8th is bad only between outside parts, but not so between an inner part and either of the others.

5

Good

194. In three-part counterpoint, the bass and one part must begin with a perfect concord, and the other part may or may not have the 3rd of the chord.

105. In three-part counterpoint, two parts may occasionally have the 1st or Unison in the course of an Exercise, while the other part makes harmony with them.

106. In three-part counterpoint, variety may sufficiently be preserved by the changeful harmony, though two of the parts proceed in 3rds or 6ths with one another far longer than is desirable in two-part writing.

107. In three-part counterpoint, the repetition or continuance of a note in one part, while other parts move, is less objectionable than in two-part writing.

108. As three contrarieties are impossible, the recommendation of contrary motion between the parts applies not to three-part writing, but variety between the melodies should be sought by other means; for instance, moving by larger or smaller intervals when proceeding in the same direction.

109. In counterpoint of more than two parts, a full close (Sects. 84, 85) must either have the dominant chord with its root in the bass for the penultimate harmony, or must else have the inversion of the diminished triad with the supertonic in the

Whereas, to end with the leading-note before the key-note would be a bad bass;

(a) The inversion (upon the supertonic) of the diminished triad was formerly preferred, even to the common chord of the dominant, for leading to a conclusion, and this evidences the instinctive desire for the dominant discord when rule precluded its use. The chord comprises the two notes most characteristic of the key (the 4th and 7th), which are distinctive of the fundamental dominant harmony, and which are absent from the pentaphonic scale (Sect. 21).

In Counterpoint of two parts, as the ascent of the leading-note to the key-note in some portion of the harmony is now indispensable for a satisfactory conclusion, this progression may be in the bass if it be not in the upper part; but in fuller harmony, the more solid effect of the root of the dominant harmony for the bass note is demanded, save in the one instance above named.

110. The reserve of the full close till the end of an exercise is as imperative in full harmony as in two-part writing. A full close may be evaded by the progression of the leading-note to some other note than the root in the chord of the key-note, or by the employment of an inverted chord on either the dominant or

the tonic bass, or by other devices.

D

111. The richest effect of harmony is produced when the parts are at approximately equal distances.

&c.

If this be incompatible with melodic interest in the several parts, a wide interval between the bass and the part next above it is better than between two upper parts.

The lower the bass proceeds the further from it should be the next part. With broad exceptions, it is desirable when the bass proceeds below F that the next part be no nearer than a 5th above it, and when the bass proceeds below C, that the next part be no nearer than an 8th above it.

The Student should write many exercises in three parts, in major and minor keys. It is desirable to treat one subject successively as a highest, an inner, and a lowest part, in order to prove its various capabilities in different positions in the score. It is expedient to write on the same lines and spaces in each clef, and to change the signature to suit the key induced by the alteration of clef. The bass should be figured (Sects. 88 and 101).

113. In Counterpoint of four parts, all the rules of two-part Counterpoint are to be observed (Sects, 78 to 88), with the exceptions belonging to three-part Counterpoint (Sects. 103 to 111); the harmonies in major or minor keys being entirely chosen from the chords described in Sects. 65 to 77, and 91 to 101.

114. Here are models of Exercises now to be written.

115. In Counterpoint of five parts, all the rules with their exceptions, and also the choice of chords, to which reference is made in Sects. 65 to 77, 78 to 88, 91 to 101, and 103 to 111, are still to be observed. The greater the number of parts, the more does it become impossible, and therefore the less is it exacted that every part have unbroken melodic interest; but the desirability of this should never be out of a student's thought. In Counterpoint of many parts, far more freedom prevails than is admissible in smaller scores, with respect to Sect. 40. The rules enunciated in Sects. 37, 38, 39, apply as rigidly to Counterpoint in many parts as to that in few, and writing is impure wherein they are disregarded. The rule in Sect. 72 is more lax in proportion as parts are multiplied, because the more duplication there be of other notes of the chord, the more is the prominence of the bass note out-balanced if that be also doubled.

116. Here are models of Exercises now to be written.

CHAPTER VI.

SECOND SPECIES OF COUNTERPOINT.

117. ALL the four Species of Counterpoint, other than the First or Simple, are often called Florid Counterpoint. According to the rules of each, the notes of the Counterpoint are various in length from those of the fixed song or Subject. In each Species in major or minor keys, the harmonies are entirely chosen from the chords described in Sects. 65 to 77, and 91 to 100, and the florid part is woven upon these. Hence, the First Species is the basis of all the others. In the four Species of florid Counterpoint, the repetition of a note without one or more intervening notes is always objectionable; this prohibition is often disregarded, even with good effect in practical composition; but punctual regard to it in exercises, is urgently enjoined as an invaluable means of acquiring fluency, freedom, and grace in the art of constructing melody.

118. The Second Species consists of two notes in the Counterpoint against one of the Subject. 119. The first note of each bar must be a concord, that is, an essential or elemental note of the prevailing chord.

120. The second note of each bar may be a concord or a discord.

121. If a concord (that is, a part of the prevailing harmony), the second note must be approached by leap, the chord being thus spread in arpeggio, and then the rules given in Sects.

33, 34, 35 are to be regarded. It may be

quitted either by leap or by step of a 2nd;

ē

ठ

a leap, however, is better between the two notes of a bar than between the last note of one bar and the first note of the next bar.

Good.!

ē

Bad.

ē

122. When the Counterpoint is the bass, there must be no leap to a second note, which though elemental in the chord, and thus available in upper parts, is unallowable for a bass note. These notes are the 4th, the diminished 5th, and the 5th below the leading-note.

If, however, the note be absent from all upper parts with which the bass would form one of these objectionable intervals, then the bass is free to leap to any note of the harmony, because its discordance would be caused by a note that was sounded, and not by one that is only implied.