl 
 
 Tonal Counterpoint 
 
 etc. with a different harmonic scheme 
 
 e 
 
 M 
 
 n 
 
 !Jj|j.'Krrr | rcrrf^ 
 
 ^^ 
 
 ^^ 
 
 1^"^ riJ-^^ 
 
 ')■% if r ^ 
 
 At (a) observe that the parallel fifths between the soprano 
 and tenor are not of harmonic import as the g# in the 
 soprano is a passing note. 
 
 5. Same melody- in the alto: 
 
Supplementary Exercises 
 Same melody in the bass : 
 
 251 
 
 The following melody may likewise be treated effectively 
 in each voice: 
 
 8. 
 
 s 
 
 pd^n^ r | r rlf H^ ^^ 
 
 fejTT ^T^ 
 
 ^ 
 
 m 
 
 ^ 
 
 ^ 
 
 1^^ 
 
 ^^ 
 
 ^ 
 
 ^Hi-i>'iCrr J 
 
 |A^ jj,;) i j. irrnrnrr i rirr^irr'rr ' '^ ^ 
 
 This same melody in the alto is entirely worked out to 
 serve as a model for subsequent treatment in the tenor. 
 
 '^■irCrlr t 
 
 g 
 
 p 
 
 ^ 
 
 m 
 
 P 
 
 ^^ 
 
 ^ 
 
 pS 
 
 ^ 
 
 ^Pfe 
 
 fe 
 
 m 
 
 ^ 
 
 ^ 
 
 fe 
 
252 
 
 Tonal Counterpoint 
 
 Same melody in the tenor : 
 
Supplementary Exercises 
 Same melody in the bass: 
 
 253 
 
 Let the student ask himself what, is the justification for 
 the parallel fifths at (a). 
 
 Moderato 12. 
 
 §182. This is a melody rather modal than strictly tonal in 
 character, especially in the cadence implied at the end of 
 the second phrase at (a). It should be treated in the strict 
 style; that is, the harmonic basis should consist largely of 
 the fundamental triads, varied by suspensions, accented 
 passing notes, etc. Nothing as yet has been said about the 
 ecclesiastical or old modes, and in such a brief treatise we 
 can hardly touch upon so exhaustive a subject. The well- 
 informed student, however, should know something of 
 them, especially of the ^olian, the Dorian and Phrygian 
 modes, for traces of these are often found in modem music. 
 The ^olian mode is practically our minor scale without 
 the raised leading tone for; example. 
 
 § 183. The Dorian mode is the scale on the white keys of 
 a pianoforte, starting on d; that is. 
 
254 
 
 Tonal Counterpoint 
 
 although little by little, as the need for a leading tone was 
 felt — to gain a major triad on the dominant — the c was 
 sharpened.* The characteristics of this mode as commonly- 
 used are the minor third and the major sixth. The well- 
 known choral, "Jesu, meine Freude," is a fine example of 
 a melody in the Dorian mode.t 
 
 jjj jij jijjpitririirirrrrn - i 
 
 E 
 
 |, J J W^ J I J J ,T I JlipC J I f Q*-j^ I J JJ iJj j 
 
 /T\ 
 
 The Phrygian mode is the following: 
 
 * * 
 
 » o 
 
 §184. The student should compare it carefully with the 
 Dorian. In this mode we find both the third and the sixth 
 minor, but the really characteristic note which distinguishes 
 it from all the other modes, and which produces such a 
 striking effect when introduced into modem music, is the 
 minor second. This note in connection with the whole tone 
 below the tonic, for example, ^ 
 
 I 
 
 2 — 
 
 i 
 
 I 
 
 1 
 
 gives such a modal effect when used in a cadence that com- 
 binations of chords like the following are always spoken of 
 as Phrygian cadences: 
 
 pM-^ 
 
 
 
 
 H-Ti-n 
 
 „H 1 
 
 
 M^ — 
 
 
 ■a 
 
 — a-Ts — 
 
 — = — 9 — 
 
 |8 
 
 9- r - 
 
 ,n' 
 
 f^ ? . 
 
 *-»^{ — 
 
 =4=^= 
 
 
 Observe that the last chord by chromatic alteration is 
 made major. This was always the case except in the most 
 
 * Consult the article "Musica Ficta," in Grove's Dictionary, Vol. II. 
 t See, also, Bach's great organ fugue in the Dorian mode. 
 
Supplementary Exercises 
 
 255 
 
 ancient plain song usage. For an example of a melody 
 in the Phrygian mode, seethe choral, "O Haupt voU Blut 
 und Wunden." 
 
 For a most impressive use of this mode in modem music, 
 see the slow movement of Brahms' Fourth Symphony, 
 which begins with this phrase intoned by the horns and 
 wood-wind : 
 
 Andante moderato 
 
 The contrast effected by the introduction of our modem 
 E major scale at the fourth measure is truly sublime. To 
 return to our melody in G minor the student will now 
 understand that the end of the second phrase should 
 be harmonized with a Phrygian cadence, for the notes 
 
 ^^^^ ■' f? p ^ 
 
 correspond exactly with ^ f f ' F f j 
 
256 
 
 Tonal Counterpoint 
 
 The first two phrases are worked out as a model for sub- 
 sequent treatment. In the last part of the melody imita- 
 tive phrases can be used with good effect. 
 
 Observe the effective use made of syncopation at (a), (b) 
 and (c). This device often serves to keep up the rhythm. 
 At (d) the plain Phrygian cadence is varied by an accented 
 passing note and an auxiliary note in the alto and tenor. 
 The same melody is now treated in the alto with the sys- 
 tematic introduction of a secondary motive, which is imi- 
 tated in the several voices : 
 
 (13..- — ^. ^ -ST^ I , ete 
 
 The same melody in the tenor: 
 14. 
 
Supplementary Exercises 
 
 257 
 
 Observe and account for the parallel fifths at (a) between 
 soprano and tenor. This melody, when in the bass, may- 
 be treated effectively with imitative counterpoint. 
 15. 
 
 I'V^iirrfrp. 
 
 g 
 
 i 
 
 jf jjj i J | jj | '|-> 
 
 i 
 
 ^ 
 
 m 
 
 p 
 
 m~. ' \ r I' I 
 
 ^ 
 
 etc. 
 
 'I ^K\ II o J 
 
 i 
 
 #=?z 
 
 ^ 
 
 The last phrase should be altered as follows, in order to 
 secure a proper foundation for a satisfactory cadence. 
 
 § 185. The student who has worked faithfully at the vari- 
 ous modes of contrapuntal treatment set forth in this book 
 is now ready to take up the more complicated forms of poly- 
 phonic music: canon, fugue, and free thematic music,— such 
 as the development portion of a sonata form. Those who 
 have develope.d a strong desire to write some original music 
 of their own should study the sonata form, and also the 
 shorter forms of instrumental music, — the prelude, noc- 
 turne, 6tude, rondo, the various dance forrns, the scherzo, 
 etc. The work for a progressive musician will henceforth 
 be of two kinds: Pirst, he must faithfully cultivate readi- 
 ness of imagination and facility of expression by constant 
 attempts at original composition; and second, he must 
 stimulate his fancy and improve his style by -the study and 
 analysis of the great works of musical literature, both 
 ancient and modern. His early attempts at composition 
 may be rather eclectic and sound like the music of the com- 
 posers he has studied. This, however, in itself, is not a bad 
 sign. Beethoven's first compositions were largely in the style 
 of Haydn and Mozart. Wagner at first modeled his style 
 on Von Weber. A few particularly good compositions are 
 hereby recommended for study with reference to wealth 
 of harmony as well as contrapuntal style: The finale of 
 
z^jS Tonal Counterpoint 
 
 Beethoven's Third Symphony, the first and last move- 
 ments of Mozart's G-Minor Symphony, the first movements 
 of Schumann's Symphonies in C major and in D minor, 
 the first movement of Brahms' Symphony in C minor, 
 and Wagner's Overtures to the " Meistersinger " and to 
 " Parsifal." 
 
 §i86. This small book makes no pretense to be an ex- 
 haustive treatise, or to dictate to the student the only way in 
 which he may become an original composer or a well- 
 informed musician. Musical art is continually progressing; 
 new harmonies are being discovered and accepted, new forms 
 of construction are being developed and found to be satis- 
 factory. In art as in morals, " He must ever up and 
 onward who would be abreast of Truth." The young musi- 
 cian is advised not to worry too much at first whether his 
 work is beautiful or not; tnat is often a veiy difficult ques- 
 tion to settle, and is often decided only by succeeding gen- 
 erations. But whatever he does must be sincere, it must 
 come from his heart, and the workmanship must be as per- 
 fect as intelligent and steady work can possibly make it. 
 Genius has been defined as " an infinite capacity for taking 
 pains." The composer, no matter how slight the effort, 
 must have something to say, and he must know how to say 
 it in such a way that an intelligent and receptive hearer 
 can derive pleasure and edificatipn therefrom. Let the 
 student's motto be, "Test all things; hold fast that 
 which is good." 
 
MODULATION 
 
 BY 
 
 ARTHUR FOOTE 
 
 Price $1.25 
 
 CHAPTER I 
 SCALES AND KEY RELATIONSfflP 
 
 CHAPTER II 
 MODULATION IN GENERAL 
 
 CHAPTER III 
 CHANGE OF KEYS OR CHORDS WITHOUT MODULATION 
 
 CHAPTER IV 
 CHANGE OF KEYS BY MOVING TO A NEW TONIC 
 
 CHAPTER V 
 
 DIATONIC, CHROMATIC, AND ENHARMONIC 
 
 MODULATION 
 
 CHAPTERS VI-IX 
 MODULATION BY MEANS OF VARIOUS CHORDS 
 
 CHAPTER X 
 HARMONIC CHANGES RESULTING FROM THE SYM- 
 METRICAL MOVEMENT OF INDIVIDUAL VOICES 
 
 CHAPTER XI 
 
 HARMONIC CHANGES RESULTING FROM THE 
 
 ELISION OF CHORDS 
 
 CHAPTER XII 
 A TABLE OF MODULATIONS