IV. The same with the 4th in the bass. The 5th from the root is then the 2nd from the bass, the 3rd together with the inverted 4th, either in this or the last described inversion, though it is still more discordant than the root against the inverted 9th. It is unallowable for the root to be sounded in an upper part against the suspended 9th, or the 3rd against the suspended 4th, unless approached by an ascending 2nd, and unless at the interval of an 8th from the resolution of the discord. V. The diminished 5th together with the first inversion of the 9th, on the leadingnote, in either the minor or major form of the key. Both of these discords are resolved on the inverted root which is the 6th from the bass, and which may never be sounded with the 5th (Sects. 185 and 196). The 5th from the root is then the 3rd from the bass. VI. The discordant 5th, together with the first inversion of the 9th on the mediant, in either the minor or major form of the key, to which the inverted 4th may be added if the bass be approached by an ascending 2nd (Sects. 185 and 196). The inverted root, as 6th from the bass, may never be sounded with the 5th. 252. The suspension of complete chords is available when several parts are syncopated. This may be when the root of the chord of preparation is a 4th below the root of the chord over which the suspension hangs. The root or the 3rd of the latter chord may be the bass of the suspension. When thus prepared, the discordant notes may either fall or rise a 2nd, and the concordant note (which is the root of the former and the 5th of the latter chord) is free to remain or to leap. In figuring the bass of the suspension of a complete chord, a line is drawn from the bass of the chord of preparation, or from the figure which shows what that chord is to be, the line extending for half the length of the bass over which the chord is suspended, and it is then followed by the S III. II. S figures, or else 6, to indicate the resolution, according to whether the latter bass-note be the root or the 3rd of the chord. 253. When a complete chord is suspended over a chord in the first inversion, the 5th from the bass hangs together with the 7th, and proceeds to the inverted root of the latter chord. By no other form of preparation than when the radical progression is by ascent of a 4th or descent of a 5th, may the 5th from the bass in the latter chord be thus suspended and resolved, except only in Nos. V. and VI. of Double Suspensions (Sect. 251). 254. It may sometimes be necessary to break the syncopation of one of the parts for a single bar, especially in the bar before the last. Of this expedient there can but be said, that to maintain the Species is desirable, while to avoid bad harmony is imperative, and that the desirable must give way to the imperative. 256. It is desirable, when several parts have simultaneous Counterpoint of the Fifth Species, that the varieties of melodic figure peculiar to this Species be exemplified at once in the several parts. Thus, while one part has a dotted minim followed by quavers in the same bar, another part may have two crotchets followed by a minim, and many such differences of motion may help to the individuality and consequent interest of every one of the moving parts. The rules in Chapter X. are paramount in this class of writing. Wider range for the student's invention is opened in the exercises now to be worked than in any previously proposed, and the manifold diversity in unity which may be presented in them is invaluable preparation for florid writing, giving elasticity to a composer's thought, and freedom in the application of means for its expression. 257. Difference of length of rests in the initial bar, between the several moving parts, is inducive of good effect when more parts than one are written in this Species, after the manner described with reference to the Third Species (Sect. 248). 258. Here are models of Exercises now to be written. 259. Two parts may be written in two different Species to be performed together, either while one part has the fixed song, or while also one or more parts are in the First Species, having note against note with the Subject. Still there should be but one chord in each bar of the Exercises, save in the seeming exceptions which have been named, where moving notes are in the bass, and where still the sustained notes of other parts are common to the harmony of both bass notes (Sect. 125). 260. The Second Species may be combined with the Third. The rules in Chapters X. and XI. apply here. Good effect may be made by the occasional crossing of either of the moving parts above or below the longer notes of the other parts. Great interest is given to the moving parts when one, being concordant with the other, is discordant against the sustained harmony of the whole bar; also, when the part that is in the Third Species approaches a note of the sustained harmony, either by 2nd or by leap, which is discordant against the part that is in the Second Species; but then the said note in the Third Species must be sounded after, not with, the discordant note in the Second Species, for notes simultaneously struck must be concordant with each other, save only as described in Sect. 241. |