Jadassohn jAANUAL OF GOUNTERPOINT CORNELL UNIVERSITY LIBRARY GIFT OF Professor & Mrs. Donald J, Grout Music Cornell University Library MT 55.J21 1897 A manual of simple, double, triple and q 3 1924 017 605 142 The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924017605142 A COURSE OF INSTRUCTION IN PURE HARMONIC WRITING IN THREE VOLUMES BY S. JADASSOHN. Volmne second: Instructor In Counterpoint. LEIPZIG, BREITKOPF AND HARTEL. NEW YORK, a. SCHIRMER ENT? STA, HALE. 1897. MANUAL OF SIMPLE, DOUBLE, TRIPLE and QUADRUPLE COUNTERPOINT BY S. JADASSOHN, PBOFESSOE AT THE EOYAL CONSEBVATOEIUM OF MUSIC, LEIPZIG. TRANSLATED INTO ENGLISH BY GUSTAV (TYSON-) WOLFF, MUS. DOC. CANTUAE. THIRD EDITION, REVISED BY E. M. BABBEB. TMIS WORK IS COPJRIGET. LEIPZIG, BREITKOPF AND HARTEL NEW-YOEK, G. SCHIRMEE.^ ENTB STA. HALL. '" 1897. Entered according to Act of Congress, «« the j/«of 1887, by G, Siltirmer in the Office of the Librarian of Congress at Washington D. C. PREFACE. The subsequent Manual contains instructions for the study of simple, double, triple and quadruple Counterpoint. All the rules, principles and remarks set forth in this volume, are founded on the contrapuntal works of Bach, Handel, and other classical masters, who have written in our system of the major and minor keys. These studies in Counterpoint are intended to prepare the student for the composition of Canon and Fugue; but those also, who do not intend to become musicians by profession, will be enabled to penetrate more deeply into the works of the classical masters and to cope with the difficulties of their sublime creations. Let no one imagine, however, that the know- ledge of the rules alone would suffice; these would be attained quickly and with little trouble. Only serious, conscientious study can further the pupil here, as well as in all other branches of art. Only when the student has mastered all the problems contained in this book in a thorough manner, will he be enabled to proceed to the study of Canon and Fugue. Leipzig. Dr. 8. Jadassohn. PREFACE TO THE SECOND EDITION. The English translation to the second edition of my Manual of Counterpoint has been revised and corrected in ac- cordance with my special request and under my immediate supervision by my highly gifted pupil, Mr. E. M. Barbek of London. It clearly and conscientiously represents the German text. I give my hearty thanks to Mr. Barber, a very excellent T^i FREFACE. musician, for his intelligent assistance and I hope that this revised translation will enable the pupil to understand completely all the rules, principles and remarks contained in my work. Leipzig, November 1891. Dr. S. Jadassohn. REVISER'S PREFACE TO THE SECOND EDITION. The correction of the first edition was only undertaken at the special request of the author ; as his pupil, I personally felt the necessity for a clearer and better translation; this was moreover strengthened by the opinions I heard expressed on all sides. I have endeavoured to preserve unaltered the respected author's views as expressed in the German text; at the same time seeking to clothe them vrith the correct English technical terms. In conclusion, I wish to thank Dr. Jadassohn for his kindness and forbearance in repeatedly giving me the fullest explanations; and trust the result vrill prove useful alike to himself and his other pupils. Leipzig, Nov. 1891. E. M. Barber. PREFACE TO THE THIRD EDITION. The third edition of the »Manual of Counterpoint* is issued according to the second edition. The later published and separately edited »Exercises and Examples for the studies in Counterpoint* forming an essential completition to the »Manual« are mostly instructive and may be recommen- ded to teachers and pupils. Leipzig, June 1897. Dr. 8. Jadassohn. CONTENTS. PART FIRST. Simple Counterpoint. Pages Chapter I. Note against note in four-parts 1—10 § 1. The Cantus firmns in the Bass- § 2. The Cantus firmus in the Soprano. § 3. The Cantus firmus in the Middle parts. Exercises. Chapter II. Florid Counterpoint. Two notes against one . . . 10—21 § 4, 5, 6, 7 and 8. Counterpoint of two notes in the Baas against one of the Cantus firmus. Examples. Exer- cises. Chapter III. Counterpoint in Upper parts 21—38 § 10 and 11. Rules. Examples. § 11. Counterpoint in Soprano. § 12. Cantus firmus in Middle parts. Exam- ples. Exercises. § 13. Counterpoint in Alto or Tenor. Examples. Exercises. § 14. Counterpoint in several parts alternately and simultaneously. Examples. Exercises. Chapter IV. Four notes against one 38 — 47 § 15. Counterpoint in one part. Examples. Exercises. § 16. Counterpoint in two or more parts. Chapter V. Three part Counterpoint 47—53 § 17. Note against note in three -parts; two notes against one. Examples. § 18. Four notes against one. Examples. Exercises. Chapter VI. Two-part Counterpoint 53—56 § 19. Bules. Examples. Exercises. PART SECOND. Chapter VII. Double Counterpoint 57—07 § 20. Double Counterpoint in the octave in two parts. § 21. Double Counterpoint in three parts. Inversion of the two upper parts. § 22. Inversion of the two lower parts. Examples. Exercises. VIII CONTENTS. Pages Chapter VIII. Double Counterpoint 67—75 § 23. Double counterpoint in the octave in Four parts. Inversion of two parts : Soprano and Tenor, Soprano and Alto, Alto and Tenor, Tenor and Bass, Bass and Soprano, accompanied by two free parts. Examples. Exercises. Chapter IX, Triple Counterpoint in the octave in Three and Four parts 75—86 § 24. Examples in Three parts with five Inversions. Examples in four parts to given Bass; the three upper parts are inverted five times. Exercises. § 25. Quadruple Counterpoint in the octave with 23 inversions. Example and inversions of same. Exercises. Chapter X. Double Counterpoint in Tenth and Twelfth .... 87—93 § 26. Eules. Example, two parts with inversions ; also three parts in different ways. Examples. Example in four parts in 23 inversions. Practical use of Double Counter- point in the tenth by Bach. § 27. Double Counterpoint in the twelfth. Explanation. Rules. Example with in- versions ; the same with one or two free parts^ PART THIRD. Chapter XI. Counterpoint in five, six, seven and eight parts .-. 99 — 117 § 28. Five-part Counterpoint; Examples. § 29. Six- part writing; Examples. Seven-part writing; Examples. Eight-part writing; Examples. PART FIRST. Simple Counterpoint. CHAPTER I. Note against Note. § 1. The -term Count&qp&htt implies the indepenaeat progression of one or more melodious parts or voices with one another, taking iiito consideration a natural and correct connection of chords. fielody is therefore the characteristic feature of Counterpoirit; each of the .parts or melodies thus united-, must be worted out independently; each must be a perfectly constituted part of the whole. This enables us to change at will, the relative position Of the parts in double, triple and quadruple counterpoint. Thus each part in its turn may become soprano, alto, tenor, or iiasa. We have already recommended to the student in the exercises in our book on Harmony, (where we dealt with the structure and connection of chords,) a greater amount of care and coasideration, in the progression 6i parts from a melodious point of view. In the last -exercises in the "Manual of Harmony" particular attention was called to the formation of bass and soprano. Referring to this, we can at once begin with the exercises in simple counterpoint. We make -a distinction between Simple Counterpoint in :Note against Note, in which only notes of equal duration are placed "to a cantus firmus, — and Florid Counterpoint, in which two or more notes are placed in one , or several parts against the cantus firnjus. In the former the progression of parts will be independent only with respect to melody; but in florid counterpoint, the -progression will be independent in a rhythmical, as well as a melodic respect. The only difference then, between the exercises in -simple coun- terpoint, and our last studies in the "Manual of Harmony" is that Jadassohn, Counterpoint. 1 CEAFTEB J. § 1- the choice of the harmony employed is now free. By this means the opportunity is given of bestowing especial attention to a more melodious progression of each individual part. We commence our exercises as before in four-parts, and place the cantus firmus in the bass, to which the student will have to find the three upper parts. He should treat these in different ways, with respect to position and choice of chords. It js intended that the student should only employ diatonic chords for the first few exercises, choosing at first as simple harmonies as possible, and only allow himself by degrees the more rarely used har- monies. After the cantus firmus has been worked out several times with diatonic harmonies, he will then be allowed to employ modu- lations but these however must not lead too far, nor be introduced in an unnatural, or forced manner. The treatment of the subjoined bass may serve as further explanation. Cantus firmus. 122= Note. The student is lecommended to work his exercises always in the four clefs. The following examples are printed on two merely to save space. irr—r ^ 1 ! 1 — ^5 fT rm * ' 1— ,* ■' ^— H % -■ —7>1 V-\J S! />5 " ry 'S o* » ■* 6 6 ■o- ■» i*^' V }' i ^ fS - a 1 ' — 25 ' ^—o — 1 —& . it & ^ 1^ ■ — 4 3 — ?5 6 — «— 1 6 5 1 — ^~\ a (^5 -tp->s ■■■■- 1 1 ^ .0 a> 1— « — 1 (« i SE 2Z= g-J_-g '- -S^=i=^- =i= -^^ 6 iiES 9. 8. <^ 10. (1^=^^ — ^ 1 1 __^; F^^t-^i ^ 1 -^ — ^ 4 6- -3 1 — & — 1 1 — & — 1 1 — ^ — 1 eS fS — L_«. Ii --' ip /V ^^ J--/S- /5 (ff 4 1 &< . \ — fii — 1 ^ [f .L.^1 F^ ^ ■ a..-] ■» fS . r— » 1 —& — ^ a? ! ■«>■ o . 6 4 3 —& — _^7 1^ 6 m 6 ■» —& — \s 1 R- 7l* d — & — ■ ^^-tf7~?!r- —s> — a.. ■ Ci- . '— ej 1* CilAPTFB I. ■§ 1- 11. 12. p -tH J : — ^ — « —Sh— g fe » — 4 3 4 3 1 —

/p fm 'v /^ */■ „ ^2 15^ tS^ 6 7 6 6 5 s^ -V a gj -^a— o 1 — ^ — 1 ^ , ri /o 1 — ^ — I -5 ^ 1 1 1 IT E) ^r^ g s — — « — — « — -^ ^==t=^$^ 1^ — ig ' ■ ~tf 2 6 6 ^ 6 5 7 etc. -^ - y\' a « ■" 111 a ' — (SI — 1 a 16. In the above example, only the six notes of the 2°* 3* '4*^ S**" 6*'' '7* bars allow a change of harmony; the cliord of the first and last bar must necessarily be the triad of the tonic: the chord of the last bar but one must, as Dominant, prepare the close. Ne- vertheless this cantus firmus allows a great numher of different ways of treatment. The first two of the above examples contain § 1, NOTE AGAINST NOTE. only common chords ; in the third and eighth we find the chord of the Dominant Seventh; in the 4"" S*'' e*"* T**" H*'' 15*'' and 16*'? examples, diatonic chords of the seventh are used; in the 9*'' and 10*'' examples, we find the secondary chords of the seventh of the key of C major on the 2"* and 7*'' degree , with the altered fun- damental note and altered third; only the 12"' and IS*"" examples give transitorily some modulatory progressions to the dominant of o-minor ; the chromatic alterations being effected, of course, in the same part (alto) to avoid false relation. The cantus firmus would allow still different ways of treatment ; those given here however, a,re sufficient to aid the student in working out his exercises. It is not positively necessary (as shown in examples 1 and 2], to make use of triads only in the following exercises. ^. Exercises. i^ zz: a::^ 18. ^P$ ■9--yr- 3z: -iff-^soiS^ s: sf-^:^ 22. f'it l-— -l rr — — —1 p— — -1 ~Tr\ r^ b !.*'<* f^ _^J 23. ^S. S-r-S- -&~^ :|2d*± ^^-^-o- 24. q; b 1 yfa <* [_^g-,[_g^| <3 \ " \ |_,H 1- H ^ :^y-t7 r— : ^ — ^zr^ — ts -^=l ^ m s- 25 9^ =f^ -s>- -!•?- ri '^^- ^1'' Sr- b^td b±d LfiJ -^ Cf -^ CHAPTER I. §2. For the guidance of the student the commencement of the exercise No. 17 may be as follows: 26. I i ^ — ViSi- 2E: 9 if: IT 3!a; etc. i±^ -iS' — etc. m ■#g- -(S«2. :«= S= -e> — etc.' etc. 3E S ig- 122^ isaz etc. etc i i^^i p= 6 6 # 5 •s- ■» ■» etc. P^ The Cantns flrmns in Soprano. § 2. We now give a cantus firmus in the Soprano. Here the progression of the bass will require the greatest care. (See Manual of Harmony § 61.) No new rules are required; as practical guidance, we here give a few examples of the commencement of the following cantus firmns. -^- r-^ ^ 27. "¥- ^ etc. 28. ;fcfairffe ^^. — S) rp \ "*■ T IT ■I9>' & lO 1 •» etc 1 ^^— V S ■ lO 1 «?- §2. NOTE AOAINST NOTE. S=p==f^n=i — « ;?> gr-pg, =^ — ^:-7-^— ^ ^ 1 n I_g 1 g 1 % — IJ — 2 1 g; H etc. » «> i^^ ^^^ — r..^k.^H H t^r-l 1 g 1 X. 1 gp^ &-^rv ^^ ^ 1 ^ 1 a if-^ 1 - 1 a 1 ^ 1 ^ 1 etc. ^^^ ,-^, ^ . ^ . ^ , * T '^ ■ ^ . t ■ ^'•' . ^ 1 ►^v^ = =; 7S~-^ * '^ ■» =t^_^ — ^^^.^iz: : etc. etc.i a., — &- — ^ ^-^-^^ — 1 <' 1^1 — A — 1 -tt Zj2 <9^_£ — : -|-^^4-^M-.g-4 ^1,1^ Jf Exercises. TTC- j| l|3 1 ' ■* u '-' ' "5 r- QJ L£k OL g> "'■' -1^— ^t^ |3 b <5 ^ 1 /i ■t*-;i J ^ — b Sh- riKn 1~* *r*^ "^t^ T* IT 32. — '^It a/. — \ — nn jL ytj ig- 1 rS'-r^ "f ^-JSl'-Ol -^^ 9 .... TT '"IST"? '-*' ;" **•# ■^1^—1 1 1 CHAPTER I. § 3. 34. 35. 36. _^^^^:^i?::f:=^:^-^^_ ^^^^f — rni= — ;^ TJ p^ ~;^' "■■^" ~^ |y-Mf=^'#^-^ — — — — — — — : The exercises No. 30. 32. 34. 36. contain the leading notes of their respective minor-keys, and have of course to be worked in minor. The Cantns flrmns in the Middle Farts. § 3. When the cantus firmus is placed in the alto and tenor, the task becomes considerably more difficult than when the former lies in extreme parts. Though the progression of. the middle parts has to be melodious and independent, still, when the cantus firmus is placed in one of the middle parts, it will be forced by its cir- cumscribed position to a more quiet and confined progression, and cannot obtain that free melodious formation which the soprano and bass ought to receive. Therefore when the principal melody, the cantus firmus, lies in one of the middle parts, we have to consider the soprano especially. This highesf^ part may :never adopt the quiet confined character of a middle part. (Compare Manual of Harmony § 61.) T?he treatment of the cantus firmus placed in the alto in the following manner in No. 37, would be most clumsy. ^It The above exercise would be somewhat improved by changing the tenor with the sopiano; we reproduce it in this form in No. 38. 38. ^^=fp^ 1^ V^~\ JO- ■«■ — 4— q -liL. 'S- •s- -IS' a. ~1^ ' 1» i^_lp-<2- -77- f^- ^ -Ol- -«.. -JO- rfl §3. NOTE A&AimT NOTE. 9 We add two more workings out of the same cantus firmus in the alto, in which the tenor progresses more melodiously than in No. 38, ^ere it is only a replacement of the soprano, intentionally formed in an awkward manner. 39 a. or ^^^ T-<9- .jOl. -^- p^ piS>-| p?-" ->>r^ ==>T- a. c2j •» 1^ a. a. psq s ■» uSl. —^- -«S_ » L-«J ■^ 396. ^ (h ^ ^ -«- 32: v-s^ -iS. .ft -at ban JS. -fit ^3 -St " 1 ^ — i|j ifi. -""- » U»J ''it We now give some exercises for the treatment of the cantus firmus in alto and tenor. It is not advisable to spend too much time on these exercises. The student can only obtain complete certainty in four-part writing later on, when he has mastered more com- plicated contrapuntal problems. Exercises. Cantns firmus in the Alto. 40. |2E^ ^a:g=cs. a ua.Jr^~\ a-i-jg. ~^ 4L|^i^ Tg-T ft c I ('^ |:g±g±g: i^1 ia: 42. Htri g-- . e> i „ , -. — I 1 1 y- e> > "> x "^ i rt g . , , g — , . fa 3SI m & ~<2 - -<2 h— S^ 43. ■■aJ^H- -s>- 13: :22: r^n ■#• .2. •#■ ..(S- ■* a. • II ff*^^ ^ 5^ zr 2z: STS 48ry^ CHAPTER II. Florid Counterpoint. (Two notes against one.) § 4. In simple counterpoint the parts can only progress inde- pendently with respect to melody; in floi-id counterpoint however, the independence of parts is considerably heightened by the freer rhythmical movement of one or more parts against the cantus flrmus. Formerly one allowed 2, 3, 4, 6, even 8 notes to one of the cantus firmus, and practised this — at the beginning — by adding one florid part only. Here it will suffice if the student first learns to write two notes, and later on four, against one of the cantus firmus; as all other species — in common or triple time — will have to be reduced to these two. Still we adhere to the procedure of at first giving one florid part only; although in practice it is more generally the case, that more than one part employs motion in turn, or simultaneously. Though it may prove more difficult to produce movement in one part only, still, just by this means the attention ist fixed upon the proper progression of the individual parts. After the student has had sufficient practice in the manage- ment of each part alone, it will be an easy matter for him tp work with freedom and certainty a partly simultaneous, partly alternative florid counterpoint, between the different parts. We now commence our studies by giving two notes to the bass, against one of the cantus firmus. Eaeh note of the counter- point has to be pureli/ harmonic. In rare cases only, a suspension well prepared by leap, may be employed. This may take place §4. FLORID COUNTEBPOINT. 11 either at the beginning, or shortly before the end of the exercise, for instance: Commsncement. Close. 49. ^=^- =s®z ::Sr: zsz ^ ^^ ^ ^ In the middle of a movement, the introdnction of a suspension, even if well prepared, would make a disagreeable impression, as it interrupts the motion of the bass. That a suspension in the bass can only as a rnle, be employed before the third of a chord, has been shown in the "Manual of Harmony". If then a suspension, as disturbing the motion in the bass has to be used with care only, it stands to reason, that the tying of a note of one chord to the same note in another harmony, has to be avoided altogether. Only the three following rules will therefore be available. 1. A Leap from one to another note of the same chord. 2. The Passing Seventh, occurring between the root of a chord and the third below it. 3. The fundamental note of a chord of the seventh, following a chord of the sixth. These three methods we see employed in the three following bars, namely: method first in the first bar, method second in the second, method third in the third bar. first method. second tMid , second method, method. ' method. third method. first method. 50. ^ :sr. ^ ^ 5 ^ 2 6 ^=t C; I V V, I 6: I I7 IV 117 V7 ^ The last bar of No. 50b shows, that we may leave out the third of a chord on the second half of a bar; but it may never be omitted in the first half, and only very exceptionally in a chord of the seventh. In a few exceptional cases the fundamental note of a chord of the seventh can follow the root of a chord, provided that re- tarded parallel octaves are not merely hidden by so doing. 12 CHAPTER II. §4- Ex. 51» cannot be fonnd fault -with; No. SI* is quite Inadmisaable. a. Good. I. Bad. 51. i ^s ;g= -&»- -%-^^=t^ m& -(=- 3 * rzE ^ 3fc The bare consecutive fifths and octaves, which occur between the strong beats in Ex. 51b., are not sufficiently concealed by the leap of a sixith on the weak beat of th£ first bar. A countei^oint, such as the one in No. 52, would be enljrely unallowable. Bad. 52. |9^=i M^H-f^^ Still in a few instances, the parallel octaves are suspended by the motion. This is the case wlien the bass, bearing a chord of the sixth, is succeeded by the fundamental note of the chord of the seventh. If contrary motion is employed, especially in con- nection with two chords of the seventh (53*), the effect would be a good one. a. Good. S. Bad. e. Less good. 53- i ^ ^ ~r32= ■^ =^ P=^ E i. Bad. at — 's^ -Lg 1 L_g__U ^ r^ t=:=t^ <:» § 5. 6. FLOBW COVNTEEPOINT. 13 § 5. More than three note^ belonging to the same chord and proceeding in the same direction should not be given to thecounter- point. Consequently the progression of the bass in Ex. 54 is bad. 54. Here the bass moves in the same direction; the notes C, E, G, B (chord of the seventh on the first degree of C major ;) after that, C, A, F, D (n^) A, P, D, B (vtiS) and F, D, B, Q (v,). Such progressions should always be avoided. Towards the end, (last bar but one) , the bass may very well make a leap of an octave, best however from below, but also from the higher to the lower octave. A leap of an octave — preferably upwards — can also be employed advantageously, at the beginning of the exer- cise (first bar), hy the middle of a movement, progressions of oc- taves should only be used exceptionally. 55. ^ S S ^ ^ :£ ■<=- i; ^ ^^ isz::. § 6. The last bar seldom if ever contains motion, the first bar can also do without it; occasionally the bass may commence on the second beat of the bar. 56. i h --^^^ :f= ^- EE: is:: ^g-^^N As the passing seventh allows the bass only diatonic progres- sion, and considering that this part must mostly move by leap, one can occasionally give two chords to one note of the cantns firmus, provided that if by so doing, it aflFords the bass an oppor- unity of moving diatonically, and provided also that the progression of harmony be clear, natural and comprehensible, as demonstrated in the following Ex. 58 NB. NB. 58. p£ f» ISSZZ -aS- ^^ fe Tgl -^ ^ S zzs. § 7. The passing seventh — occurring below the funda- mental note of the chord on the first degree in minor, — will always have to be the seventh degree of the descending scale in minor, which is not raised. 59. i ^^ ;fc i !=Mf^ This example requires no further explanation. In Example 66 we give a working out of the cantus firmus. No. 48, but in the tenor tiud with two notes in the counterpoint. 66. ^^M mm ^ 4 3 133-. « _«2_ 2z: 32: f= lEI 6 5 s^ r §8. FLOBID COUNTERPOINT. 17 ,A ^^sc. a >2 ^ 7 (S ^ _5 SL- The beginning of example 65 might also be done as follows: 67. ^S ^ ^P^ fe^ ^ ^ In order to give the student as mnch practical guidance as possible, vre add a few workings of the following cantus firmus; only the last of them contains a modnlatoiy deviation. ^ I ^ #: ^•- i\. J r- 17 3 3 3 -gi- ^ i -^ ^iiji^t^ ? S n^-^L^ I ^ ^ ai ^ s - I f g rr ■^ ^ ^ §8. FLORID COUNTERPOINT. 19 /3. i •> !■? -jy ^^ =£ iS ^ NB. =ZB= ^ ^ J i ^ One chromatic passing note, as at NB. in Ex. 73, can be used occasionally; such a note then takes the character of an al- tered tone, ascending .from the natural tone. But this does not give an actual modulatory effect. The commencement of the fore- going cantus firmus can be treated in the following manner: 74. ^ eto. Si =1= -^lfff=^f^ Several of such chromatic progi-essions however, should not b» employed one after the other, as in this case the progressions of the parts would become what old writers used to term a ^howling pro- gressiorC\ The nature of true counterpoint is of a diatonic-melodic character. The following exercises would therefore be entirely objec- tionable. (Compare Manual of Harmony § 57. Ex.: 301 and 30^.) 75. I i i Jz =f= :2E®= EfF^— r Quite bad, 'because cliiomatic. ■a>~ ^=^ ZZZH zsz gjg-p|6^bg- 20 CHAPTER a. §9. The passing seventh in the alto, last bar but one Ex. 73, is always allowable in any upper part at the close. § 9. The student may now work a few exercises, by placing two notes in the bass against one of the cantus firmus. He may choose for the soprano, one or the other cantus firmus ftom exer- cises 29 — 36, and for alto and tenor from 40 — 48. In the treat- ment of these exercises in florid counterpoint, the pupil should not try to find support in the exercises he has already done in simple counterpoint; or, to bind himself to the employment of formerly used harmonies. He would not find his task easier, but more dif- ficult. If he kept always to the same harmonic ti-eatment, the mechanical patch-work of putting a second half note on the weak beat, would be most inartistic. One also would soon observe, that what was good and suitable for work in note against note, would often be unsuitable for treatment in florid counterpoint. In atten- tively noting the examples No. 64, 65, 66, 68, 69, 70, 71, 72, 73, it will not escape observation, that in the counterpoint of the bass, the leap to the fifth of a triad, on the weak beat, has but seldom been used. (Examples 65 and 71.) Now it is not' in any way forbidden to leap to the fifth of a triad ; the following counter- point cannot be censured, although it shows the fifth of the chords on the first and fourth degrees. 76. I bt b rg ,. ;s= "^SQ -gyg- S ^P^-^lf^F^^^zF^t^^ Such employments of the fifth are therefore not exactly for- bidden, either in the use of a common chord or the chord of the seventh, where they form a \ chord on the weak beat; but one cannot lose sight of the fact that the frequent use of the fifth on the second half of the bar, gives a feeble, halting and awkward character to the counterpoint. We warn the pupil therefore, against too frequent an employment of this progression. For this reason Example 77 is not to be recommended, although it does not violate any of the foregoing rules. ^ 77. I te^ m s Efe E^ § 10. TWO NOTES IN THE VPPEB PARTS. 21 The fifths of the common chords, marked with * in Ex. 77, are easily avoidable as shown in Example 78. 78 J I m s :& -g ^ ^&" a ^t^h^-jf-Rf^ ^^ fir-F^^^ At the end of this chapter, we wish to draw attention to the fact, that it is not advisable to keep the pupil too long at these, somewhat difficult exercises. In practice mostly mixed counterpoint is employed. Similar exercises are repeated in two and thi'ee-part counterpoint. — In instrumental or vocal studies, one would not detain the student at the same exercises until he has mastered them to perfection; by progressing to other new studies, he will learn to overcome by degrees the preceding difficulties with much better ability. As soon as the pupil has attained some efficiency in the formation of counterpoint with two notes in the bass, it will be advisable to proceed to the next chapter. CHAPTER ni. Two Notes in the upper parts. § 10. There are .eight methods available for treating two notes against one, when they are placed in an upper part; viz: 1. The leap to another note of the same chord. 2. Suspension. ; 3. A tie between notes of equal value, common to two con- secutive chords in successive bars. 4. All passing sevenths, descending from the root of a chord to the third below. 5. Leap to the root of a chord of the seventh, of which the bass note is the third, thereby forming a | chord on the weak beat. * 6. Leap to the Dominant as well as to any minor or dimin- ished seventh , where the minor or diminished seventh may serve to prepare a suspension. TAe leap to the major 22 CHAPTER lU. if)- 8. sffienth is siriatly forbidden ; exceptionally, in th« course of a sequence for instance, jt may prepare a suspension. The suspensions of the roots of the common chords of the tonic , dominant and subdominant , when the note of resolution is employed by preparation in a middle part. The root in the middle part should however be a ninth below the suspension. The suspension prepared by means of the passing seventh, if the notes form part of a sequence or part of a series of bound notes. Note. The i^asoQ why the seventh cannot be nsed foi the piepaiations of suspensions, except in those cases mentioned untei No. 6 and 8, is easily le- cognizahle. The sevenths aie dissonances themselves, and as snch need re- solving. Only .the leap into the minor and diminished sevenths, gives strength and power of resistance to these intervals, to supppit and carry the sncceeding dissonance. Those instances mentioned nnder No. 6 and 8, are explained hy the e:LceptionaI character of the Seqnence, Examples to these eight rules: 1. The Leap. 79. ^^g ^=F=^ A J 9 ^r^ 2. The Suspension. ^t^=jr|^^ i ■Jz. w^^ 4 3 7 - 4 3 3. The Tie. 81. ^^g P^^ ^ J^J-J ■9- § 10. TWO NOTES m THE UPPER PARTS. 4v The Passing Seventh. 23 82 a. ^^Jt^ =S= i^; 3-rar: 6 6 6 :a: One can write Sequences without hesitation as shown at 81b. 826. f##^^^^^^^ 6 S a.''~ i±^ The fifth, taken diatonically after the chord of the sixth, is explained as the seventh of an imperfect \ chord; as the funda- mental note of the primaiy chord of th% seventh has been heard jnst before in the same part. 5. Leap to the root of the chord of the seventh. 83. ^tfc^ dr 3^ eS -■g- ^ i!E^ C; IV 1I7 viiO IV, This method will be used but seldom, and mostly in such a manner as demonstrated in No. 83. The chord of the seventh must appear in this case complete in all its parts as a | chord. Progressions, such as those shown under No. 84, are not recom- mendable, although they may sometimes be used in practice. Not Good a. 84. I ^ Not Good Not Good e. ^ 6 3 5 ^^ s _£_5 5_ C- IV Il7 VI1O7 V7 24 CHAPTER UI. 10. In example 84 a. the \ chord sounds empty ; as the third which is the fifth of the fundamental chord is wanting. At b. the sixth which is the third of the fundamental chord, is missing in the ^ chord. At c. the fundamental note of the chord of the seventh on the first degree appears diatonically, and not as it ought to be by a leap; therefore the effect is weak, although the \ chord appears complete with all its intervals on the second half of the bar. 6. The Jeap into the minor and diminished seventh, for the purpose of preparing a suspension, and the suspension prepared by the major seventh in a sequence. 85. i $ 7— y T ^J I II I ^T^ ^ ^ II J -• ^ ?j-^ - -Tfi g! :: — I — ~.u z^ g'g m-as 6 - 5 4 2 2 ^ :^2z: 6 6 5 4 3 3e: C: H 117 Vy ^ I a: vil" VflO^ I i ^ .^^^^ ^^^ MMJxUu-j. i^ B 6^ 9 8 3= 3r p o: •nfi'j d: VI1O7 C; I IV, 7. The suspension of the fundamental note of the principal triads, although the note of resolution be present in one of the middle parts. (See for reason and examples "Manual of Harmony" § 53. Exercise 257 b. c. and d). Suspension of the fundamental note of the triad of the tonic. 86. f^hr =F^ F^- f^ 5 -^ -s> J- — ^ ■ /S i= a> ■ 6 - 5 4 2 2 —& -e> •* 6 r5 7 5 ~6h- 6 6 5 4 7 4 3 1 g II [ -^ yy 1 s- _Ci_ , C: I "7 §11. TWO NOTES IN THE VPPEB PARTS. 25 Suspension of the fundamental note of the triad of the do- minant. NB. 87. { ± ~rgr ^ ^ -^7 - - 9 8 M 4 3^ 7 - TJ 6 ^8 7 ^4 19 |-■? I ^ Tg S^ ■or" 7 - 3 6 S C; I VI7 Suspension of the fundamental note of the triad of the sub- dominant. i v=g= ^ ' i^^^ L^iiyi i:^ ^^ Z25r 3C :s: C: I IV 8. The suspension prepared by the passing seventh. An instance showing this, is given at NB. of the example No. 87. bar 5—6. § 11. We commence our work first with the counterpoint in the soprano on a cantus firmus in the bass, and show the em- ployment of all the eight methods in one example. For better comprehension, we mark the first employment of each method with the corresponding number. K. Cp. 89. c. f. i ^ ii= ^ JrJ j-j i±^ 22= -JCl 7. 't-' K ^^ j=f^- =^. ^==F=J—J^ ZSISZ -# 2z: 26 CHAPTER ni. §11. ^=^ 4^ Jij^p -^ 132:: The student need not imagine, that he is obliged to make use of all the eight methods in each individual exercise. On the con- trary, he is strongly advised to employ only the most usual ways, which are 2. 1. 4. 6. 3. We note them down in the order in which we consider them most suitable. Therefore the suspension would be the best means, the tie (especially when used in several consecutive bars,) the one least adapted for counterpoint in two notes. More than two successive leaps are not in accordance with the diatonic-melodic character of counterpoint. The following coun- terpoint would not be advisable just for that reason, although it does not violate any of the established rules. Cp. 90. c. f. i Not good, on acconnt of too many leaps. _1 ^ i 0a Si ^ — ^^ ST -^T. i ^ ^ ^ r^r. i2z: 9fc Z3n As a rule (in working these exercises) one will do right not to confine oneself to one, but to interchange the most usual means, as far as their employment seems to be adequate to the want; and to make use of the less customary methods, (5. 7. 8.) only when the progression of the counterpoint seems especially adapted for their employment. Only the suspension may be used through several bars in succession; one however should not capriciously amass them. It will be left to the good taste and musical training of the pupil to decide in each individual case, which method should be employed for the movement of the counterpoint. The best proof of the excellency of a counterpoint will be always its adapta- bility for singing; of course a sound and natural harmonious con- § 11. TWO NOTES m THE UPPER PARTS. 27 nection is self-understood. Sequences in the counterpoint should not be used ofteuer than three times in succession. Cp. 91. i &■ & ^=t M =^ ^^ ^ ^ -j-j^ ^=> cf. ^^^ s 3C I ^ ^ I , — , _l — J 1^ i3e: PS m I fe^ 2^ ^J Jt^ W -(S^ lai ^ & 13^- The first four, even six bars of exercise 91 cannot be found fault with, but to continue them in a similar manner produces monotony. The use of the sequence at the commencement has under certain circumstances a good effect; but the employment of a sequence or sequential progression should not be repeated more than three times. In this respect the commencement of exer- cise 92 might be called good, as are also the first bars of exer- cise 91. Cp. 92. Cf. I ^ * eg I — « " -s ■ 'g « '^ s -St- g ' fJ I etc. Si If the cantus firmus itself shows progressions of a decided se- quential character in the form of a cadence, it will be advisable, to take the other parts of the counterpoint also in a sequence, viz : 28 CHAPTER in. 12. Cp. 93. c. f. i ^ £-sLJ=:^ 1 — Yj-r rf ~^Tg ^'-H-^^j- -^ % ^^ J . I -t-r 9: ^ -^ : — ^ U — ^ ^ Iff ^1 g, j_« 1 S> or: Cp. 94. c.f. #^ •^1^ ^ l^ ^ 4^JT^ J §^ i ^ :2^ -jy- § 12. Here follow some examples of a counterpoint in the soprano to a cantns firmus in alto and tenor. Cantus firmus in Alto. Cp. C.f. 95. ^^^^^^M a^ 3£: ; j-j J . J- \7^M J iJ '^ ^s * § 12. IWO NOTES IN THE UPPER PARTS. Cantus firmus in Tenor. 29 Cp. 96. c. f. i fcS JZJ l l J J,"' J ::J=;i^ zz a. ^$ i a m ^ s i I g- zziz The student' may now place a counterpoint of two notes in the soprano against the cantus firmus alternately in the bass, alto and tenor of the following examples. If necessary, the cantus firmus of some preceding exercises may be treated over again for counterpoint in soprano. \ Exercises, 97. i^E :3r. -«^:=s 3= \98. iM$E g I "g |^; ^| g I '^ \99. ^ 100. -^YtlF ^ zsz 101. ^MM= 102, PJ^i^ Ie 32= 1221 rai iS==2z: 103. ^^ ^ 30 CHAPTEB III 13. 104.- P|3$= m 105. 106. w CantDS firinus in Alfb. ^^^^^^^^^^^ ^ 107. Sl3^ s=r3c 108. 1^3^ la: CantuB firmus in Tenor. 109. ^^ ■& — 1^ -s- (g I ''^~r ic 33fc«rt2z 110. ^ £ § 13. The above rules (§ 10.) will hold good, for the counter- point in the alto or in the tenor. . The seventh method can only be used in, the alto. Example 111 shows this case twice in the bars marked NB. Cantus firmus in Soprano, nb. NB. Cp. 111. I & t — —iff- ^ ^ ^33Z "7 5^ ^?=?= rrrrrj" :f: / py ir- ^ EE is: ia= When the motion is in a middle part, it is very much more difficult than in an extreme one. We shall be here reduced to the methods mentioned under 1. 2. 3. 4. viz. the leap, suspen- sion, tie and the passing seventh. It will occasionally be impos- sible to kiSep the middle voices within an octave. The transgression of this rule however should not last long, as the exercise would otherwise sound empty. The following treatment of the cantus firniras of No. 111. would therefore be worthless. §13. TWO NOTES IN THE VPPEB PASTS. 31 Bad on account of too great a distance between the middle parts pietiasabatlt. C. f. Cp. 112. I Here follow, for the direction of the pupil, six different ways of working, out a eantus firmua in a middle part. zsn rf^ 5 Cantus firmus in Soprano, Counterpoint in Alto. c. f. / [^tI^""^" ' ' - ~ — '"^ 1""^" Cp. 113. t==a ^E^S ^^ I S -^-—-=^^=S==z -s^'—- z=sz ^ Cantus firmus in Soprano, Counterpoint in Tenor. 114., Cp i k ^■'■i^ rsc PS J J-J ^J i -i J-J g- i- 221 I ^ isz: ISEl S -4 ^^ j-j J J J J J -2!= 32 CHAPTER m. Cantns firmus in Tenor, Counterpoint in Alto. § 13. Cp. 115. G. f. ^^ ^^^^^ ^ ^^ --§- a. ^ ^ rfff^ftp^^^^ ^ "P — ^~^ ^ i Or these four bars. ^^3 r g _ -l--gg= £^ s zsc E %—&- -ar- Cantus firmus in Alto, transposed to Et' major, @onnterpoint in the Tenor. C. f. 116.. Cp. BS^ 3Z= ^ zsz m^ J>-^J ij J k ^ ^-kjr-^^z i J J i-i i-i &^ ' &- or the following three Ust-hars: ^^l^^ przar :& ^ii^= ^ ^^^^ J ^ ^ >, -i- S m ^E § 13. TWO NOTES IN THE VPPEB FASTS. 33 Cantns firmus in Bass, transposed to 6 major, Counterpoint in Alto. Cp. 117. c. f. i ^ -p—r ^^■^-JI^^ Pi= ^ ^ =i= f- Kf - ^:^ F=^ i- — ^1 * 321 221 Cantus firmus in the Bass, Counterpoint in Tenor., 118. •! Cp. C. f. h^ m ^ 2z: :sc. -2SS1 Pt ^i. «> |g^ J: J-J J J J-J I J ^i ^ i 01 the succeeding foui bais with a modulatory turning : ZZIZ 121 :c^ * * J^ ^J-J-T^ Aj_^ dt 3 32:: or also : i -J J J W J - zsz Exercises. Note. Foi alto and hass the cantos flimus will have to he tiansposed to a lower key. 119, '^^ ^ 32= Jadassohn, Counterpoint. 34 CHAPTER in. § u. ^ a . n . <» . ia "^'_d>-l -'g- 120. -»- ^ r * 1 /g 1 1 1 1 g 1 1 g 1 1 — ''^ 1 — ^ 1 1 ~IT • -H^-^^^ — ' 1 U. § 14. We next work the counterpoint in part alternately, in part simultaneously, distributing it among two or three voices. A purely mechanical method for this would be to work the cantus firmus first in equal counterpoint, and then to insert the motion in such part or parts, where it seems to be most adaptable. But we do not wish in any way to recommend this manner to the student. He must not put contrapuntal movement into a phrase, vyithout having previously paid proper attention to the movement of the parts. One may allow such a way of treat- ment to the uninitiated beginner for his first attempts ; soon, how- ever , he should accustom himself to conceive the composition in a freer and more artistic manner, which invents and considers the movement of the cantus firmus from the outset in connection with the progression of the parts. The student must continually guard against overloading his work with two or more contrapuntal parts. The simultaneous motion of two or three parts can occasionally be of very good effect; at the same time too much movement in several parts fatigues. Now follow eight workings-out of the cantus firmus (No. 120) for the guidance of the pupil. The cantus firmus has alternately to serve for two examples in different parts. The first example is to be always worked simply and in such a manner, that only one part interchanges the motion alternately with another; the second richer in movement, is to be worked simultaneously between two or three different parts. The Cantus firmus in Soprano. I s 122. f sr- m^^^-r^t^= ^ -3SZ I& ^ § 14. TWC NOTES m THE UPPER PARTS. 35 f= ^-^^}^ ^ ^ -^ -~ \ f^ ^ I fe=3r =zc ^==f ^p^ 3ZZ i:i=ii=^ i^^=sc 123. s$: f^f^^^ m^. iS^ E :i^ -^-T' I i2=s: -«?- ^ =^F=f-f =p^J- ^ ^^ J ■^^ The Cantns firmus in Bass. 124. fT r f gs i ^~i^ ^^ g^^ 12^21 f^ 1:^^ r iife^ isc: 3* 36 CHAPTER in. § 14. 125. ^ ^_ ^-^^-^- ^ Ff^t^f^f^ ::^=F^- i^^ The Cantus firmus in Tenor. 126. { P E^ ^& :^= Ee i^ ^ 5^ (fe^^ d^^ .=fe_ »j 127. I ^ 122:: -^-g" ^^ T" ^^ r S 14. TWO NOTES IN THE VPPEB PABTS. The Cantna firmus in Alto transposed to EK 37 128. ;S3t^^ ^g=3i :zc. s- a. ^^ s^ J ^J-i Wi ^^ i ^ ^ ia -=^ r^' ^' J ug:: r IT S^ 129. I W^ g-T" ' r?e^ ^9=Ue s 1^ i-i;:^U^ i J ^^3^^^^^ -J i s -i^ g *? /<, The following exercises are to be treated in accordance with the manner shown in the examples No. 122 — 129. The cantus' firmuB may be ti-ansposed into other keys for bass or alto, according to the position of the parts. rtj^jC^ Exercises. 130. =3$ ;r^^^^ < 131. =3^ 1321 -e>—-^ jB- -9- 132. =i^ ^ ^ * 38 CHAPTER IV. 15. If considered necessary some suitable cantns firmus from former exercises may be chosen and employed in the manner indicated in the examples 122 — 129. CHAPTER IV. Counierpoint of four notes against one of the cantus firmus. § 15. For the movement of four notes against one of the cantus firmus, (four crotchets against a semi-breve,] the same rules apply for att parts. 1. The first note of each bar must be an harmonic one. 2. Between two harmonious notes, passing ones may be in- serted diatonically. 3. Changing notes (see "Manual of Harmony", p. 153) are to be avoided ; in the beginning of a bar they would be incompatible with the first rule, in the middle opposed to the second. But we will not exclude them altogether from contrapuntal work. They will find their place in the more complicated exercises of the canon and fugue and can sometimes produce a very excellent effect. Ordi- narily speaking, one will do right to avoid them if possible in all contrapuntal work, even in the canon and fugue; as the note of change no matter whether introduced from above or below, will always have the character of an ill-piepared Suspension, and is therefore not suitable for really "pure harmonic-structure". (Com- pare Manual of Harmony § 57). In four notes against one, the tie is not permitted at all, the suspension seldom and exceptionally, and in every case its pre- paration must be introduced by leap. The following preparations will therefore not hold good. 133. ^= ^^^ 4^ ^^ II ZSEZ -T-^ —*- fe Cantus firmus in Soprano, Counterpoint in the Bass. C. f. 144. Cp. I S:^^ ip 3?Z § rb^FtM^=M&-rr T7Tnq^ ^ i fe^= s '^ N Vrf^-F1 ^^^ ^^=i=^^=^ ^^ 15. COVNTEBPOINT OF FOVB NOTES etc, Cantus firmus in Alto, Counterpoint in Tenor. 43 C. f. 145. Cp. i ^ 3Z 31 m^^ j.j j J | Jj^J | j,^-^ i ^^^ - 2C (^ m ISC U^i^ J i^ii J .J i^ ^ Cantus firmus in Tenor, Counterpoint in Alto. Cp. 146. c. f. i 3^ ^^^^mm gtat 31 I -<9 •- m rr^ M^^^^^Epp -^— ^ Exercises. /X47. ^^ lar ^t ^,^.^Ow^ j^ 148. ^S ^{i«*»j\...,...«<i 157. 5>--— tp— ^ -V VJi 3e: r ^8. 9^=^ 32= f' 159. 95^^ =az =sr =ar 32= Bemarkg on these Exercises. Modulations, and shoit evasions into ueaily lelated keys, can be occa- sionally permitted. Now and then a cliiomatic passing note, oi still l)ettei an altered fifth, may be used; for instance: 160. c. f. i ^ I. .J ■ J- „JL ^^ *=r«r-^ ^.J^J^y^ =F^^ =t::q= § 17. THREE-PABT COVNTERPOINT, 47 i ■U.U f^^f m ^lAi^ilii Several successive chiomatlc notes should however he carefully avoided. (Manual of Harmony § 57 Examples 301 and 302.) CHAPTER V. Three-part Counterpoint. §17. Counterpoint in three-parts note against note should he worked so that the harmony be clearly recognisable, although there are only three parts available for the representation of four- part harmony. This can be easily effected, as the middle part, (no matter, whether tenor or alto,) affords more room for independent progression. The middle part will therefore be allowed to move more often by leap, especially in fourths and fifths, than was the case in four-part writing; and this is advisable, since by so doing, the harmony can be made fuller. The distance of the alto from the soprano may amount to a tenth, nay, even occasionally to an ele- venth. Beginning and end will be best rendered in unisons. The chord of the sixth on the seventh degree may sometimes take the place of the chord of the seventh. Similar motion in all the three parts at once will have to be avoided; but the chord of the sixth on the seventh degree may exceptionally, descend to the chord of the sixth on the first degree. ¥ But the reverse is not so good. lac But even this can be occasionally allowed. Though such pro- gressions as follow, have to be always avoided, as they are dia- metrically opposed to the nature of counterpoint. 48 CHAPTER V. § 17. Bad. 161.^ S -^ -a- ^ The chord of the seventh may be sometimes used without a third. (Compare Manual of Harmony § 36, note). Hidden octaves cannot be avoided at the close, when the three parts finish in unisons. Moreover the student may be reminded that all kinds of hidden fifths or octaves will be much more noticeable in three- part than in four-part writing. Therefore the treatment of the parts requires more care. We will endeavour to illustrate in the three following examples, the treatment of a cantus firmus in simple counterpoint in three parts. Cantus firmus in Soprano. C.f. 162. i ^ « — ^ rS^— 2C Iffil S==3C rac ■& es- P^ -^a , __ a I l -g- -O- =a= P ~% ^1^ g'g I '^^—\ — o I— — -1 I— ^ tf^ 1 1 r' f— r— 1 ^5^=^ -S — I— f— ■±t^ PJ^-M 4* 52 CBAPTEB r. 18-. m tO-t- ^ NB. :t=^ ^ ■^& -0—f- r- ^ NB. Old authors used to employ the whole tone G; The use of the ge- mitooe GJl is modern. Cp. C.{. 170. C. f. p ^ r^ ^m ^ =t ^^s Mm f— •- S3E^ -•— #^ S ( #z ]7r^V^-j- jr^ ^^^ ^ h4-^-j^- ^ U=l m -J~ 1 4- g' d - s j Lt-Ejittx ^t^F^=m ■0- o- =1= The treatment has to be continued in the same manner when the cantus firmus is placed in the soprano or bass, the cantus firmus of the following exercises has to be employed in simple counterpoint, and also with motion interchanged amongst all the parts as de- monstrated in examples 161 — 169. Exercises. 171 '^^Tt' -o'~>^^ — ^-^--a-.-