^^4 3.^^ f/^.^ CORNELL UNIVERSITY LIBRARY FROM M.L.W.Laistn er MUSIC Cornell University Library MT 55.R531 1888 Book (>f exercises to accompanv E. Friedr 3 1924 022 375 749 Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022375749 BOOK OF EXERCISES TO ACCOMPANY E. FRIEDRICH RICHTER'S MANUAL OF SIMPLE AND DOUBLE COUNTERPOINT PREPARED Bt ALFRED RICHTER, TEACHER AT THE CONSEBVATOEY OF MUSIC AT LEIPSIC. NEW YORK, G. SCHIRMER. LEIIPZIG, BREITKOPF & HARTEL.) 1888. COPYBIGHT 1888 BT 6. SCHIMMER. E Copyright 1888 by G. Schirmer. PREFACE. Shortly after the appearance of the "Book of Exercises to accompany Eenst Fried. Richtek?s Manual of Harmony", I was repeatedly asked whether a similar work was not con- templated for the "Manual of simple and double counterpoint" also. ^Nevertheless, it was long before I could decide to set about such a book of exercises. For, instruction in Counter- point is essentially different from that in Harmony. Here an intelligent pupil can by means of diligent study and conscien- tious working out of the given exercises make, even without the teacher's help, rapid progress. Not so in counterpoint. For here the task is this, not only to construct the exercises cor- rectly, but also to make them melodious and sonorous, which cannot be done without continuous exercises, to be submitted to the criticism of the experienced teacher. Self- instruction would here fail of its end, even in the case of the most tal- ented. Then too, in the study of Harmony much depends on working out very many exercises. But for Counterpoint com- paratively few exercises suffice, inasmuch as a single exercise can be worked out in the most varied manner; it can be utilized as cantus jirmus for the soprano, alto, tenor and bass, and the motion in halves and quarter-notes can also be applied in the different voices; hence a single exercise can in this way afford occupation for a week. I therefore considered a book of ex- ercises for counterpoint also unnecessary. But when at last the inquiries became numerous, I attained to the conviction that here some necessity must, after all, exist. But having once determined to set about the work, I went somewhat far- ther, and wrote supplements to the separate chapters of the "Manual", so far as seemed necessary for better understanding them, moreover I developed more fully certain subjects only briefly indicated in them, and these supplements and extensions have been added to the book of exercises under the title: IV PREFACE. "Supplement to Eenst Friedk. Richtee's Manual of simple and double Counterpoint". "Why so many words about things at bottom so natural?" perhaps many a one will ask on looking through this Supple- ment. But every one who has had, as I have, ten years' prac- tice in teaching Counterpoint, knows that these things which to one of us seem so natural and self-evident, to many others — by no means in all cases devoid of talent — do not at all seem so natural and self-evident. By means of the repeated questions put to him the teacher soon learns to know which subject offers most pupils special difficulties and requires a more diffuse explanation, and which is that subject that, as being easily understood by the average pupil, can be passed over more rapidly. The greatest mistake that a teacher can by any possibility make is that of taking for granted that what is perfectly clear and self-evident to him must be so to every one else also. From this it may come that now and then teachers of but little talent achieve better results than those of great gifts and eminent knowledge. For the former, having had to apply great industry and pains themselves in learning, are thu^ more easily enabled to conform themselves to the mental process of others, than are those to whom everything has come in play, and who are therefore inclined to look upon every one else to whom that is not so easy, as a blockhead. A somewhat slower intelligence does not always evidence lack of talent, for, in learning, the temperament also plays its part. Many a talent lies hidden as it were in a deep pit, and can be brought to the surface only slowly and through conscientious labor. The previous education also, especially the scientific, of music-students, differs too much not to have an influence upon their intelligence and progress. Every one knows how difficult it is to many, on hearing for the first time the terms "second", "seventh", "dominant", etc., to form a notion of them, whereas, to one who has studied Latin, a definite idea is im- mediately connected with those expressions. The teacher can- not despair of the talent of his pupil until he sees that the exercises, in spite of diligence applied to them, do not improve, and that there is absolutely no development of the feeling fqr the harmonically and melodically correct. To develop this feel- ing, as far as may be, is precisely the affair of the teacher. For, it is a mistake to suppose that this feeling is bom in us. The feeling for the melodic, possibly: the talent of catching up a melody is a very common one. But the feeling for the PREFACE. V harmonically correct is decidedly not inborn, but can only be acquired. The fact that there are many, who, without ever haying had theoretical -instruction, can extemporize excellently upon the pianoforte, proves nothing. For these are always such as have played that instrument a great deal, in whom there- fore the feeling for the harmonic, conformably to the nature of the instrument they have cultivated, has developed itself But to violinists and violoncellists it vnll always be very dif- ficult (unless they are at the same time pianists) to write a correct four-part setting. Especially the bass-leading causes the former great difficulty. The fact is that with them the sense of harmony is, by reason of the nature of their instru- ment, little or not at all developed. Hence, too, in their case, with the same talent and industry, progress will generally be slower than with those who play the pianoforte or the organ. Moreover, it may be observed in ordinary life how much more general among the public is the feeling for the melodically than for the harmonically correct, — for instance, in people who play for dancing, or in those who, having a good memory, can repeat every melody that they have once or twice heard. They will reproduce every tone of the melody exactly and cor- rectly, perhaps the harmony also, in so far as quite simple chord-connections are concerned, — for instance, that of the dominant vsdth the tonic; but if the course of the melody in- volves more difficult harmonization they directly play falsely, yet without being at all sensible of it. Such people make a droU use also of the chord of four-six, bringing it in without fail when it is not expected, and, when it is expected, leaving it out. That which I have given as complementary to Chapter 6 (Choral treatments) has taken on especial copiousness. In view of the limited presentation that this subject had, and had to have, in the Manual, I deemed it necessary to treat some points more diffusely. The treatment of Chorals in the ancient Church- modes has also found a tolerably detailed discussion. For at- taining a thorough understanding of these ancient Church- modes it was of course necessary to bring within the sphere of our observations the tetrachord-system of the Greeks, as the starting-point of our modern tonal system also. For, surely, the musician should know something concerning the rise, the nature, and, above all things, the treatment of these Church- modes. The question is very often asked by students, how much VI PREFACE. time should be devoted to the study of Counterpoint. This is a difficult question to answer, in so far as progress depends upon the scholar's industry and talent. What is for the one too much, might for the other be too little. In general it might be recommended, even for the talented and diKgent, to devote a whole year to the study of simple Counterpoint. Many have no real patience for conscientious study: they -would like to learn every thing the soonest possible, make superficial at- tempts at every species of counterpoint, and think they have done great things when they have in a short time finished the entire theoretical course. Such hurry-skurry — for it deserves no other name — leads to nothing, and they who do such things simply do not know why they study counterpoint. Coun- terpoint is for the composer what technique is for the pianist or the violinist, and, as it is necessary first to have acquired the requisite execution in order to do justice to the works of the masters, so also should one he a thorough master of coun- terpoint in order to make the proper use of one's ideas. I there- fore give the advice, not to pass on to the study of double counterpoint too quickly. For, double counterpoint is, in the main, nothing else but a simple counterpoint with certain limi- tations, and he who is capable of treating simple counterpoiat in a flowing and melodious style, vdll require comparatively little time for the study of double counterpoint and soon be able to pass on to higher problems. In conclusion I would add, in reference to the "Book of Exercises" proper, that in selecting the Chorals I allowed myself to be influenced by practical considerations only. The statements as to the origin and the composers of these melo- dies lay no claim whatever to absolute correctness. The state- ments of investigators in this department differ considerably, and the investigations themselves are as yet by no means ended. — The folk-songs that have been utilized for exercises are mostly taken from the "Old-German Song-book" by Feanz M. BOHME. Leipsic, Jan. 24, 1884. Alfred Richter. To Chapter II. Plain Counterpoint. Exercises without the application of Modulation. (Supplement to No. 25 of the Manual.) 1. -I— «- .^^=f=^:^=^^=j^=^^ 2. r--^ ■* (»~T- IV . ^-^-^.^ -H — \—\—^ 3. --^ — tr^ — * I «> • ■<»■ ¥ — L 75 — T- 1S> 4. ^ - 1 g-1 T r — ■ — 3 ~fr°-] -^-j ^ 1 g, lift (h e 4 J Ui' ^ -« — -■^ft — fr-v^ — 8- r. 1 ■=■' 1 >. 1 1 1 -^^rN^-if^--^- -.-ffl- 1 g 1 ■» W^ a--^y--si- p=i ITig =^=^- ^^TT^ 10. rt='-T- -^5^ -^ "^ •» r^ ■-ISL. ■» ¥ '■ 11. — (&■ T — r^~\ — 1 — r ID » 12. a ■ ■» -rS- --&— ~^~r ^?^^T^=lrf-n ^— I-IP — 13. ^ a. ^^T^ II H ^- -i-(&- _&:_ -s>— ■ f^-=l — — — :S / A. EicBTEE, Exercises for tte Manual of Counterpoint. TO CHAPTER II. 14. ja. ^ -^~y-rr .16. ^E^Sg-iE^j 16. sc f±Eif^=^a^i|; gi The Cantus firmus is here given to the soprano, but is to be taken by the other- Toices also, as follows: for the alto it is to be transposed a fourth or a fifth lower — thus, from C-major to G- or i^-major, for the tenor an octave lower, for the bass two octaves lower (the same key being therefore retained in the last two cases). It is moreover advisable to take the exer- cises at first in the simpler keys, as, C, G and jP-majqr, a, e and 5- ■^(f7-*^ \\ 7. :J N H- — f^ ^ .<£ 1^ W 8. £L Pe a. 9. ^ SE E 323 .-^y. ^. ^ , ^ ,.l"- ^-J?- ■^ i»- ■* =^ 11. ■* 12. It t h/!j - r=- ^ L "^ 11 I / ^ Ip ^-— i^- — 1 r ' 5_ 1 ja .* -&--at- fc 14. 13. i iii^5 ¥- ^ jfa— g^^^^-T=g=d {g^ 1* 4 TO CHAPTER III. FIGURATED COUNTERPOINT. 15. ^ ^ 16. fi-jj»— — -[-j^^^— g-p^g=[-^'^-^-^^^- -O-. w~ The cantus firmus should be applied in the other voices also, proceeding, in the transposition of this as of all the fol- lowing exercises, in the way already indicated. To Chapter III. Figurated Counterpoint. For working out with the movement in half-notes in the different voices, the exercises under No. 25 in the Manual, as also the following ones, may serve. — ^-iL^-^^^_-^^-^^_ -/V ^ *= isf >5 — ^'111 N=]-L=^ j^ — m 3- <5 —s> s>— -^^ |-tf7-«' — '^ z--—--'^-„- 1 *^ U2 ^ 6. ^^?* 3fe^ U 7. _ _ -ffl- EEE :^ 9. ISC & lai TO CHAPTER IV. COUNTERPOINT IN QUARTERS, etc. 5 To Chapter IV. Oounterpoint in quarters against wMe notes. The working out can be done "with all the preceding ex- ercises, as also with the following ones: 1. 2. ^g-- 3t i^z:r^ :^ jSL. 3. fe 'f^-^z^]^ fF *' ^ ^ =^ :i^ 3jr ^ at 6. ^- ^ .a ■*■ ¥ w — Yt A °^ /J) " ^ - /S i>S I J ^ ' 1 !— J L 1 — ^ 1 "~T^^^=f^=ffifeF^^T^'^"^ 1 ^ 1 ^ 1 ^ 1 ^ 1 |., fl-S-tp-^ ^ 8. 15 N. B. a r^ N. B. The skip from the third of the dominant Triad (leading-tone) to the third of the tonic Triad, is allowable in minor also, in which case a diminished fourth results. To Chapter V. The three-voiced movement as a contrapuntal exerciss. Here also all the former exercises can be utilized for working out. In transposing the canius Jirmus proceed as be- fore. As special exercises here follow some in the more dif- ficult keys. 1. s; TO CHAPTER VII. Exercises. (Supplement to No. 70 of the Manual.) ^ 32. f- ZBL ^E '^SZ-^ ISlXSHZ M. 3. ^^ s^F^^l^^F^ % fcit=s: A^=^qfe .^> 1. ■* B/5 ■«' :g=t^ f^ 5. 6. Sft fc ffg srxSujpz. M '• ^ •tfL^* .ffl fc ^ m. M 8. ^e a -S- Iff- -as:: fi^ To Chapter VI. Two-voiced Oounterpoint. Here no special exercises are given, as the preceding ones, which may again be utilized here also, will in every respect suffice. To Chapter VII. Treatment of the Choral in plain counterpoint. A. Chorals in modern keys [i. e., in major and minor). Kemark. In transposing the cantus firmus into the alto , tenor and bass, proceed as befort. — It is assilmed, however, that, before getting about treatments of the choral with the eantus firmui in these voices, suf- ficient dexterity and certainty in voice-leading have already been developed. CHORAL IN PLAIN COUNTERPOINT. For, these exercises oflFer difficulties in various directions. The peculiar course of many of the melodies will easily mislead to forced progressions Then, too, we have to pay attention to the leading not only of the bass, but of ihe soprano also. For the soprano should not, any more than the bass, remain stationary or contain unmelodic and meaningless progressions. Here it is necessary that the cantus Jirmus appear as prominent as possible, while on the other hand care must be taken that the soprano also be me- lodiously sustained. A treatment in which this latter is lacking, would, in spite of the greatest harmonic richness, sound colorless. We should beware, moreover, of ascribing to these exercises, so far as they concern alto and tenor, too great importance. The essence of a pielody, so far, that is, as there is question of a purely harmonic treatment, is, in the middle voices after aU in most cases stifled. It is otherwise with the application of the freer contrapuntal forms, in which through the difference of movement of the separate voices one with another, as also through the contrast of the figures conditions are created by which an application of the cantus Jirmus in this way is even favored. — Among the following chorals are some that were originally composed in ancient church-modes, but in which the mel- ody has in the course of time so changed that the original church-mode can no longer be authenticated or at least recognised. Abide In thy great mercy — (Christ, He that is my life-spring — ) Ach bleib mit deiner Gnade — (Christua, der ist mein Leben — ) Melchiok VxJLPnJS, Cantor at Weimar ieOl. No. 1. =^ tS :^ fW ^W s 2= W=^ -zc *: God and Lord — Ach Qott und Herr — From the 2d half of the 16t5» or the 1=' half of the ITth century No. 2. ^^^ X is—f!r- ^ -.^ ^■ ^&- L&# -^- f 3tL.^ jA +^ ^=1= t God, how many a bleeding lieart — (Lord Jesus Christ, light of my life — ) Ach Gott, wie manches Herzeleid — (Herr Jesu Christ, mein's Lebens Licht — ) NIC. Selneccer, Superint. inl,eipzig. 1530—1592. , No. 3. ^'- r :^ ■^^^ ■p-^0- T* — .*■ =t m ffl ■ .^:LaUV>z gq:?g: t=t -fi>-^ :zi=i^-\ t=t t=x. t=^:t TO CHAPTER VII. To God alone on high be praise - Allein Gott in der Hoh sei JEhr' NIC. Decius, 1539. No. 4. m^ ^-rg-j-p'-Tsq r^ £ - — !S>- -e>- i=t: f» t=t gzHES ^^ =p=i»- ?g~n^ £ :t=t l^ n^T"^ -« « !^ ^4- I r r =1^=^ Bemark. The text is by Decius, to whom also the melody is ascribed, though to this more ancient testimony is lacking (see Gael von Winter- feld's "Evangelischer Kirchengesang", Part I, p. 210;. On river-banl(S of Babylon — An Wasserjliissen Bdbyhn — Martin Luther. 1-525. No. &~r-^ — =-l g I ^ . >vr 1 ;^-i-^P 1 P^ ^g FT^=^q^# -^ l¥»=t 4=t E^ 2— (=n SH^5 t=tl 3^ i g ( ^ I — .g--^ ^ ± -iS-—'*- ^ SE It -j:t=2^ Bemark. The melody is originally that of a Hussite song, arranged as above by Luther. — Is, on account of the beginning, not suitable for the cantus firmus in the bass. No. 6. From the grave again shali thou arise — Auferstehn, ja auferstehn icirat du — Ph. E. Bach, (t 1788.) ^^? ^ t=^ ^^^aE& ■^ — ^ l=tt=t ^ ^-Jf^-]^ ^^^Eg g=rf^^ ^Pt^ ^ Beraark. Not to be used as cantus firmus in the bass. CHORAL IN PLAIN COUNTERPOINT. Christ, thou who art the shining day — Christ, der du histder helle Tag — Mich. Weiss. 1530. 1^0. 7. ^■ S ^=* tzt-t-t-rx 'fs—?r S*^S No. 8. The Lord extol ye heathen all — Den Herren loht ihr Heiden all — ^ 1=t ^r-Ytf ^ ^T=??= fW=ff=^ £^tP^ t=^ ^^^^3 ^g^yi- ^ =F=T^ «H-(=- s ^ ? 1^ Thy name, thy name I sing Jehovah Hir, dir, Jehova will ich singen — Geoeg Joseph:. 1730. No. 9. ¥ ^ 5 ^ iL—jSi. 3=+ ■g_ : gL ^ T^ ^ f- f^ ■v ■S (-• n^^ 1 1^ 1 " [ 1 1® 1 1 P' 1 + 1 1 |3 1 ^^^ -fs—o - r^ rXr- No. 10. Complainest thou and feel'st the burdens Du klagst und fUhlest die Beschwerden - J. C. SCHMUQiEL. 1772. m ¥' -^ ^a■ I fg fg t=t t=t: ^-s>- X=^ S -^^E f=\f-f^ ^._ ^^ Ete i|^ 4:=J=t Remark. Cannot be used as cantus Jirmus for the bass. 10 TO CHAPTER VII. Arouse thee, my feeble soul — Ermuntre dich, mein schwacher Geist JOH. SCHOP. 1640. No. II. w- ^gi ^ F=^ EJ •|a I |g i i»^-^B- ^ ^>g- ^^ i S 3zzz: ^^&t S W-- t= ^-^ —^=^^ ^ -!&--«. ^-fi' It Is enough! Receive my spirit, Lord — Es ist genug! So nimm, Serr, meinen Oeist — JoH. KuD. Ahle. (+ 1673.) No. 12. rr^^g -fii—fH- t=t: t=^ "^f=^-^ ^^^ P^ gg — (g I c^. :^=^ tE& ^ 4=' — (2= HS^_(ffi_P?J=«L a — y f^ 'Tis passing hard, the Christian lot £« A;o«tei viel, ein Christ zu sein - No. 13. ^& :5=?s: X-±^ ^^^^^^ ^^^^^^^ p j g I />> big ' P^ £ t=t I f' r T r*^ g S^ E God Is my song — Qott \si mein Lied — Ph. E. Bach. {+ 1788.) No. 15 b. ^^ i^ -f—i^ g ? "m t=l -^-7^ ^ -^ !»- -»- S ■zst Sr Bemark. Not applicable as canttis /iiinus for the bass. Lord, I soroly have transgressed Herr, ich hahe missgehandeU — NO. 16. & 113ft "' '^ t" 3 » p - ^ ^«=?i^ 1=± 9 I l^ -jg- i^ (g' /g 3 It 3CZ=5= Remark. Composer of the melody unknown. It is ascribed by many to Joachim von Bvbok (died 1580), but, according to Wintbrfeld, without reason. ySee C. YON Winterfkld's "Evangelischer Kirchengesang", Part I, p. 403.) Lord Jesus Christ, to us Incline — Herr Jesu Christ, dich zu uns wend — No. 17. ^t^Pfe^ ^ ny7n"i^ta ^^ ryi";^7>T ^ ^ 5=t= E i^ f « g ffeg e > t=t Wi=^ Bemark. Melody probably that of a Bohemian song. Is also ascribed to John Hubs (died 1415). 12 TO CHAPTER VII. Lord Jesus Christ, Thou greatest good — HeiT Jesus Christ, du hSchstes Gut — Probably from the Is' half of the ITtl century. No. 18. -^- -e> — ri- ^3SZ f=f= f=f=^ ■SI — |g- | rj g — H^ ^ ( s a > 4=Q -#— 15- :?2=«= ^ 2C 'TS'^cr . ^=^ ±=t Lord, as Thou wilt, direct my way — Herr, wie du willst, so schick^s mit jnir — From the 1^* half of the 17* century. No. 19, i m^ ^sz • "• ^ffi^^ t=t =F ?2==^ :t=t sti^cs^i ggjE ^E^z^ ^ ^ -ei—^ - :5=F ^:i^ a ^=t t=t: t=t: With all my heart I love Thee, Lord Herzlich lieh haV ich dich, o Herr Mich. Gasteeitz. 1580. NO- 20- ^( t;XlJf-pjg^nl7^ffmf a g> s=f-&5=^ E^ . ^ i rg n < :'^-:i^--»-l?^^^g -» — |i?-=F |3^=t=F sz S £ g~| fg_gjpg: ^ :t=t hS^ ^^=^ e: -^ t=t r??=^ (C — au mk t:=^ CHORAL IN PLAIN COUNTERPOINT. 13 Beloved Jesus, what hast Thou — Herzliehster Jesu, was Jiost du — JOH. Ceuger, 1640. '"• "■ P^^^S t=t ■g-JIfg" f S . -^E^ w= ?-rr-^r^ ^f=^ -^^ ^t ^ Hfi- :t:t "^ -gr-jg'- I thank Thee, my Father — Ich dank dir, lieber Herre — No. 22. m 1^5^ 2S=±: =?=: ■>-' —(S- e^ ?2=3 ^ Tig- ^s^ 5=^^ g I^Z :t=^ S is: ^^^ Jesus, thou who hast my soul — Jesus, der du meine Seele — (Alle Menschen mussen sterben — ) JOH. SCHOP. 1640. No. 27. W- 5 gi-hg- ^ 1 J i g g +p 1^ I g^ ^^*=t=:5 S ^ :t=i: 22=^ £^: ai- &! ^1^^ :?2= A Remark. Not to be used as cantus firmus for the bass, as the end of the 2* stanza would fall on a half-close, hence on a chord of four-six, which is utterly prohibited. Come Holy Spirit, sovereign Lord — Komm, heiliger Geist, Herre Gott — No. 28. ^ ^ =t= -^-iS- -(=<- t=^ fe 1=t Martin Luther. -i=^ ¥ i^^ ^^^ m ^^ ^H- g I eJ -isr ( g iv m CHORAL IN PLAIN COUNTERPOINT. 15 £ l*V.fi^ fee t=^ s—'^ t=t: -V-\-^- g ( P -l--^ E 3 *=tt 32; rr^t-r:t=p3 ^ ^ .==--«^ Eemark. The melody in the above form comes from Luther himself, who is said to have utilised for it an old Latin church-melody alleged to extend' back to the 5t)> century, though this has in modern times been frequently disputed. — Not suited for cmitus Jirmus' in the bass. Come, sons of men, extol and praise — {AH people that on earth do dwell). ; Hommt Memchenkinder riihmt und preist -r- Claube Goudimel (born 1572). No. 29. ^ T^'p-^ ^—\- t=t ^2= ^?^ e>-rP—fi^ £ ^s-, e? f -(42- :t:- :?!!--i» -#— fg ■ a - 1 1 i— -I 1 h- t^t=^^ t=t Dearest Jesus, we are here - Liebster Jesus, wir sitid Jiiei- JoH. RuD. Able (t 1673). No. 30. ^ ^ -A-I I g-^ I |g f I f i 1 1 1—4— 3 fg I .-., a i ^^am:^ ^^ ^ -^—»- Praise ye the Lord, the almighty King of glory — Lobei den Herren, den mSehtigen KSnig der Ehren — Joachim Neandek. 1660. No. 31. jX^f - ^uX^^ fe ■ a I < s > w fg j g ' | g I ^' T~^ a 9 \ t>" -TTiJterTt^ 16 rO CHAPTER VII. Praise God, ye Christians, wiili one voice — LoM Oott, ihr Christen, alhugleich — NiC. Hekrmann. 1561. No. 32. F#=^ ^^ ■(«—.•- t4 i^ l«-(a- ■si — 9-T-& — &—r&- •|fi— «- t=t=±=t=4 -^— ■»■ -?^^ 1 I - J Bemark. Melody probably borrowed from a folk-song. I from Jesus ne'er will stray — Meinen Jesum lass ich nicht ■ — Andr. Hammerschmidt. (born 1611.) No. 33. w ^^^^^^^^^^^^^ ^=i^^pfe^^%j]f=£r£ a f^-[^ ^ Bemark. Not suitable as cantus firmus in the bass. No. 34. After a trial of not many days — Nach einer Prufung kurzer Tage — JOH. GOITFR. SCHICHT. (1753—1823.) \^, ^-r—, r-l=^— !»- =^^ t=t= -(K— iff-- e^ -iS ^- i=t ^--s>- ■¥^ ^ s s -1= — {>«- -1= a=v. j=± Now thanl< we all our God Nun danket alle Gott — -s — si-^ia.- JoH. Cruger. 1649. NO. 35. j ^(^ =?^=^ t=t -<»- t=t =t=|: ^ % 1=1: -t9 — |-f2 f2 — p^S' ^_ -(e~«-. ^F=ff=^?^F r^-:z^ CHORAL IN PLAIN COUNTERPOINT. 17 Rejoice ye now, dear Christian band - Nun freut euch liebe Christen g'mein Dr. M.Luther. 1524. "-"■^ ^ ■j^ Sfi pT^7=a E^ ^^ *E -S'—fS'-r-f'- E t=:t=:4 ^^^^ :t tT^-l — r Now praise we God tlie Lord — Nun lasst um GoU, den Herren — NiC. Selneccer. (1530 — 1592.) No. 37. ^ ■ rij C » >5 >=5 i ^^=^ i=i=t==r=t -•—(=- =B g 3E-I i^J i^- ■ ^ ' ^i- g: t=t Now liusKed are all the forests JVmjj ru7ien alle WUlder — Heinrich Isaac. 1475. No. 38. ^ w^ ^ I r I ?"i g (g- 1=t: ■(=-^s^ ^ i^:^ -!S^I=- ^ ." ^=t ^^ ^— ' P ■-- -)g- g S—^^Sh (^^-«- Bemark. Melody originally that of a folk-song: ''Inspruck, ich muss dich lassen." Now that the day has reached an end — Nun sick der Tag geendet hat — No. 39. -V k- ^ t=t -g^g-4-p^ ^-^— ^^^^ ^" r g'T'f" < => - :t-: 5=t :^=t l^= ^=P^ ^ ^ ■sz -^—&- ¥=^ jsr-jg- A. Richtbk, ExerciseB of the Uasual of Coimtorpoint. 18 TO CBAPTES, VII. God, Thou righteous God O Gott, du frommer Gott JoH. See. Bach. 1730. No. «a. - ^5jE^^ ^^gi_q^^ a P4 f— .^ fp= 3=^ ^ i & y ^g-l— ;gi- fe S ^ -•—#- 1^ God, Thou righteous God — O Gott, du frommer Gott — JoH. Fkiede. Doles. 1760. No. 40 b. iff jv ^ :t -ggi- ^^$^£3 t=j ■^a-«- ^ fe^g ^^sg p gli^fzp]:^:^|p^ # ^te S ^^g t=^ ^ Lamb of God unspotted — O Lamm Gottes unschuldig N0.41. =5=^=^,:::^ :t=t -!» 1=- ^^Ef g , r^ - ^ ^ t=t g ^ ■•3*~i~gg ^"Hr-'g^ S £ #— !«- r p ^ =t=i= Bemark. Composer not known. Song and melody were formerly ascribed to NiCH. Decitjs (+ 1524). sorrowfui, heavy heart — O Traurigkeit, o Serzeleid — No. 42. ^^ =t j=3: ^^^=^ From the year 1625. ^^ ^^e CHORAL IN PLAIN COUNTERPOINT. 19 ^h^- 3C ^??=»^ t=J: :s= £ =1= =F: 1f3= Remark. This melody was not composed by John Schop, as was formerly universally believed, but, as has been convincingly proved in modem times, is borrowed from a Catholic hymn. Thou treasure of all treasures — Schatz Uber alle SchUtze — No. 43. w pe -—^ nrrvrf t ^f^rvT^ t==x t=t £ 7^T o — sf- 1=:*:^ a=rfS= S 3^s ^^ ?s=rzsr5: =5^^— «t Deck thyself, soul beloved — Schmiicke dich, o liebe Seele — JOH. CRiJGEE. (t 1662.) No. 44. fe :2fcz^ 3?==^ 4=* - g< — g- tf 3 —a — o -f=^!S>- 4=t: Should I not God's praise be singing SoW ich meinetn Gott nicht singen - JoH. SCHOP. 1640. No. 45. ^ * s — S>- t=X: W^-- j g f —p- i^czipi ?2^:?t=5 -jS^f"- t=t=f S 1 I I I -r "^ . .fg— p. ^ :±i: E^^ 3^^sfc z^=^ a~"?g 1=t: ■«—(=- -^ , s > =fc q=t -| g g 2* 20 TO CHAPTER VII. No. 46. In ihy wrath chastise me not — Straf mich nicht in deinem Zorn — JOH. ROSENMULLEK. (■!■ 1686.) =fe az22: =M: • ct ,7^~r rT- ""3=^ "^ "-^-^ ^- ^ "^ I^^^T^=^p-Hr^te^ EgE & =t Remark. Melody not suitable for cantus firmus in the bass. Wake, awake, the voice is caliing — Wachet auf, ruft uns die Stimme — JAC. PrjetokITJS. (+ 1651.) No. 47. ^ ^^^^ w^ S S !&t=E r=T- f qg ; s E*S3 S ^i S ::fzi?j -4 —I (^ (^ a- ^^^^^^ ^^ f^^ When we are in our utmost need — Wenn wir in hSchsten Nsthen sein — JOH. BapT. BonomeTTI. 1560. "»■ «•: =3p ^f=^^ g^::^^ i=-«^ SI- eJ < s- p^^^^ ^f^^^du^-CF^^f^ ^^ Who travels in God's way Wer Gottes Wege geht — J. Qttanz. (t 1775.) No. 49. V /V jg'l -.'g'— P- E$ t=^ t=t: ^ =t=4: -4—1^ ^^ -S>-r^—^^rS^-S>-r-(=^ =t=t: =l==t±t 1f^ E ES: ^ 1 CHORAL IN PLAIN COUNTERPOINT. 21 Who only trusts in God's controlling — Wer nur den lieben Oott lUsst watten — Geoeg Ne-cjmark. (1621—1681. No. 50. m 1^r2t^ .g I <^ —- 3= S 3= ^ ^ ( P P ,-s> a I ^ — f^-«»- ^^ t=x=x "¥ Bemark. In most of the choial-books jrii is found instead of g. Yet the above, older form is preferable, since in harmonization the false relation is avoided. Besides, the close of the first stanza can just as well be made in the minor key of the dominant. How great is the Almighty's goodness — Wie gross ist des AUmSchfgen Giite — BoTTNEK. 1790, NO- 51- g ^T^rt^ g ^^J::^ } ^ ■■t^=^ ^ "^TF e ^ a # i» r^ ffl iffi: H^ t=t: ife £ '^SiZZ^ t=i=:*=t 1^ g M=t 3 F;==t f— f ^ ^ 4: :t ?E^ -gs*- Bemark. J^ot suitable for canius firmus in the bass. How radiant shines the morning star — ^ie schSn leuchtet der Morgenste/m — N0.53.^^^g -—&-':^- :t=t ^ i ■^p- EfeE^ 2^=t --7^ i= £:;mr- -R^p=Ft^? tSh-l=- Sp:: ffi To Thee, Father of ali mercy Zu dir, Voter aller Gate — Meter. 1740. tto. 54. m ^ E ^ ^ ri^ ^i^ O I fg -^g- ^ a t=t -^—^-p s t=t Si-=^ ^ ?2: :^ H ^fg :^=t :^r3^ B. Chorals in the ancient Church-modes. I. Chorals in the Doric mode. (As to the treatment of chorals in the Doric mode see Supplement, p. 78). All the world, that lives and strives, Alle Welt, was lebt und webt, — ^^^f-=-^ : JOH. Crugek. (?'. NB. T^ e^ No. 1. ^^^^ 3^ -\z-±: =t=4i N. B. The change of the original c into c]| is necessary here, since another than a full close in rf-minor cannot -well be brought in here. No. 2. From out this lowly valley — Aus diesem tie/en Grunde — Clattoe Goxjdimel. (+ 1572.) s^ =^=^ CHORAL IN PLAIN COUNTERPOINT. 23 — ^^ -f-f^ -^ 7^ -|*-y^ -f-f- -r^-rr -f^-7^ -^-^ — ^T- ^*^ /TS -T^> jl^ fri 1 1 r 1 -1 g* 1 ai-M— l-l— 1 1 "T^^J-L— if 1 '^-gH^'iHJ Christ unto heav'n arose — C%rts< /ttAr gen Himtnel — Introduced by Luther. m 1=} 3 No. 3. ^ «— *- ^1 ^ I f f I -^— ■»■ -Z^H ^ ^ :Et t=t:±t - gn-g ^ Verse H. g zTpiffl £ 221 -s>- -—e>- N.B. -=r h- =?!::i^ ^S 3 Kemark. Melody originally that of a very old Easter hymn: "Christ ist erstanden" (Christ is risen), which was "introduced and improved" by LinCHER. The time was then altered by Ltjther liimself and adapted to the above hymn. — N. B. The ctt is necessary here, otherwise a close cannot be made in the tonic. — Is unsuitable for cantus ^rmus in the bass. As Christ, our Lord, the Jordan neared — Christ, Ufiser Herr, zum Jordan kam — No. 4. 3^ ^^f^^=^ ^ 1^ t=2± t=^ N.B. ^ ijfc ^Pi -■g— I — hi — 'tf'p I I II ra —■^ 'TS ^r^ r ^ f ^ -rr '* 1^ -~ 1 1 \ » "= r* ?' •p n r -f * -ei A i/i 1 1 » a |3 i=t ::^=^ ?^^ S 1=t » . ^ Bemark. Melody probably borrowed from a folk-song and at first adapted (by Luther himself?) to the hymn "Es wolle Gott uns gnadig sein". but afterwards to the above hymn, whilst ,the other one takes a 24 TO CHATTER VII. Phrygian melody. — N. B. The g^ is not necessary here, since the close of the stanza can very -well he made by means of a half-cadence in rf-minor. — Instead of in the Doric mode the choral ends in the iEolian, conse- quently the close of the last stanza must be made in a-minor, or ^-major. The aged year is past and gone Das alte Jahr vergangen ist — No. 5. m ■ts-^s/ — jg-H^- t=-t fZJ^=^ t^ :r=f S^^^^ -s> \°^ =^^=^ i S=f Kemark. Not suitable for oantus Jirmus in the bass. Through Adam's fall is quite undone - Durch Adams Fall ist ganz verderbt From the year 1525. No. 6. E^ 2cr^ ==S^ -■sM-si- E ^r^^\^ ^^^^E^ ^^^^E^ g^ " f e>--f^ =Sh* S :t:^=±t ^-fst- Bemark. Melody originally that of a secular song, the so-called "Pavierlied". (See Fkanz M. Bohme's "Altdeutsehes Liederbuch"). Now has appeared the glorious day — Erschienen ist der herrlich Tag — (Here transposed a fourth higher.) Nic. Hekrmann. 1540. -r- ^ E^ =1= No. 7. 4= '•^■fP^=^S ^^=F-r=ffeg ^ ^ -^—0- :^^ -^ -^ Jesus Christus, our Redeemer — Jesus Christus unset- Heiland — (Transposed a step higher.) No. Introduced by Ltjther. (?) '■ jps Jfl &^g S^^ =^ CHORAL IN PLAIN COUNTERPOINT. N. B. 25 3=i ^^^^z^ ^^ * («^-^ :t Bemark. Melody probably taken from an old Bohemian aong. — N. B. The minor 6* c is here necessary, for making a decided close in e-minor. Our Father who art in heav'n — Voter unser im Himmelreich — Introduced by Ltjther. 3 ^^=^ No. 9. i^ S »-T»- -J&l ^ f=apt^ r s o -^j fS X=^ -^=^ a)^ s ^ -rg g -|g- g t=4: ^F^^ ? ^=P t=* Beiaark. It is uncertain whether the melody comes from Luther himself or is a borrowed one. — The Sb at 2 is necessary on account of the close, but the ^ at 1 is not. — The melody should not be used as cantus f/nrMs in the bass. When sore my sins afflict me — Wenn meine Siinden mich krdnken [Transposed a fifth higher.) Heinbich Mulleb. No. 10. 3 ^m TS—f^ F=F ^-^-f^-f-s^ P f '-^^-^——-f-^s^^i-^ P ii3 1 ^^t^ 1 -^ rf nr r- 1 ^ ' ^^— ZSHIZE r^ ! * | g *=t We all believe on one God — Wir glauhen alC an einen Oott No. 11. 3 ?3E Dr. Maktin Luther. -SZZgH ^^E^ w- :)=t -7:)—s^ ^ 26 TO CHAPTER VII. ^ -(«—«- ^ =t=t t=^ ^ i^zift :^:^ ^eS?e ^^ ^ ^1 ■i£: ]¥=« =t =^t=^ t==^=:± z^z -us 'S- * Bemark. The frequent change of c into A at 1 and 2 is necessary for forming a full close, inasmuch as another close is, on account of the connection mth what follows, hardly possible. The change also of g into y|jl at 3 and 4 is applied. The cit at 5 is a matter of course. II. Chorals in the .S)oIian mode. (As to the treatment of chorals in the ^olian mode see Supplement, p. 83.) No. 1. To Thee alone, Lord Jesus Christ - Allein zu dir, Herr Jesu Christ — 1545. -^. ^^: =»-H«- -^^ r=^ T-T^ ^^ =^ ^^ #— •- t-^ -«-— iS- ^ ti:4::: ■& 3 t:=^ ^ ^■3= ^ ^^ ::?c=^ m t Bemark. Not suitable for cantus firmus in the bass. Christ, Thou that art the day and light — Christ, der du hist Tag und Licht — No. 2. 1^ 'm ^; -.«—•- ??: t=t ^ sz^ t^ -fl^- ^a t=^ ?^ :?c n -«' — ^ p— .«^ =t Bemark. Melody of an old Bohemian song, supposed to be of the 1^' half of the IStt century. CHORAL IN PLAIN COUNTERPOINT. 11 Christ, through whom we bless'd are — Christus, der uns selig maeht — (Hypo-8eolian.) Introduced by Michael "Weiss. 1530. No. 3. ^ f=ftf ^ ^^^E^ 3J"5" j=* ^gig p=-"^ ^ ZStL f^ (i)i :?2=^ £ 3=^- ?2==P= fi!— ^=< (»— fa— =S "?5 O''^ 1* r4= :t:=t=t Semark. This Hypo-seolian melody differs in no respect from a Phrygian one. It is even considered by some as Phrygian, a supposition which on account of the ending has the greater probability for itself. The harmonization might, however, better be in the key corresponding to the iEolian mode — o-minor, than in that — e-minor — corresponding to the Phrygian, and for this reason the melody is counted among the .^Solian ones. The close of individual stanzas, especially of the last, must be in the Phrygian manner (as to the Phrygian close see Supplement, p. 32), here therefore as half close in the principal key. — Not to be used as cantus Ji/rmus in the bass. I cry to Thee, Lord Jesus Christ — Ich ruf zu dir, Herr Jesu Christ Paul Speratus 1535. No. 4. ¥^- ^^f^ffrr^m ^E^^ wB^m^ w—^- t=^ * ^ s ^p=?^ s is: ^- Remark. It is doubtful whether this melody is by the poet of the hymn, Paul Spebatus, or was only made use of by him. No. 5. Can I misfortune not withstand — Mag ich UnglUck nicht widerstahn — Mastersinger-song from the beginning of the 16''' century. (Hypo-seolian.) -^ It gE^ t 28 TO CHAPTER VII. ^ =^ ?=^ e :^=t: -'S>—!^ ^ ^=^ ■ 1^ I i g &- ^ -fa- P=4=t ' ■_» g - ^■s_'i ^-- s^ - s > T~i^" :?s= e^£ ^ ^ 3=* ^ £ -^g— -s i- ni. Chorals in the Phrygrian mode. (As to the treatment of chorals in the Phrygian mode, see Supplement, p. 84.) God, from heav'n to us incline — Ach Gott vom Himmel sieh darein — ffl~r (^~~es> - No. 1. ^ £ -(='—,&- :p=t f^ -p'—ts- g - o f :t^ iSl! t=^ -s>—(^- ^zq •s,--fZ=^ £ -«— 1=2- 4=:^=:* *=:t Bemark. This melody is here numbered among the Phrygian cho- rals, being in various Choral-books marked as Phrygian. To me it seems to be Hypo-seolian. The working out also is better in the key correspond- ing to the iEolian mode — a-minor. — Not suitable as cantus Jlrmus in the bass. CHORAL IN PLAIN COUNTERPOINT. 29 To Christ the praise we here do bring — Christum wir solUn Men schon — Introduced by Luther. IVo. 2. ~^^^^ ^^^^^E^ m =?iC ^^^i^i^^^s Bemaxk. Melody originally that of the hymn "A solis ortus cardine", of the 5"» century. Have mercy on me, my God — ErharnC dich mein, o Herre God — Erhakd Hegenwald. 1524. No. 3. ES E^ « B~\ P — Sl- 1^=5: t=^ ? F^^ -m ^ F=^ s :^^ P^ u* ^=^^ 1 — «^ 1?=^: 3=5 ■«M* ST^= --^^- -& — P — •- =t=t=t E -^ t rF=t: — fe-^rl n*— 1*- 1 'fg l>i 1 r-^5^ ^=:^ n^s — ?5~i ?5^ 1 — 1- — h" -^ — N=t=h^=^ '^ 1—1 ' 1 ' 1 L_| 1 ^ '-^ zsn 30 TO CSAPTER VII. On but one God do I believe — Ich glauV an einen Gott allein — Math. Geeiter. (?) 1550. - — (^ ^ :t No. 7. ^ t=^. t=t :t=t= -=)- ^ 'n I M S^^^^ J_iir? H-f- ^-^-i .^ r-^ t=T=t i3S^ S^ S ^S - (s s >~^ £ :t:;=t=±f g a) -f=^-i»- f_z-,^^ttzd^ ■^-f^^ t=t= t=M: ]¥=t ■^a--^ Bemark. Not suitable for the bass. No. 8. Take away from us, Lord — Nimm von uns, Herre Gott — Verse 1. ^^ T— t--i — -I — t- i — -t— =P From the 16* century. EG =t: 1= t=t: ^ ^F=^ }=^^ r^^c^^TT^ S ^-XT^fW- r ^tg^ ^^ 3 3: 5 sn ^ CHORAL IN PLAIN COUNTERPOINT. ~. Verse 2. _, _ 31 =t '^m ^^=?2 g xs— -S< ^- ^ 3 i !^ 3i g ^ No. 9. sacred Head, surrounded — O Haupt voU Slut ttnd Wunden (Transposed a fourth higher ] =r ^ ■?^.-=^^rz?i. Leo Hassler. 1601. 1 I -I — 1 — I — = £ E i fnT^ ^ :^ ^^T^^ =^ f^-T-S>- ^ t^- ^=-(5 S^-=S^ M-r— r Bemark. Melody originally that of a secular song, then transferred to a hymn, afterwards to the above one. Where is the spot, whereon my soul doth pasture — Wo ist der Ort, da meine Seek weidet — No. 10. ^ ■'—&--»■ t=x ?g~~?5' SI— isq^ £ ^ ^^ ?g~g' 3^ jg — g fi3= -faq-g,-[--=^gqi^ E Mf rl f ^ £ g I fp fg H-g'- ^g-l- g i g - -p—s- ■j:t=sL U-J- l — U. IY< Chorals in the Ionian mode. (As to the treatment of chorals in the Ionian mode, see Supplement, p. 91.) No. 0, be glad, my soul, rejoice thee — Frea dich sehr, o meine Seele — (Transposed to A-major.) 1565. :?z=^ ~ oW~ T ti ^ ^ =^ 32 TO CHAPTER VII. -f^—s- ZSl ££ ^m * >=t ¥ fee i^ :«=f2- ^■— »■ S- -m- ^=t M t=x =t: Bemark. The melody, originally that of "Wie nach einer Wasser- quelle", appeared in 1565 with harmonization by, Gotidimel. Whether he also composed the melody, is questionable. God the Father near us stay — Gott der Voter, wohrC uns hei — (Transposed a fourth higher.) ■St- ■»■ ~ From the 15**" century. =^^^^2=^: -iS—(Z. X=^ ^~s- No. 2. ^^ t=x w ■ — p- ^=J=^ V-- ^=^ 7^*^ r=^ ^=^ — =P=p^ ^ .i_£^J^ -P— P- ■^^'^—^ -f- ■ ■ — --J 1 -^^=f^ :^^ =FE^ *=t ^^- S |S2q=?S=©" I gl— gl- ^?^=^ t=t: -t --\=t. 1: -(=2=5= :t=t: 3?= Bemark. Not suitable as eantus firmus for the bass. Eternity, thou word of dread — O Ewigkeit, du Donnerwort — (Transposed into JF'-major.) JOH. ScHOP. 1642. g^frf=a^ ^s'-^=- 3 No. 3. r £ ?g — y =^ -is^- s^^^ t=t; ^ -9 S" 55- '^ 1 (^ \ G>- e -«> 1=- Bemark. The melody, as here given, is not the original one. It ■sras altered by J. CbtJger (1658) and adapted to the above text. CHORAL IN PLAIN COUNTERPOINT. 33 From heav'n on higK I hither come — Vom Himmel hpcht da homm' ick her — (Transposed to ^i^-^major.) No. 4. -A 1539. m i^T-S- S^-E ^ --^-r^- X-\: £ Sf- ^ :^=fc1=t:=f ^-^-^ Vzt =t: M Remark. It is the general opinion that the melody is by Luther himself. What God does, ever well is done — Was Gott thut, das ist woUgethan — iHypo-Ionian, transposed to G^msgor.) No. 5. ^ -■X i^^^^^ii zsz =|Eg=7fe^p^g :£ -^ - — .!=■ :^=t=t I a (S^ si- *=:p ^^^^ -- — (s- :t=t: :£ *=4 l9^'=?S- =^ 1¥^ 4:=F ^=-s^ t=ttz=^ z^—^. i¥=n^LF : It :t=b+=t: Bemark. A very old melody, supposed to have been sung in the IS'i" century. To God the praise and blessings be Gott set gelobet und gehenedeiet — From the 15th centurj'. No. 2. ^ l^=^t -(^-«-- i^ =F=^ r3zz =-3^^^ ^ 13= a:= r-^^^ ^ i=T=t =t:=^ -#— #: 15=* 3 §^^ :t=^ ng>— g- iiS Z3L Come God, Creator, Holy Ghost — Komm, Gott, SchSpfer, heiFger Geist — Introduced by Lutheb. Mo. 3. (f,-^ ^ P^^^ m ^?^=f2q a -1= — (^ CBORAL IN FIOURATED COUNTERPOINT. 35 &£? ■!=-«- a^ 3 ^se r=x Remark. Melody taken from a Latin hymn of the 8'^ century. "Veni creator spiritus". Unto the Highest praise and fame — Sei Loh und Ehr dem hSchsten Gut — (Es ist das Heil uns kom- men her.) Paxil Speeatus. 1524. .N. B. No. 4. ^ 4: It It m P £ -^ N.B. - ^jf-rMrif-t- ■faft*.^, T ^^rtxa £ -f2— -^ -^ :?z: ^- g^=f^F=E^g^"F=r?? t=t Bemark. Melody probably originally that of a secular or sacred song of the ISf" century. — The Mixo-lydian mode is here hardly recog- nizable : the ci was , however , necessary for ending in D, and the /tt likewise had to be introduced. To Chapter VHI. Treatment of the choral in figurated counterpoint. The exercises are to be worked out precisely in the man- ner indicated in the Manual, utilizing for this purpose the exercises already given. To Chapter IX. The contrapuntal setting for five and more voices. Here too no new exercises are given. AU those hitherto given may be utilized for working out. 3* 36 TO CHAPTER X. . ^ To Chapter X. , , The cantus firmus in metrically-varied form. Free formations. Exercises. (As supplement to No. 115 of the Manual.) Bemark. These exercises are also to be transposed, in the manner already, iijdjcated, to the o&er voices. 1. ^ 31 te * ^T=^ 1 ;^^^E^ ^ =p 2. -«— (SL :t=t =rq:=f ^^^ t^ r-r-r 3?I ^^f.M- ^^^P^^V^ -|g eg- ^^{fe=fc^ -|g^ g SE, S -(2-«- I^Sz*: -«^=s: 5. „ — Sz^^==:5i3 lr:F^lfe S :^4: -«>-;:f- H"-i&- 1^ t:^ ifu feiy W^W=W- *■ -^t-P- t=st ^fe-£ ■F ■» W- 1-3--=^ 7. EiEp£?4a^^^ ^ ?=^ 3^^ P^ ,8. ^ ?z P=q^-5=?^ =t=P .9. t^^ ■i^r^ !^e t=f 10. '^04»n-f^ g -» T^ F » -«i.=-Htr :ti:*trf t^E^EH CANTUS FIRMUS IN METRICALLY-VARIEB FORM. 37 «jM Si ■P— •- :|^tt:^i=^t=t EteE^EfE-^ ?: ^- ♦ ■^ ^^ ^'" >r) ^^ ^^= 12. w -^^- -M W^^ ^^^^^■. -^ — ^==i- — 1 — (ff- 3 3^ I^ P =^ P ^i & * fc >, !*• ^ ^Mg 5^ -i=^s- =t=t: m ?=i^ ^ — ~n « r* r-F^ 1— «■--! n^-^ -ttr -2- =^=t: :f--tfc -t— -^ — 1- =^=r=F~^ p-, — 1 — 1 — 1 W,A IG. &'^§^^^5|^§=^ ■^a — <» — ^- ?:^=?:=^=1 :| 1 V- w=^=^=^ -^^=^ :?2: zzn. 1=1= Efe ;t - gi — s^ It In addition, the followiag airs, partly folk-songs, partly melodies by well-kaown composers, may serve as e^^rcises. Exepcises. (As supplement to No. It5 of the Manual. Even-song — Abendkist — Ftom the Year 1«03. ± '-'•• '• ai-^^f^g^f^^^ i *=t ^ -f-^ g^^F^^Ff^ fr^-^-^tt^ i5 J f:^^ :«- I :t: W~f^ —si^ ^ Bemark. The movement must be in quarter-notes. Not suitable for eantus firmus in the bass: 38 TO CHAPTER X. To Liberty. An die Freiheit. G. August Gross. (1799—1840.) "••'■i r'^-"5 l £= g ^^sm -^—0—f- ^=:t=t^ ^ ^f=rh* ^te^^ ^ f=l^ =t=t t=t Bemark. Not suitable as eantus firmus in the bass. The moyement is to be carried out in eighths. Gay flowers. Bunte Slumen. (Ionian, here transposed to ^-major.) From the 1*' half of the 15"» century. ^i d=t No. 3. t U^:^ ^ 3^ * ■e> — *~T fS> — > r^ — ^"T g 1^ m iEB f- P ei -x=^ i— I— ! — U ,1^^ :t= :^i:-t: :t H=^— #- ^sz^z: * Bemark. The movement to be carried out first in quarters, then in eighths also. The Watch on the Rhine. Die Wacht am Rhein, Caul Wilhelm. (1815—1873.) S^S^^e^E No. 4. -— lEEt p P^-^ — »-»-4t -.« I g' T r« r- ^- -F—*—f- ai i—r ^ — • — *-T-P- — • — Tim r a — 2 ^^^ :-p^=r=t=t: -iffl — «-- Bemark. The movement to be carried out. in eighths. CANTUS FIRMUS IN METRICALLY-VARIED FORM. 39 It in God's wisdom is decreed — Es ist hestimmt in Gottes Rath — F. Mendelssohn Bartholdy. (1809—1847.) Wv r I ^ ^^^- KO.B. 3 =t hChC ^^p^^^^g=F^^^I ^ ^0^- ^ -P^F Ef T^^ Bemark. Not suitable as cantus firmtts in the bass. — The move- ment is to be carried out in eighths. America — Heil dir im Siegerkranz — From the l^thalf of the 1"*'' century. No. 6. F a j g -jg- 2=t=t ^=E -& — s>- :t=t T^ f .g t=:t -!°— i"| ( g :^E&F^ £ -r g- » :t=t :^ J2- E?3S '^ #■ ■P — .«^ It :X: ^^—s- t=t It; Remark. The movement is to be carried out in quarters. Probably of the ISfi century. Hildebrand-Song. Hildehrandlied. '■ fj-U^^^^^^^^^^^^ ^' ff^^ No. =t: ^-^^ f=f- m * ? :^^ t=^ E l==t= 12^ EE^ES ^^ ^^^ Kemark. Not suitable as cantus Jirmtcs in the bass. — The move- ment is to be carried out in quarters and eighths. 40 TO CHAPTER X Hymn. Bymne. E. A. Mehul, (1763-1817.: :^= No. 8. ^-^s^rfiz^ W .»_=sz:._^. E£ W=-\=?^ i=F?cr:^ i:=t -TS^-r^ta- ^ ■^^ (• — •— "^ f f <> 1 1 1 1 i ■ 1 ■ 1 -» ■7. - 1 ]e5 Eemark. Not suitable as canto fermo in the bass, as the halfTclose on the hold is not possible, but another close seems to be as good as ex- cluded. — Movement in quarters and eighths. I journey hence — Ich fahr dahin — (Ionian, transposed to 57-major. hJ2- From the 14t'> centuigr. No. 9. EEi 1^^ ;3=55 '^'A-ef—G'- 4: -^- -^- Va 1 — ~^ — 7!S~^ pS^-T^n -<=-— «^ -^— f=^ i — 1 C ^=! „ ^ .> ^ — t — 1 — k- U- J \ 1 1 L^ 1 -s^-f>- ^ Bemark. The movement should be in half and quarter-notes. * "Leise, leise, fromme Weise' — [Freischutz.] 0. M. V. Webek. (1786—1826.) «•• '»■ s^i^Siil^l^^^^ i* is^if ^gi ^t^gii ^ -•^a i^ r- f d 1 i tEE^^Efe ^ M -•-#- ^^q; Remark. Not suitable as oantus firrnus in the bass. — The move- ment in eighths and sixteenths. CANTUS FIRMUS IN METMICALLr-VARIED FORM. 41 Soft4y through, m^ soul there thrills — Leise zieht durch mein Getnuth — « F. Mendelssohn Bartholdy. (1809—1847^) No. 11. fe ^^^^ ^^EB f-F-^ -i-± m>q ^^3 '^^m^^m Kemark. Not suitable as ca«tt■ =5=t :£: r i I ff^--' Bemark. Movement in quarter-notes. Love-song — Minndied. (Ionian, transposed to v4-maJQ.r.) No. 14. ¥ m=^ — -^ i^d^ ^::^ 4:=^ :t 1?_(S2 ff-,. 4: ?s=^ t=n; 42 TO CHAPTER X. in m S-W^^ F=t ^^ :22=5: ii> g-ifl- i=l==t ^^ * 131 H!i ^-f2- Bemark. Movement in quarter-notes. Night-journey — Nachifahrt. (Dorian.) From the year 160.3. No. 15. t-i— I- -S'- — ^ — c- i^i :3=i-=?^=:: zfcErasrfi :i=i 7g g - -5i^H«- ]-3=t^: :^ la zLTJg?. «t7-*" -iS>^ 3^?^ -jg ei- ;=^=5 -=:^|^^ Bemark. Movement in quarter-notes. The Rose-garden. Rosengarten. (Ionian, transposed to i^'-major.) From the Pt half of the 16* century.. No. 16. ^- 3^ £ p i ^m -a m g .. s =t= q= -&'■■• fj- (==»= -f=^^!»— !*- -SI — • — ^ :t:^t=t i=^ =tr=4: E^=?3 ^^^ fL l 1^ ^ - ^ X ^ ^fe— ^- I^F i: =t Bemark. Movement in quarters, then perhaps in eighths also. From the year 1611. Fir-tree. Tannebaum. bl2- No. 17. ltJ= ^sm^: t=^ -#— ^ :t=t §E^^^^ guTzfl^ ?^^^^ ^ Bemark. Movement in eighths. CANTUS FIRMUS IN METRICALLY-VARIEB FORM. 43 Christinas song. Weihnachtslied. (Ionian, transposed to i^-major.) From the 14U> century. No. 18. fJ ^ 7"=^=^ i?^ 4= W— d- -? !—f—7T= I =^=?^ gS_^_| £?: ^P=P- S^^ j ;t=t -H«— P- Eemaxk. As can ^ — 5 1 1 — i — i n I* (^ /n ^ iT, T -^ (T I' _ >9 ^■1 1 r r 1 .1 ' K^ '' ic J aJ ! ~ i u ^ Lc^ ^ — Efe^ gg gy tfd ■ Eemark. As cantm Jirmus not suited to the bass. — Movement in half and quarter-notes. Cradle-Song. Wiegenlied. (Ionian, transposed to i^-major.) From the year 1580. No. -44- :t l-l-i^ ^-^r^ It ?s= Z^ fi fg fi S :^^ :^c (^ I S > l S > ' -J?S=SZ^ 221 i I I -k-U-k Kemark. Movement in half and quarter-notes. Care should be taken not to construct these exercises with too great harmonic richness, and to have an eye to the inde- pendence and good melodic leading of the several voices. Here foUow some examples for showing, by way of com- parison, in what manner these exercises should be constructed. First, three treatments of the folk-song composed in the Doric mode and given under No. 15, in three-voiqed setting, the first treatment with the cantus^rmtis in the soprano: 44 TO CHAPTER X. l-e=^=t '^ ^F^ NEf^ -o-f-p mm aet* -!■—*»- :t=t ^a^^^^^^fr^^^^F^^j^Fff S 1 r f • ffl - J^^. -»H^ -&^ ^- ?^=Ti^ IB: t=X m ;l± ^.^ -fi#- Hi«-#- -!■—•- I , I 1 H lEi^l^^S^g ^■^i:^ *::« =Q^SS4 bl2— 5^ -^Sh- -0-f- iBir ^= 3=t -^9=F^ ^ >•-,- H--4t-f_p=, =«— *- :?^=?e: t-_iEtE -A-|2i: ^^-tut frg ^^^^^S^^teEEP^ • ^ r-d-*- =t^=t =^ ^ I"? t=^efeES ^S -•H«- ?E^ st^ ^a^ ^s?i^^^i3^i^^^ CANTXIS FIRMUSIN MJETRICALLY-VARIED FORM. 45 The second with the eanttts Jiivtius in the toal : -f r =t c. f. |££f^ -0=(^ =t=t Pe*e^ i^^L^^^^-^^ ?-^^ EE^E^tEte^ e --^^^^«-- i^ If^t-- •; .. *' fSE^E^ ^ '^^ =feE -F-r-^-» — h^--:*- T=i=!= ^ •-(«■ ^.1 ^■^* t=p=E=f= =^F ^ f:#- g=^.-i^- if^ S=^FT-rP -#-^ -«■=■- p c ^* "^^^fz il^ to ^S =t=t= ^ ^^r^n ^TM l !1E ^ :^ I2JIZ: .g^^^ * # I F » — ^- =3=S -i«-#- 46 TO CHAPTER X. Here the third with the cantus firmus in the bass: ^^ '•¥=^ ^- =t= #=- p=t=t Et^ =i=f=^ 3Ef± «= i ^ -&^- gp^i^^ ^^^fei^ ^ aE^E^gEE^;^^^ U^ ^ 9^p&:^ -«^ !ES zc =f=tr» ^^fc»-£z j — I I 1 -71* :^?^ -ii£^^-i*^- f J r r f i«EE ■I — I— fih- - 'I I — ^I^^^^S £^ ^^^ g ^^=a^feg^j^^^^ ^^^^ ^^ ?sr P=it:^ ^ ^ =[: tH g_ — ^_^ Here three treatments of the folk-song composed in the Ionian mode, given under No. 9, in four-voiced setting, first, one treatment in half-notes with the cantus firmus in the so- prano : CANTTJS FIRMUS IN METRICALLY-VARIED FORM. 47 u C. f. -^'-.t=p:=— r— ^=^ — f:^- -fS"-?5 f 1— V 1 ^ '' f ^ ^-^v 2 1 -1 — -1 — \- -f- ■ .11? 3 SS^ -1^. «•— ?5 ^ ^S5- ^ ?9 — --=t=-^^ i^rrlT-a— «^ -^ ! 1 1 j r U- -^^f^-J \ 2t^^-4:_ -^^^- 1^13^- : ^ -^— b^ J="-F="^Hg'^ ' r ^ ^^ m ^—ts- ^ ^ -f^'^M 3 F=^=F=5= ^ §^ ^ ^ -±L -^ w ^ | g €S > !& g - 1=^ P^^ <=-^S'- ^ Ht^TH""^^ 4=^ ffF jS— «^- ^^E ar?^!«^ ^ -a ^ -f—is>- 48 TO CHAPTER X. Here a working-up in quarters, with the cantus firmus in the soprano. -(^- F --*- ^ S --f^X -»—p- f=P=P=t wa ^ i=*=r=i cb- ■g^|7 --3-,'g- fg^ :t=t td-i?^ =^-?^t -P—0—f- Z2ZZ. -r-r^ ii^=i rt #--» f * > - t±t= I L^ ^=^= S' 1-< — ^- ■•— ■!- -gsH ISi ^P=^f^ =B («-f-f«-» , f T •^ :^ ttiHrift ^ -f-S-- ^ ^: ^ -.»-- •iJztE ^-^g^^^^ggg ^^ « l§ -^ =£ i.332: F^ -s^- ^E E^^ W -m ^5 _^_^_ isrr: .ii^^^ 1=Fq=F ^^^^ ^ s^s ■ f I -'r> -a-i»- ^-U-^- r=t: F&^*^?:i? ■>— t£g Ite 3SZI f p »-l H*-*-F=^=- 33&£ £^ Ef^ :p=t * ^ CANTUS FIRMUS IN METRICALLY-VARIED FORM. 49 fe S =t= -iS^ 15' ■^ ^ 3!I J cb=* g=Ffff^rff=et^^^^ ^^^ !^ » r ran ? ?2=«i- -«^ It will be seen that in this working out the harmonic ba- sis of the first one in half- notes has been strictly retained, as is very strongly advisable in these exercises. Here foUows a working out in half-notes with the cantits firmus in the alto: B^33 it=|=it=:t £ =?2: gj-^— s*- C. f. &^ ^ ^ s s>- sz. ISZ fc w^ l=t -iS>^ ^ -!=— a -^ -fi—S>- f^^^ 4=±t =t=-t: ■(2 # ®^ \ «^eK s :£ irb— fc S EE^ Efe =& -fS o- ^ ^i :(=t -(= — i- 1?, C ~ f^ — P-<5^ ffi^ -(^ s>^ W^ ^ =£ ^^=-!S^ 1=±: 3 £ =si Here a working out in quarters, also with the cantus Jirmus in the alto : k ffe^^S^^^f :t -fi>^ :t C. f. P9=^ ^ »^ krz^^ m-r-^ '^^ f=i- 12^ tzt^it ii^fe^^ EfeS bk- fe^^^^EE^ EEffl -!»^ ? E^ ^: 3"j 15^ ^iSE ^ -«^ ^3^^^^^^=^.^ CANTUS FIjRMUS IN METRICALLY- VARIED FORM. 51 ht fe f^r^f -S> 1= tSI=- -iS^ g 1^ ffi E g z^z 32^ ^ ^ rj - SI i=4i i^^ lTr1 > ,>fT ^rvt?g ^ ^^S *-t t=tpI^Et±5 r^S i?^-?^ ^-fe"*- f-^f ^ :^ 1^1— r =t::pt: !s= -ii^ ■fa -rS^ yt^ btc^ <■ ^ is^^^ ;t:p^ IS Tt^ g fe^=b^gzM^fe^ ^^^ i=±=t ^ 31 ^ -^- *p= -f'-*- -fS—w^W . ^ :t=^ J i 1 I gfeSEEEE Then a working out in half-notes, with the cantus jirmus in the bass ; ■»^^ ^ _ . ■ — ^ g ^^ ^ :^z=-1=t: tit - fg , < g - C.f :t=^=t= ^ 4» 52 TO CHAPTER X, -*2— ,«- g^^ =^=t '^m -^^ — «^ 55^^ £EiE ^ (^ f-^ r-^ =3^ J__ r? -«- 4 -f- rf=\ <5 -* V r^- -a f^ ^ -f- -iff- y^ -f— /V -^1 -«- — ^H 1 -^" 4- -- — «^ rt r-q 1— P- 1 — 1- — IS— "1^ ^ W- _ffl_ =F= — i— ih 1 o f^ ■*■ a. ■» ^1 — iq f=^ :?z: ^Be -I -sj— s^— — 'g^ Bit =?2= t=t: =^=^si - T r^"~g IE ^1 E?E ■^ =t :F t: We add a working out in quarters, also with the cantus firmus in the bass: El3 IF S=t=t i=£=^ :«=* ^^g^ ^- m^- C. f. -(= r-«- E6 i^ 12= S CANTUS FIRMVS IN METRICALLY-VARIED FORM. 53 i fl3--= f-s>- ^ « ^ =t=t: #-,-sc= fc =^ zktzff a^^p^_^ fL-l* ^ i^ ^P 32Z :^=sk ■^^E^^^^^m^^^ ^ Wi "m "^^ 3^ f+*^ ^ i£: ^*: =?;= -« fO- 5=!*=^ :5e=:?5= :^=t &=^^ =& g^ 3fc ^^kta=s= &5^?^ e^^^ f-^- ■fa ^ is ^ ti: :^ -«— i^ -I -1— U i=«!ii:i3?i -a^^^'^* i fn»?^ ]^ :t:« ^m m m =t=t ■^S'^ «- =^=q=5^ la: ii 54 TO CHAPTER XI. To Chapter XI. Double counterpoint in the Octave, in two-voiced movement. Exercises. (As supplement to No. 131 of the Manual.) 1. 2. \ti-llf^-^^——^^- ^— ^ 3. ;rT^rTr|— T F*,r^ qzq..4 > 4^^ SEg 4. 5. ^^ :^= >i T^ ::^ ^E igei 6. 1^ ^- W- fcat '• > ^ j g I '^"fe ^ a_. _azi sz~^ 6E^ liizsz: 8. fe: ^5^^; The cantus firmus here is in the alto. Work out in whole, half and quarter-notes, and in such manner that the upper voice, transposed an octave lower, may serve as lowest voice. To Chapter XII. The application of two-voiced double counterpoint in poly- phonic movements. Exercises with the cantus firmus in the bass. (Supplementary to No. 136 of the Manual.) !• - 2. ig^^ ^ =2C ^ 125= BOUBLE COUNTERPOINT IN THE OCTAVE, etc. 55 ^i=^ 4. fi=i zsn. Q:i ^ >, ^^ yfc (S^ =^ff (p g 1 /S — — - — — ^^ — \r^> L- « — 1 W- v^-ti^ :s: ^ P ^ ■«-;^ ^L l ^ -t- azdbs The working out should be done first in whole, then in half and quarter-notes, hut of course only in one voice, best in the highest voice, and this highest voice must be so arranged as to serve, transposed an Octave below, as middle voice. Exercises with the cantus firmus in the soprano. 1. 2. (Cmajor.) g ■ g E^ zsz lE :3C is-\ < " i: ^■ « r-(» S- 3. ±=t ^^ lazfi^ ^ 4. ((? major.' m ISSl 5. (eminor.j Si E^ =^ 7> ((Jmiuor.) ^ fe fe :2?i It will be noticed that the cantus firmus here sometimes begins and ends on another tone than the tonic. This is, however, quite admissible here, since the soprano is not to be transposed, besides, the working out of the other voices is thus in many ways made easier. As cantus firmus for the bass such 56 TO CHAPTER XII. an exercise can of course not serve. ^— The working out should be done in the way prescribed above, here best with the move- ment in the middle voice, which must be so arranged that, transposed an octave below, it may serve as lowest voice (bass). Exercises with the cantus ftrmus in the alto. 1. (Cntajor.) 2. ^E ■&—-^^ — g- -^- -O- ■« ■» 3. (J^'major.) JSt- o (^ siS: t=t- fc 4. m. «E .^z ra: 5. (^ minor.) fj fe ^^^^-TlK-r-f 6. (Dmajof.) K 7. (S minor.) £E£3=ffljfe » The cantus Jirmus sometimes begins and ends here also with another tone than the tonic; this, however, is perfectly allowable, since here too no transposition is had in view. — The working out should be in the way mentioned above, here with the movement in the highest voice (soprano)^ and: the transposition is to be so managed that the lowest voice (bass), set an octave higher, becomes highest voice (soprano), and the highest voice (soprano), set an octave lower, becomes lowest voice (bass), whilst the alto (the cantus Jirmus itself) remains middle voice. After acquiring through these exercises a certain degree of proficiency, the student should proceed to exercises with free (nlixed) movement of the several voices, in the way indicated in the Manual, under Nos. 1 33, 1 34 and 1 35. It will be better, however, to sketch at once a three-voiced movement and to OF TWO-VOICED DOUBLE COUNTERPOINT, etc. 57 defer till later, as recommended in the .Blanual, the more dif- ficult way of working out, viz: first executing a tWo-voiced movement and then writing an upper or a middle voice to it. Exercises with the camtus fi/ttnus in the bass. 1. ^E^ I25I -sizt^ ^ ^^E^ fe: ^ t=:^:=3 :^=:=3s ^=t ^ *- ^— sJ .g - ^ -tS— fS- :t=t 4. *t^isi 3^1^:^"^^^^ ¥-- 'sa 5. ^e ^^^ 7!5--g«Z £ 22: ga^gj^ ^^E^ gr^gH^ 122: ^rTz^^s^ m-- -s>—P~ -x=^ 8. =a=5= fc^ ^# E£ 1^ ^^=S= It :t The upper voice must be transposed an octave lower, so as to become middle voice (tenor). Exercises with the cantus flrmus in the soprano. 1. f-r-^^f ' ~\'{' W T ' 2. (C major.) -f2—S>- H=— <5- ^P=^ - I I t^^ tE^ 58 TO CHAPTER XII. f tf^ :?2=1^ ^ ^ S ?2=4 ^ 4. [5 minor.) te^^^ :^=g4^ & -^^ ^-r-pf-g^ ^ fls^ te^E ^g^g-ri^^^^ ZZV 6. =FFF :£& ■fit^ B ^aF=Trrp 7. ^^^^S§i^^^ 5d_Lirg hg p a S :l=t 5t The middle voice must here be transposed an octave lower, so as to become lowest voice (bass). Exercises with the cantus finnus in the alto. 1. p ^=piN^^^-^ ^gEg ^i^TF=iffi ^-^ t=t ^=3=4 s ^yi p- ^-P I ^~6 .g=FF:F=^ hg '^" ffiES^ ^ £ 3. ( jT minor.) m^^^^& ^E ^^ ^ :2^3 ^^^g^^^ ^" TT^f^ ^g ^- =^=t 5* [fvamoT.) ^ =e^ ^m TRIPLE AND QUADRUPLE COUNTERPOINT. 59 Highest and lowest voice should be alternately interchanged. All these exercises can be utilized for the four-voiced move- ment also. To Chapter XIII. Triple and Quadruple Counterpoint. As exercises all those hitherto given may serve, provided of course that they begin and end on a tonic, which is neces- sary here, since all the voices are to be interchanged. As, however, the working out offers very great difficulties, we give here some additional comparatively easy exercises, and these are to serve for both triple and quadruple counterpoint. To this end let us set the canlus firmus in the soprano. 1. ■«> Exercises. 2. ,v ^ '-' ''■' .1, O —& — f2_ "1 — *p -en -jg 1 t^^ — J — L_ 1 ' 3. 4. £L 251 ^ 321 ff 5. 6. -SI S '&L ^ n 7. * •»" "t* i^ •» n Yt 1 r )k V ip ' 1 « *r 3 ' 8. =^ % f s \ : ffi The exercises in triple counterpoint should be made with great diligence. Those in quadruple counterpoint are perhaps less to be recommended, as this species of counterpoint is too apt to run into artificialness, and, besides, is extremely seldom applied in practice. 60 TO CHAPTERS XIV AND XV. To Chapters XIV and XV. Double Gounterpoint in the Decima and in the Duodecima. We shall not give additional exercises, as those already given may be utilized here also and are in every respect suffi- cient. We give, however, some examples of working out. First, a treatment of the well-known choral "AUein Gott in der Hoh' sei Ehr" ("Alone to God on high be praise") in double counter- point in the Decima with added free lower voice. Counterpoint. * a££ ■♦■ #■ ^^^ ^K Cantua ftrmus. £ ^E^ 1^ :?s:: Free voice. ^t #-?: e :t=F S^ -F=F -^ ^^^B=r ^ =t=t ^^ ¥" -^—s>- £ a: g i=^ ^^mfTC ^^^ ^ W- ^^ F^ ^s^M^r^ 3?= 1^ DOUBLE COUNTERPOINT IN THE DECIMA, etc. 61 JEEfe^ ^ eJ ^^^^ Efi^gg^^fE;^ JF <* — & H® — (=2 — rP^ — S- ^ :£ te saagga ^ Transposition. Cantus Annus. ^ a ^ ?? 1^ !^ 1=t: Counterpoint. ^3^^ ^^ ^E^ *— ^- *±t Free voice. *-•- ^ ^^ =t^ -^-•- ^i^ Xt ^333 p g~ 4=^ a! _ c r - r- iH^^^ gf^^ agj^ ^ g^j ^j ^^^^ ^ ?2=5= an^H^^f^U l^Sj-^LJjfE^ ^S E^^^^fe i=4 B3^ 1l-»- 62 TO CHAPTERS XIV AND XV. ri T^— :?5=^ TS^g" U_L_L U^ ^F^^^^^ g^^^SZJiiJ-^^S^ p ^Pr=?r^^^SfrF^ ^FFnS- Next follows a treatment of the choral "Wie schon leuchtet der Morgenstem" (How brightly shines the morning star), also in double counterpoint in the Decima with added free middle and lowest voices. CantuB firmus. ^ ?g — W - Free voice. ^ :?!= ^ * :^=t Counterpoint. ^ ^FT^f^ g^^T^rfH-^-j^ ^^^i=F- Free voice. »^-r n r n^tr^nJ-rtrrri^^^a ^P =^ 7g r5" £ t=t: fe n3:=tf Efc IE, ^s S g^lg^ ^3i^ ^ ;•=*! 5'h^^^"I^7f|t^-Jj4^.^=R DOUBLE COUNTERPOINT IN THE DECIMA, etc. 63 w=^ -^^. ^m i^ ^ -^^T^"Tg=g:4f-^ ^ a U J- ^^ J J ^^ s s^& #- T i» IP - E£=ffi :t=t S ^"=^7^i ^^^^^^^^ F^^^^^ ^^^P H^^ ^ A X -ei~ ■ ^ I rj I I ^^ i^ - I r^^F ^ r^n^T^^ LT cp^t^ s E^ -?=s*= iB5 M^--j^ iij^^|S;^ 64 TO CHAPTERS XIV AND XK ^ "g^ i 3^^ m ^^^m^m s -•— ^ -gi-- Next the transposition with two free lower voices: Counterpoint. ^ t^m -^^ t-f^ -i«->-U. =F=^ It fJ =t=t Cantus firmus. ^ -!=^ f=^ ^ t — r t=t ^ =t=tt Pree Toice. 3^ -« ^ tS^ ?^ -J u Free voice. g ^fez^-U—:^ ^ g '- *. ^* =tf: s^ 3r: *-^ ^tt -^^ ^-f-^— ^- ifi- — «- SEt IB t=t ijriig- ^ ^^^ §±=^& ^1=^1?^ g^ ■g. 3 -fi~ DOUBLE COUNTERPOINT IN THE DECIMA, etc. 65 SI Sfe -*T-*^ ^^^ =t±* =^^^ gzuzz:^ 321 #--«- IE ^^^^Se^^e^ a ri^ iSi ^SEt T» ^ ^#- ^-- n^ ^: E^ -#-* ■ 3t=t±d-»^ t^ teSigg^Eif^ •f*- ■•- ->• ^ it=4^ s^- IE ffl? ^ -fi^. ^ :^ gi^ ^^ i«-h-*- ^ -jt:*L ^ ^^ ""JT. ^.-xtf-p-i^Uttf^ u =y= g li W^s'- t-=^- ^S^E^^M ^^ ^^^ ^ r^TL ^ ^^ffi^^ q=r tt *= A. RiCBTKK, Exercises for the Manual of Counterpoint. 66 TO CHAPTERS XIV AND XV. U=^=^^^=h^^ E^ 1^ -^ m ^m - ^ n - ^i=P ^ ^ We add, in conclusion, a treatment of the choral "Christus, der ist mein Leben" ("Christ is my life") in double counter- point in the Duodecima with two added free 16wer Toices, but with free close. Counterpoint. =tE^fe -Ps-p—rf- =££^ VE^ *=r=t=:4 ^^ r ?E Cantus firmus. e£ lE^E^E^ ^ ^ \ Free voice. ^^r=^—^^ ^ Free voice. iiEt ^- ^^ -*— •■ t=[: li^rrt rfrtrft fl ^^^JF^^Ep^ tEl -«' — ?o- ^^=iS^ -iS'— ^^ p^ ^^^^ =f£ ^ 1>0TTSLE COVlfTERPOIST IN TSE DECIMA, etc. 67 gttjj ^i^-r ffp^^%gs=^ =& ^^ N r=i°= ffi ik-*-,^ ^=^ ^^s^^^ite fea ^ ^ i Here in addition the transposition with two free, voices, set in jP-major for the sake of a better position. Qantus firmus. f=^ ^ :^-=t Free voice. ^smi fe^^^S^ Free voice. gnP^ ^^jPfg ^E^3 -s^ (S- Counterpoint. ^^P^-^^F=r=^ g3zj,-33 ^ ^ ^^^ ^ p^ — »- r ilEgEg^£^^ ^ t=t ff^F ^ riTia^J:^ ^ ^ i^i^^e^^s^ s 5* 68 TO CHAPTERS XIV AND XV. =^=?= -(=- ^= -f-^-^ Si:^^ =P=t ^^^^-FH* S=S i^-'g-- ES =t#: T=±t:: i^g>^^^"^f^ g^^i^^^^^^ ^E^ e£ SE Wi ^=^ =^ ^^ ^^ ^ iS^^I -* — p — » ^ \ ^. S-t ^ %.^^'^