COMPOSERS'

COUNTERPOINT,
A SEQUEL TO
S77D

"STUDENTS' COUNTERPOINT,"

BY

CHARLES W. PEARCE,
MUS. D., CANTAB., F.R.C.O.,

Professor of Harmony, Counterpoint and Composition in the Guildhall

School of Music, and Trinity College, London.

2s.

CHARLES STREET, W.
NT
 TO
EBENEZER PROUT, ESQ., B.A. (LOND.),
MUS. D. (DUBL. ET EDIN.),
PROFESSOR OF MUSIC IN THE UNIVERSITY OF DUBLIN,

THIS LITTLE BOOK IS INSCRIBED

IN GRATEFUL APPRECIATION
OF HIS SUCCESSFUL CHAMPIONSHIP OF THE
PRACTICE OF COUNTERPOINT,
IN BOTH ITS ACADEMICAL AND ARTISTIC ASPECTS,
BY HIS DISCIPLE AND FRIEND

THE AUTHOR.
 CONTENTS.

Chapter. Page.
I. The Three Dimensions of Music Points of :

difference between Students' and Composers'

... ... .., ... I
Counterpoint ...
II. The Material used in Composers' Counter-
point :
(
I / Ancient Tonality, the Church
Modes, &c. ... ... ... ... ... 8

III. The Material used in Composers' Counter-

point :
(2) Modern Tonality, Harmonic
possibilities, &c 21

IV. The First Species Sustained, Repeated, De-

:

tached and Arpeggio Harmonies, c. ... 34

V. The Second Species :
Auxiliary Notes, &c ... 47
VI. The Third Species Modifications and Expan-
:

sions of Students' Rules, &c. ... ... 59

VII. The Fourth Species : Free Treatment of Sus-
pensions, Anticipations, &c. ... ... 72

VIII. The Fifth Species : Double Counterpoint in

the 8ve. Fugal and Canonic writing, &c. ... 82

IX. Composers' Licences with respect to forbidden

parallel progressions Consecutive Unisons, :

2nds, 4ths, 5ths, 7ths, 8ves and Qths, &c. ... 92

APPENDIX.
Fifty-two Exercises in Composers' Counterpoint, based
on the Canti Fermi set in Prof. E. Prout's Addi-
tional Exercises to Counterpoint ( Augener & Co. ).
Each of the fifty-two exercises contains sufficient
work for one week's practical study ... ...
105
Index to Prout's "Additional Exercises" ... ... 118
 PREFACE.

COMPOSERS' COUNTERPOINT 'is -a

term conveniently applied to that further

system of training which is necessary, for
the acquirement of the art of adding
in the style and manner of the best masters
melodies of an independent and contrasted
character to a fixed Subject, or Canto Fermo.
As an educational process, this further poly-
phonic study may be best described as a legitimate
and logical development or extension of that stricter
method of part-writing which has been termed
"
with equal convenience Students' Counterpoint"
In the academical career of a modem
musician, the time allowed for the study of Corn-
posers' Counterpoint should properly occupy an
intermediate position between the probationary
period devoted to a necessary observance of the
strict discipline of Students' Counterpoint, and
that more congenial after-season, when (under the
direction of his teacher) the student is called upon
to put into practice his knowledge of polyphonic
principles by attempting the construction of entire
movements in Fugal, Symphonic, and other farms.
Vlll PREFACE.

The need of such an intermediate course of

study canbe easily demonstrated. Students'
Counterpoint claims to be nothing else than a
preparatory training-course, a mere educational
means to a practical and artistic end. This end is
the power of free and graceful part-writing , 1

involving a due and proper use of all those

resources of modern harmony which are available
in connection with the three genera: Diatonic,
Chromatic, and Enharmonic. As a matter of fact,
musicians seldom, if ever, rigidly observe the
rules of Students' Counterpoint in those portions of
their compositions where they treat important
subject-matter in apolyphonic style. But inasmuch
as great masters of the art cannot be said to write
in a lawless way; it necessarily follows that the
ruleswhich guide an experienced composer in his
work must be of a broader character, and must
cover a much wider field of observation and
resource than that which is fenced in
by those
sharply-defined limits of action which have been
wisely prescribed for the mere novice in musical
composition. Students' and Composers' Count-
erpoint are obviously therefore two very different
educational processes; and any attempt to blend
them into one common study, would inevitably end
in the rejection of all those rules peculiar to the

former, which are found by general reading of

musical compositions to be unobserved in the
latter. Such a rejection would rob a young com-
poser of every advantage he would most certainly
derive from that inestimable mental discipline only
 PREFACE. IX

to be obtained by a patient observance of the un-

adulterated rules of Students' Counterpoint and so
;

confusing a mixture of two different and contrasted

things would moreover only result in a vain
endeavour to regard as " the end itself," that which
has been stated so often to be merely "a means
to the end." But on the other hand, a student
properly trained in the strict school, needs con-
siderable guidance when he is first released from
his more binding contrapuntal leading-strings. He
must learn how to make the best use of his newly
acquired liberty and he must also be advised of
,

the whereabouts of those further and wider

boundaries which mark off true and artistic freedom
from ignorant a-nd chaotic lawlessness.
The following pages will endeavour to define
the limits of the Art of Counterpoint as viewed in
the light of Composers' practice ; by pointing out
where the boundary lines touch the severe simplicity
of the Strict School on the one side, and the
absolute liberty of unrestricted Part-writing on the
other. The difficulty of reducing the study of
Composers' Counterpoint to something like an
educational method, is at first sight not a light one ;
but a closer acquaintance with the subject will
show the reader that a great deal can be done in
the way of systematizing the broad principles which
have ever governed free polyphonic writing.

CHARLES W. PEARCE.

CRAIGMILLAR, AVENUE ROAD,

HIGHGATE, LONDON, N.
 COMPOSERS' COUNTERPOINT.

N.B. Before this book can be studied with advantage?

every reader (i) should have made himself familiar with
at least the first ten chapters of the Author's STUDENTS'
COUNTERPOINT, and ( 2 ) should possess a practical knowledge
of MODERN HARMONY, up to, and including, the use of all
Diatonic, Chromatic, and Enharmonically changed Concords
and Discords (direct and inverted), (3) shoidd be able t&
MODULATE to related and unrelated keys, and (4) should
have a knowledge 0/" ELEMENTARY FORM, vp to and including
the analysis, phrasing, and construction of simple musical
sentences.

CHAPTER I.

THE THREE DIMENSIONS OF Music POINTS OF

:

DIFFERENCE BETWEEN STUDENTS' AND COM-

POSERS' COUNTERPOINT.

i. All music of the present day, which can in

any sense claim to be written in parts possessing

individual interest, may be described as three
dimensional, since it is capable ot being perceived
and appreciated in three totally different aspects :

(i). The horizontal or successive, comprising all

phases of melody rhythm, and form;
,

(2). The complex, interwoven, or contrapuntal ;

and
(3). The perpendicular, simultaneous, or har-
monic.
2 COMPOSERS' COUNTERPOINT.

The history Of mUSiC shows the Art to have been

originally of one dimension. In its infancy, as plainsong or
folksong, it consisted of but one "part," i.e., a succession of
single sounds. These (whether read from left to right, as a
horizontal arrangement of capital, letters, neumes, quadran-
gular or round notes written on a single staff of parallel
straight lines ; or read from right to left (as are the archaic
inusical signs which still accompany the text of Hebrew
'liturgical services) can only be regarded as melody.
In the middle ages of European history, the combination
or simultaneous performance of two or more melodies led by
gradual steps to the complex or interwoven aspect of music,
by giving to the Art a second dimension the Contra-
puntal. Music, then, of two dimensions, was perceived
and appreciated in respect of
(a) The attractiveness of its individual melodies or parts,
.and
(b] The general excellence of the ensemble, when these
several parts came to be performed together.
For some considerable time, owing to the predominating
ecclesiastical system of tonality [the Church Modes, (see
Chap. II.)] which pervaded the general culture of music up
to the close of the i6th Century, the third dimension the
harmonic or perpendicular aspect if not altogether un-

perceived and unappreciated here and there by the gifted

few was not universally deemed to be of sufficient importance
to bear separate consideration on its own merits. Musicians
both composers and singers who were trained to produce
effects of beauty from the polyphonic combination of merely
horizontal successions of notes, did not entertain the possi-
bility of obtaining still greater perfection of ensemble beauty
by regarding these notes in their perpendicular simultaneous
aspect as chords.
Harmony, viewed as a separate and third dimension of
music involving a catalogue of chords, and a code of rules
for their application and treatment in connection with the
melodic and contrapuntal aspects of the art cannot be traced
further back than the opening years of the 1 7th Century.
The academical study of harmony in any other
phase than the mere perpendicular process of filling in
figured basses (either at the keyboard, or upon paper) is

.even more modern still.

2. The
laws which governed musical composition
when the Art was in its two-dimensional period of
existence were necessarily different from those
 COMPOSERS' COUNTERPOINT. 3;

which govern it now. This difference^ chiefly

one of limitation for manifestly it was impossible-
\

three centuries ago to do as much with a thing of

two dimensions as we can now do with it as a thing
of three dimensions.
3. The two-dimensional period of music is over,
and with has departed the ancient ecclesiastical
it

tonality which had so long retarded harmonic

progress. But the rules which governed the
two-dimensional period still remain in force
for two-dimensional purposes altered and
modified only so far as to admit of their being
used in connection with the current tonality of the
present three-dimensional period.
4. These old rules which may not inaptly be
styled the plane geometry Of music, inasmuch
as they stand very much in the same relation to
modern music which "Euclid's Elements" may be
said to bear to Architectural Art are still the best
training course for students of composition, since
they afford the most ready opportunity for acquiring
in the quickest possible way, a mastery of the hori-
zontal and complex dimensions of music without
being burdened with any unnecessary considerations-
affecting the perpendicular dimension.
5. In the practice of Students' Counter-
" "
point the plane geometry of his art a young
musician is therefore restricted to the following
conditions :

I. The exclusive use of modern keys and scales,

and an avoidance (rather than a use) of either Modulation or
Chromatic Notes. All attempts to write in the now un-
familiar tonality of some one or other of the Ecclesiastical'
Modes may be wisely considered as a composer's rather than
as a student's privilege. The only modulation which is
tolerated in students' Counterpoint is from a minor key to its
relative major; and that only when "the conformation of
the C.F. either encourages or demands it" (
W. S. Rockstro}.
Modulation is thus forbidden, not because a change of key is
4 COMPOSERS' COUNTERPOINT.

undesirable, but rather that a student should learn how to

exhaust the tonal resources of one key, instead of repeating a
number oLjafit pjatitude^ by mere pitch-transposition.
II. The use of a plain Diatonic Canto FePUlO, written
in notes Of equal length (generally semibreves), and
beginning and ending upon the key-note, has for centuries
been found the most convenient basis for two-dimensional
exercises in Counterpoint.
in. The use of the more simple melodic intervals
trains the student to write fluently and gracefully for the
voice, since nothing but easy diatonic steps and skips are
permitted.
IV. The harmony is changed with every bar and not more
often, in order to avoid the many rhythmical difficulties
which arise with more frequent root-changes and the use of
;

the simplest Chords is insisted upon, not because essential

discords are in any sense wrong in themselves, but rather
because triads and their first inversions serve the purpose of
training a student's choice Of harmony far more efficiently
than essential discords, whose fixed progressions leave him
little or no room for exercising horizontal harmonic choice.

V. The use of unessential discords (passing notes and

suspensions), afford him ample opportunity for decking his
horizontal succession of simple foundation harmonies with
the rich complexity of interwoven melodic adornment.
VI. The absolute maintenance of one of the Five
Species throughout every separate part during an entire
exercise is insisted upon in order to train the student's ideas
of continuity. The only exceptions to this general law are :

(i). The occasional breach of the Fourth Species in cases

of extreme difficulty and ;

(ii). The occasional use of a Fourth Species or syncopated

cadence in a part w ritten otherwise in the Second Species.
r

VII. The avoidance of repeated notes in every Species

except the First, is also helpful in the preservation of melodic
flow and continuity.
VIII. For the sake of euphony, the avoidance of all
discords arising from the percussion of two or more
parts moving at the same instant, is strongly urged. The
chief exception to this important rule is the occasional
approach to a discord by two parts moving stepwise, and in
contrary motion.
IX. And finally, for the sake of obtaining the easiest flow
of melodic figuration, the student is restricted to writing for
voices only.
 COMPOSERS' COUNTERPOINT. 5

6. be readily seen that Students' Counter-

It will

point a scholastic process, designed entirely

is

to meet the needs of musical composition under

two-dimensional conditions the melodic and
complex with the smallest possible reference to
the third dimension the harmonic.

7. The Tv/o essentials of Composers'

Counterpoint are (i) some sort of C.F. or pre-
viously written theme or subject in single notes,
to which the other parts of the score are afterwards
added; and (ii) some sort of symmetrical
parallel movement maintained throughout the
score in the melodic outline of one or more of the
added parts, which, if not exactly corresponding with
some one or other of the unbroken and smoothly-
flowing Five Species of Students' Counterpoint,
should at any rate bear a sufficient generic resem-
blance to the same, in order that what is added to
the C.F. may be recognized as Counterpoint, and
not be merely regarded as unrestricted Part-writing.
of a C.F. in however free or elastic a shape
The presence
is, aswere, the last link in the chain which unites Com-
it

posers' Counterpoint with Free Part-writing.

The C.F. is
always recognizable from the added parts as the theme or
subject of the composition that which is heard the most
often during the piece, and that which forms the kernel of
the passage in which it occurs, by being invested with all the
importance obtainable from the means at the composer's
disposal.

Before beginning the study of Composers'

8.

Counterpoint, it is
generally understood that a
musician has undergone an adequate training in
Students' Counterpoint. Thus disciplined, he will
be enabled to learn how to use to the best advan-
tage the greater freedom which is now accorded
him.
Provided that he is always careful to observe Clearness
in the relative motion and individuality of the several parts
6 COMPOSERS COUNTERPOINT.

interwoven in his score, and also takes care that there is

always more or less euphony in the selection of the two or
more notes he intends to be sounded together at the same
instant :

I. He maywrite in any tonality (ancient or modern)

which may be susceptible of polyphonic treatment.
II. The CantO FePmO (or predominating melody, as

Jadassohn calls it), may or may not be entirely Diatonic in

its character. It should have a distinctly marked

Phythm of its own, and consequently its notes (in the great
majority of cases) will not be of equal length. There is no
unreasonable restriction as to what degrees of the scale may
be used for the first and last notes of the C.F.
III. Wider and less usual intervals Of melody may
be employed provided, as a rule, they belong to the same
;

harmony, and occur in the principal (or extreme) rather than

in the secondary (or inner) parts of the score. In a slow
movement, or in a part moving by notes of greater length
' '
than those in other parts of the score, many skips are
admissible which the ear would find difficult to follow in a
quicker movement" (Gottfried Weber].
IV. There is no limit to the choice Of harmony,
provided (i) that the number of parts employed in the score
be sufficient to amply define the character and derivation of
the chords used ; and (ii) that the modern harmonies of the
more emotional kind be used sparingly, and with due regard
to the extreme nature of the effects they generally produce.
It is possible by means of judicious arpeggio treatment to

adequately define the character and derivation of modern

harmonies in a single horizontal melody. See the subject of
J. S. Bach's well known Organ Fugue in E minor (the
Wedge].
V. Fundamental or unprepared discords may be
used if they are properly resolved. Greater freedom is per-
mitted in the treatment of passing notes and suspensions.
Arpeggio figures, appoggiaturas, auxiliary notes, and notes
of anticipation are also available.
vi. No part is obliged to continue throughout its
course in the particular species it introduced at the beginning
of an exercise. The species may be changed to another, or
its particular kind of
parallel movement (in minims, crotchets,
or notes of different lengths) may be transferred from the
part which commenced it, to some other part (or parts) of
the score. All, or any of the added parts, may be written in
notes of longer duration than those of the C.F. itself; and
in some cases the Counterpoint may begin before the C.F.
 COMPOSERS' COUNTERPOINT. 7

VII. Repeated notes are not only allowed, but are

often characteristic features of certain species of Composers'
Counterpoint.
VIII. More than one Chord may be used in a bar,
provided the harmony be neither changed too often, nor
upon weak and unimportant places in the bar.
IX. Modulation is an essential feature but care should
:

be taken in a short exercise to avoid the dragging in of

extremely remote keys,* which might tend to obscure or to
contradict any of the tonal possibilities of the C.F.
X. Two parts moving by leap may strike a discord by
instantaneous percussion provided the general euphony
of the passage be not thereby seriously impaired.
XI. Instruments may be written for as well as voices.

9. It will thus be seen,

that as a further educa-
tional process, the academical study of Composers'
Counterpoint extends all the operations of
Students' Counterpoint by admitting ancient as
well as modern tonality by introducing a greater
;

amount of rhythmical vitality to both the Canto

Fermo and its added parts ; by enlarging the store
of available harmonies ; by increasing the number
of chord-changes in a bar ; by showing that parallel
movements quicker than that of the C.F. need not
be confined to the melody of a single part, but may
permeate the entire score ; by developing the modal
or tonal possibilities of the C.F., so that the same
progression of single sounds may be harmonized in
various modes or keys ; and by teaching how the
percussion of discords can be accomplished without
.
involving undue cacophony.
Such isthe true road to the artistic practice offree and
unrestricted part-writing. For it cannot be too often pointed
out that real Freedom in Music is never attained by an
utter and ignorant disregard of those hedges and safeguards
which separate euphony from cacophony, concord from dis-
cord, and musical sound from chaotic noise. Rather does it
consist of a reasonable and intelligent use of those natural
advantages, opportunities and privileges which lie well within
the sacred confines of Law and Order.
f 8 COMPOSERS' COUNTERPOINT.

CHAPTER II.

THE MATERIAL USED IN COMPOSERS'

COUNTERPOINT.

(i) ANCIENT TONALITY THE CHURCH MODES

THE HARMONIZATION OF MODAL MELODIES
MUSICA FICTA MEDIAEVAL CONSECUTIVES
CHANGING NOTES FALSE RELATION.

Composers' Counterpoint being essentially a

10.

progressive art, needs to be studied histori-

cally, in order that every piece of work may be

judged according to the art standard which obtained
at the date of its production. It is important
therefore to have some knowledge of the character
of the Tonality which prevailed anterior to the
1 7th century.

11. The Church Modes are a series of scale

formulae which for many centuries were exclusively
used for written music. Although for the greater
part superseded by the simpler and more uniformly
constructed scales of our own days, the Church
Modes are by no means obsolete even now ; finding
favour as they do with the best modern composers,
who know how to make good use of them whenever
they desire to write in the Madrigal, Motett, or
other ancient polyphonic styles.

A tonality which is so closely connected with the days of

romance and chivalry must always be of the greatest use to
 COMPOSERS' COUNTERPOINT. 9

a composer who may find it necessary or desirable to recall

vividly to the mind, during the course of an Opera, Cantata,
Symphony, Overture, or any other important work with a
libretto or a programme, ideas or surroundings of a mediaeval
character. For example, see many passages in Gounod's
Fatist) the Vorspiel and much of the First Act in Wagner's
Parsifal. Sir Arthur Sullivan's Golden Legend, and Professor
Stanford's Eden, also contain many examples of this kind,
to say nothing of other well-known modern works.

12. There are two chief and essential points of

difference between the Church Modes and, our
modern major and minor scales :

(i)
No Church Mode possesses a leading-note,
nor even the equivalent of one, and

(ii)
No two Church Modes of the same kind
(see 15), possess an identical order of tones and
semitones.

13. The Modes are fourteen in number,

and all of them can be played upon the white
keys of the pianoforte, .without touching a single
black key.

Fourteen is the number recognized by I5th century writers.

Originally there were only^z/r modes.

14. Of these fourteen Modes, two (XI and XII)

had no practical use in later mediaeval times (see
Fig i).

15. Of
the remaining twelve there are two kinds ;

six of them (bearing the odd numbers), are called

Authentic, the other six (bearing the even num-
bers), are called Plagal.

1 6. The Modes bear

the Greek names assigned
to them the following Table; but it may be
in
probably easier to designate and remember each
Mode by its number (Rockstro).
io COMPOSERS' COUNTERPOINT.

Fig. 1,

TABLE OF CHURCH MODES.

A Semibreve indicates the FINAL of a Mode ; a
Minim its DOMINANT ;
the slurs show the position
Of the SEMITONES.
AUTHENTIC MODES. PLAGAL MODES.
(Odd Numbers.) (Even Numbers.)
MODE I. Dorian. MODE II. Hype-Dorian.

I 2345678 12345678
MODE III. Phrygian. MODE IV. Hypo-Phrygian.

12345678 12345678
MODE V. Lydian. MODE VI. Hypo-Lydian.

12345678 12345678
MODE VII. Mixolydian. MODE Vtlt. Hypo-Mixolydian.

i 2345678 12345678
MODE IX. &olian. MODE X. Hypo-&olian.

i 2345678 1234 56 78
MODE XI. B to B. (Not in use). MODE XII. FtoF. (Not in use).

MODE XIII. Ionian. MODE XIV. Hypo-Ionian.

1
2345678 12345678
 COMPOSERS' COUNTERPOINT. n
17. The Final is the last note of a melody
written in one of the Modes ; and the Dominant
" more
is, as a rule, that note of the melody
prominent than the rest, and round which the
"
others circle (Rev. W. H. Frere}.
1 8.In the Authentic Modes, the Final is the
first note and the Dominant is the fifth note.
In this way, the y]/0afo/-positions of Final and Dominant
correspond exactly with the Scale- positions of our Modern
Tonic and Dominant.

19. But, in the entire series of Modes, B is

neither used as a Final (see Modes XI and XII in
Fig. i), nor as a Dominant. C is always used in
its place as a Dominant (see Modes III and VIII,
in Fig. i).
" The reason of this is that
[as a final] B will not serve as
the bass of a common chord, without an accidental Fjjt,
"
which would be inadmissible (
W. S. Rockstro). C is
substituted for B, because "B
came to be considered not a
sufficiently stable note to be a dominant" (Rev. W.H. Frere).

20. Every Plagal Mode bears the same Greek

name as the Authentic Mode which numerically
precedes it with the prefix Hypo (i.e., under).
This signifies that practically the same series of notes
it is

presented in a different phase or range, i.e., with the Final in

the middle instead of at the beginning of the Mode.

21. In every Plagal Mode, the Final is the

fourth note; i.e., the same note as the Final of the
Authentic Mode which numerically precedes it.
(Cf. Modes II and I, IV and III, VI and V, and
so on). The Dominant of a Plagal Mode lies a
3rd below the Dominant of the corresponding
Authentic Mode, having the same Final.
The single exception to this rule is in Mode VIII (Hypo-
Mixolydian), where C is substituted for B (see 19).

22. For a homely illustration of the difference

between an Authentic and a Plagal melody, let the
12 COMPOSERS' COUNTERPOINT.

student compare the two national airs, " God save

the Queen," and "Rule, Britannia":

Fig. 2.

(a) Example of an Authentic Melody :

"
GOD SAVE THE QUEEN."

-t t-

(b) Example of a Plagal Melody : "

RULE, BRITANNIA."

It willbe readily seen from Fig. 2, that the melody of (a)

lies between the tonic and its octave above (b] has the tonic
;

in the middle of its phase or range.

23. How
to discover the Mode in which
an old Melody is written. If there is no

key-signature, we may assume that the melody is

untransposed, and that the last note is the Final
(see 13, 17, 1 8, 21). Next, let us examine the
range of the melody, and discover if the Final is
approximately the lowest note used ; should this be
so, the Mode will be Authentic and its number can
be easily ascertained from the Final. But if, on the
other hand, the Final occupies an approximately
central position in the melodic range, the Mode
will be Plagal.
If the givenmelody has a key-signature, this is a sign that
it has undergone transposition; in this case it will be necessary
to restore the original pitch by biinging the melody into a
range whicn requires no key-signature, then the Final and
its position in the range will determine the Mode as before.

24, How to Harmonize Modal Melodies.

There are three ways of doing this, which roughly
correspond with the following historical periods : ~r-
 COMPOSERS' COUNTERPOINT. 13

(i)
First period (early two-dimensional), from the
end of the roth century to the end of the i2th

century.
(ii) Second period (late two-dimensional),
from
the beginning of the i3th century until the death
of Palestrina in 1594.
(iii)
Third period (three-dimensional), from 1594
to the present time.

FIRST PERIOD. During this time no accidental was used*

except an occasional Bft in order to avoid the melodic tritone.
All augmented and diminished intervals of melody, and the
skip of a 6th, both major and minor, are forbidden. When
harmonizing melodies cast in this strict style, only triads and
first inversions can be used, and as far as possible the added

counterpoints should be in the "note-against-note" or first

species style. If untransposed, the C.F. may be regarded as
being practically in the key of C major ; if it has been trans-
posed, then it may be regarded as being in the major key
belonging to the given key-signature. Any triad and its first
inversion may be used, except VII and VII A, because these
contain either an augmented 4th or a diminished 5th between
two of the notes. The Tritone must therefore be avoided
in its harmonic as well as in
its melodic form. For the
Cadence, use a triad having the Final of the Mode for its
bass-note, and precede this by any \ or which will not
involve a false relation of the Tritone with' the final chord ;
i.e., B must not be in one chord of the Cadence, and F in
the other. The following is an example of First Period
Harmonization :

Fig. 3.
C.F. from MEDIAEVAL CAROL :

MODE X. Puer natus in Bethlehem.

EEES
-&-
'1

SECOND PERIOD. Accidentals

($
as well as t>) may be
used to s moot hen the
harmonic effect of Cadences. In old
MSS. these accidentals were not always written; they were
known as marks indicating musica ficta (or falsa), and
14 COMPOSERS' COUNTERPOINT.

the rules for their correct insertion had to be previously

known to the singers before the music could be accurately
performed. Sir John Stainer* gives the laws of musica ficta
thus :

Fig. 4.

A <*) <t) (*) (S) (g> OP (*) (I)

to ( (/) (t) <*) )

Et hym-nis et can - ti - cis.

A sharp was used :

(i) As in Fig. 4, (a), (), (c); to raise the note which lay
a second below the final in a Cadence or any similar point
of rest.

(ii) As in Fig. 4, (d), (e), (/"); to raise in a Cadence or

elsewhere an accented note which lay a second below two
others of the same pitch.
(iii) As in Fig. 4, (g) ; to avoid the Tritone in a melodic
passage proceeding scalewise, down from B to F, by raising
the latter note, and so causing the 4th to be perfect instead
of augmented.

Fig. 5.
(a) (|Z) 0) (fe) .
(c) (!Z) ,

Nee lau - da - re suf - fi - cis.

A flat was used :

(i) As in Fig. 5, (a) to lower an unaccented note which lay

;

a second above two others of the same pitch.

(ii) As in Fig. 5, (b] ; to avoid the harmonic false
relation
of the Tritone between two parts.
(iii) As in Fig. 5, (<r); to avoid the Tritone in a melodic
passage proceeding scalewise, down from B to F, by lowering
the former note, and so causing the 4th to be perfect instead
of augmented.
The final chord of a Cadence is always major
(Tierce de Picardie); but very frequently the final chord is
written with a bare 5th without a 3rd (see Fig. 6).

*
Dufay, and his Contemporaries ^ p. 30.
 COMPOSERS' COUNTERPOINT.
" It is
always desirable to keep every part within the com-
pass either of an Authentic Mode, or of the Plagal Mode
"
which belongs to it ( W. S. Rpckstro).
Thus one Mode of each kind (see 15), is necessarily
employed in a composition of four parts ; the Soprano and
Tenor being in the one Mode, and the Alto and Bass in the
other. But the composition is always said to be in the Mode
of its C.F. The following is an example of Second Period
Harmonization :

Fig. 6.
" Puer natus"
C.F.,
-
.. i i :
1
i
1-

THIRD PERIOD. Here, modern harmonies are used, and

modulations are made to related keys. Sometimes the C.F.
is itself inflected by accidentals other than those required by
the ancient laws of musica ficta, but these corruptions of the
melody ought to be guarded against, and avoided most care-
fully otherwise, every feature of antiquity is defaced, if not
;

utterly destroyed. The following is an example of Third

Period Harmonization :

Fig. 7.
Harmony by J. S. BACH.
From a Church Cantata for the Feast of Epiphany.
C.~F.,"PuerNatus." ,

3 J =
Upq= i I

J i ^j

-J-
^^iL^JJLiAj&j
=_i TT-j i_I i .

PRACTICAL EXERCISES. In the Appendix, at the end of

thisbook, will be found some beautiful examples of melodies
in the various Church Modes, for the student to harmonize
in three or four parts under the direction of his teacher. The
C.F. may be placed in any upper part or in the bass, and the
harmonization should be made in the style of each of the
three periods described in 24.
1 6 COMPOSERS' COUNTERPOINT.

25. In Diatonic Harmonization it may be useful to

remember that in proceeding from one uninverted
triad to another, the FOOtS may progress by the
skip, upwards or downwards, of a 3rd, a 4th, or a
5th, according to the scale. When proceeding to
or from the Tonic, Dominant or Subdominant
Chords, the root may progress upwards by the step
of a second. Only the Dominant root can progress
downwards by the step of a second, with good
effect. Roots may freely rise or fall a second when
triads are used in their first inversion. Some
useful tables of Chord progressions will be found in
Dr. Vincent's Harmony, Diatonic and Chromatic.
26. Students, and others, who are interested in
the beautiful unaccompanied vocal music of the
1
5th and i6th centuries are often at a loss to
account for (what may seem to them to be) a faulty
non-observance of some of the cardinal rules of
Counterpoint in many passages which may come
under their critical observation. This is especially
so with regard to consecutives and irregularly-
resolved passing* notes.
It should be remembered, however, that the first attempts,
to produce two-dimensional music must necessarily have been
crude. The earliest sign of a desire for anything like com-
plexity in tone-combination would naturally be the simple
duplication of the same horizontal melody, by two voices,
first an octave apart,
singing together at a different pitch
and then at a distance of some other consonant interval (see
John Hullah's History of Modern Music, p. 22). find We
evidence of this in the Organum or Diaphony of the loth
century, described by Hucbald (died 932), a specimen of
which is here rendered into modern notation. Of the two-
parts shewn in Fig. 8, the lower is the vox principalis or
C. F. , the upper is the vox organalis or added duplication a
fourth higher than the C.F. (E. J. Hopkins}.

Fig. 8.

"' B "
C F
"

Tu pa - tris sem -
pi
- ter - nus es fi - li - us.
 COMPOSERS' COUNTERPOINT. 17

A modern reproduction of this archaic two-dimensional ex-

periment occurs in the last Act of Gounod's Faiist, where, in
the final "celestial chorus," the voices sing Cristo risuscito.
The effect of such consecutive fourths as those in Fig. 8,
may (?) have been rendered tolerable to one-dimensional
ears in a large building by the C. F. being sung fortissimo
by a large body of men's voices, whilst the organalis was
sung softly by a few boys' voices. We
naturally expect to
meet with many consecutives in music written during the two-
dimensional period, simply because composers at that time
viewed their Art from a restricted standpoint, in which the
perpendicular aspect scarcely came into view. It was

essentially an experimental period, and the rules of

two-dimensional counterpoint grew out of the experience
gained by making trial ventures in tone-combination.
Rules were framed in order to prevent inexperienced musi-
cians from imitating the less successful efforts of their pioneer
predecessors in two-dimensional art.
Students of the present three-dimensional period are
cautioned against importing the mediaeval consecutives, about
to be described, into their counterpoint, because they have
to appeal to listeners whose ears are trained to observe music
under all the conditions laid down in i.

There are consecutives which, in the hands of an experienced

composer of the present day, may be used with good effect
these will be described later on but they belong entirely to
the three-dimensional period, and can manifestly find no place
in any exercise worked according to two-dimensional rules
(see 5).

27. Consecutives which are to some extent

covered by the crossing of parts^ are often met
witli in 1 6th century Counterpoint, as in the
two examples from Palestrina's works, shewn in
Fig. 9 :

Fig. 9.
From Missa Papa: From Missa Sterna
Marcelli (1565). Christe munera*

01
U
i8 COMPOSERS' COUNTERPOINT.

Mr. W. S. Rockstro says of these consecutives, "When

sung by three voices, without accompaniment, they are in-
expressibly beautiful" (to those who listen to them with
two-dimensional ears !)

28. Consecutives which are to some extent

covered by suspension, are also found in profusion in
the works of Madrigalian composers. The passage
in Fig. 10 is a typical example :

Fig. 10.

LUCA MARENZIO, 1556? 1599 {Ladye, see on every side).

r~ 1
J I
, r T

29. A Second resolved on a Unison by

oblique motion also frequently to be met with in
is

music of the same period, as shown in Fig. 1 1 :

Fig. 11.

PALESTRINA (Missa Papce Marcelli\ 1565.

() (*)
=-.*.. ^j
yg
i

^~~a^^~^'r:g'T
i i
i i

'

* n^-a.

cT i~T itj&J-^ii-

Iksfl
" "

At the * in Fig. n, (a), we see a passing note resolved on

the very note with which it forms a second. At the * in
Fig. n, (), we see a discord of suspension similarly resolved.

30. Composers of the two-dimensional period

were in the habit of writing the changing note
figure of melody (see Students' Counterpoint^ p. 27,
Rule VIII) with the second note of the leap used
as a harmony note, thus disregarding and breaking
 COMPOSERS' COUNTERPOINT.
"
the two-dimensional rule, that every passing note-
must be quitted by step."

Fig. 12.
(a) ORLANDO GIBBONS (Hosanna), 1583-1625.
_ s u u
i i i i,

^
..
;

J |^^=3-

H3- VI

<*) DR. CHRISTOPHER TYE {Actes of the Apostles), 1553.

:fuT-d '

*-.
20 COMPOSERS' COUNTERPOINT.

These false relations are usually the result of an awkward

juxtaposition of the major and minor 3rds of the Dominant
or Subdominant roots of a Minor key. They are extremely
interesting as marking the transitional period of tonality,
when the modern harmonic minor scale was beins; gradually
.evolved from the I Mode (Dorian). This mode has a minor
7th for its seventh degree, which was continually being
sharpened for the purpose of making it a leading note (see
" B molle " or
Fig. 4, d, e), and it also possessed an optional
minor 6th, which was allowed to be sung in certain cases
" B durum " or
instead of the normal major 6th (see Fig. 5,
a, b> c). Fig. 13 (<z), which is written with the Dorian minor
key signature (i.e., with one flat less than the full number
required) shows an awkward "juxtaposition of the major and
minor 7ths of the mode Fig. 13 (I)) shows an equally
awkward juxtaposition of B durum ( A. jj al o], and B molle
(AJfc&iw).

32. Such examples of false relation are not recom-

mended for the imitation of the student of to-day.
But they are inevitable if the degrees of the Melodic
or Horizontal Minor Scale, are placed upon an
equal harmonic footing with those of the Harmonic
or Perpendicular Minor Scale.
 COMPOSERS' COUNTERPOINT. 21

CHAPTER III.

THE MATERIAL USED IN COMPOSERS'

COUNTERPOINT.

(2) MODERN TONALITY ITS RISE AND DEVELOPMENT

:

THE CANTO FERMO THREE-DIMENSIONAL

TREATMENT OF THE FIVE SPECIES HAR-
MONIC POSSIBILITIES CHORD INDICATIONS
GENERAL RULES FOR GOOD AND EFFECTIVE
PART-WRITING.

33. The gradual introduction and establishment

of moderntonality is due to two chief causes,
(i)
the evolution of the Perfect Cadence ; and
consequently, (ii) the horizontal and perpendicular
need of a Leading Note.
It came to be universally felt by European musicians that

nothing else than the Perfect Cadence made a really satisfying

close to a composition. For bringing as it does into clear
perpendicular contrast the two sharply defined chords of the
Dominant and Tonic, the Perfect Cadence completely deter-
mines the tonality of the C. F. and of the music generally.
That B, the uninflected leading note of our natural diatonic
scale was found to be incapable of standing as a final bass
note as the root of an essential diatonic chord, is evident from
the mediaeval rejection of Modes XI and XII (Cf. 17, 20).
Having thus no fundamental status of its own, the note B
was discovered to exist mainly as a horizontal preparation for
the tonic note C, to which, *'by reason of its close
" *
proximity it had an inevitable melodic tendency or .

attraction. It has been already shown in 25 (see Fig. 4),

* Helmholtz : Sensations of Tone, Ed., 1875, p. 440.

22 COMPOSERS' COUNTERPOINT.

that the laws of musiea ficta provided that any note

occupying rhythmically the cadential position of & final should
be approached from below by the interval of a semitone only
even though the necessary accidental were not indicated
in the notation. In this way, the horizontal effect of the
"leading" note came also to be regarded as being perpen-
dicularly essential to the Perfect Cadence as the unalterable
Major 3rd of the Dominant Chord in both Major and Minor
keys.

The dawn of the three-dimensional period

34.
in musical history may roughly be said to be coin-
cident with the introduction of BaSSO-COntinuo,
or, as it is called in this country, Thorough, or
Figured Bass.
The indication of harmonies by columns of figures, indicating
the relation of every upper note of a chord to its bass, is
sufficient in itself to show an appreciation and perception of
the perpendicular aspect of music ; and to thereby imply, on
the part of composers, a different point of view to that which
had previously influenced them in the putting together of
"
their music. The
invention of the term "basso continue
is due to LudOViCO Viadana, who so named a figured
bass for the organ part to some Church compositions which
he published in 1602 ; but an actual Basso-continuo (although
not so called) had been previously employed in the accom-
paniment of operatic recitative several years earlier than this
date, by Caccini, Peri, and other Florentine composers. Sir
C. Hubert H. Parry says, * " It is impossible to point
definitely to any particular time and say, here the old order
[two-dimensional] ended, and the new [three-dimensional]
began for in point of fact the periods overlap one another."
;

Mjirst, three-dimensional music was vastly inferior in every

respect to the school of two-dimensional music which had
preceded it, owing to the undue importance which was
attached to the perpendicular aspect per se.
" It was
only by
the re-establishment of polyphony upon the basis of harmony,
as we see it displayed to perfection in the works of J. S. Bach,
that the art could regain the lofty standard it attained" in the
two-dimensional period. For it is evident that "harmonic
music cannot be considered apart from the voices or parts of
which it is
composed." (Parry).

* Article in Grove's Dictionary.

Harmony
 COMPOSERS' COUNTERPOINT, 23

35. The Canto Fermo

(C, F.) in Composers'
Counterpoint the principal melody or subject of
is

the movement for the time being, and to which all

the other parts of the score are added upon a
perpendicular or harmonic basis. It is that part
which is subject to the least alteration, and which
is presumably written first.
It originated by the composer with a view to his
may be
making the germ of his composition ; or it may be selected
it

by him (as a vehicle for his own individual ideas) from any
source which may appeal to his fancy ; or may otherwise tend
to stimulate his creative imagination. Short of actual change
of identity, it can be altered more or less at will to suit the
need or convenience of the moment.

36. Speaking generally, the C. F. is a comparatively

short melodic section^ phrase or sentence which
ought to possess the following characteristics :

(i).
Its tonality, whether ancient or modern
should be clearly defined.

It need not be confined to the limits of one key ; it may

modulate, or be capable of, or suggest modulations to other
keys, which, however, in a short passage or exercise should
not be too remote from the original tonic key. The following
C.F., which is the ancient intonation to the Nicene Creed,
stands in its original form (as in Fig. 14) in the IV Mode,
but it has been used in a modern rhythmical shape by J. S.
Bach, Cherubini, Ch. Gounod, Professor C. V. Stanford,
and other composers :

Fig. 14.

Cre -
do in u - num De -
urn.

(ii).
Its rhythm should be well marked.

It thus easily recognizable during its treatment and

is

development in the course of an extended piece, as the subject

for the time being. The C. F. in Fig. 1 5 is the concluding
section of the main eight bar theme of the movement. In
the passage from which this extract is taken, the two-bar
24 COMPOSERS' COUNTERPOINT.

fragment shown is the only portion of the theme to which

contrapuntal treatment is given :

Fig. 15.
BEETHOVEN (P.F. Concerto, Of>. 73).

(iii).
It may begin and end upon any note of
the scale the composer may find convenient for his
purpose. See Figs. 14, 1 8, 20. A fugue subject
(which is a CF. of the most pronounced type) can
begin upon any note of the scale ; Professor Prout
gives a complete series of examples on p. 15 of his
treatise on Fugue.
For, unlike the practice of Students' Counterpoint (where
ever}' exercise is a complete little piece with a beginning on
the tonic chord, and an end with a full close which admits of
no further continuation), studies in Composers' Counterpoint
may or may not be self-contained. Very often, it is both
convenient and advantageous to regard an exercise as if it
were an incomplete portion of a larger composition, such as
a fragment of a fugue, or a bit of the development section of
a sonata-movement, etc.

37. The C.F. may be sometimes monotonic in

character.
Familiar vocal examples
may be seen in Handel's sub-
" Chemosh no more will we adore" (Jephthah), and
jects,
Blessing and honour, glory and
' k

power," in the grand final

chorus " "
Worihv is the Lamb (Messiah), and in the subject
of the concluding chorus (Pi^nus future?) of Mozart's Litany
in BJ2 (see Prof. Prout's Fugal Analysis, p. 190). Instru-
mental examples of this kind of C. F. are also common
enough. The principal subjects of the overtures to Handel's
Samson (the Fugato) and Mozart's Zauberfiote, are partially
in monotone ; so too is that ot the Allegretto (2nd movement)
of Beethoven's Seventh Symphony in A. Perhaps one of
the most striking instances of a monotonic subject in an
instrumental movement is the opening theme of Schubert's
Pianoforte Sonata in A (Op. posth.). Here the inverted
pedal in the top part shown in Fig. 16, appears to have been
the original C.F. to which the undej- parts were added :
 COMPOSERS' COUNTERPOINT. 25

Fig. 16.
SCHUBERT (Sonata in A).

38. The C.F. may itself be written in any one of

the Five Species. Occasionally we find it written
in the plain semibreve First Species rhythm of
Students' Counterpoint, as in Fig. 1 7 :

Fig. 17.
MOZART ( Unfinished Mass in C minor).

Cum san ... cto Spi ri - tu.

39. In Fig. 1 8 the C.F. (Answer) begins in

Second and ends in a peculiar Fourth Species
rhythm be explained in Chapter VII), whilst
(to
the Counterpoint (Counter subject) is in First
Species :

Fig. 18.
C.F. ("Answer" of Fugue). J. S. BACH (45^ Fugue of the "48").

Cpt. (Counter Subject).

See also the tirst four bars of Handel's Air in

" The Harmonious (popularly E
known as Blacksmith"), and the second
subject of the first movement of Beethoven's Symphony in
C mino?'.
40. In Fig. 19 the C.F. (L.H. part) is in Third
Species rhythm, whilst the Counterpoint (R.H. part)
is in First Species :

Fig. 19.
BEETHOVEN (Sonata, Op. 22).
26 COMPOSERS' COUNTERPOINT.

See also the subjects of Bach's well known Organ Fugue

in B minor (Peters' Ed., Vol. II, No. 10), Handel's Chorus,
"They ride on whirlwinds" (JephthaJi), and the opening
subject of Mendelssohn's Concert Overture Melusina.

41. In Fig. 20 will be seen five typical examples-

of Canti Fermi in Fourth Species rhythm. In
the case of (b) all the accompanying parts move in
Fourth Species rhythm as well, note against note
with the C.F.
Fig. 20.
(a) ^ J. S. BACH (Art of Fugue).
*
.K r~j? j* | T-^-j
1

E_^ f *_ rg^jgz
etc.

() SCHUMANN (Sonata, Op. 22).

etc -
dSiC=
(c) SCHUBERT (Sonata in A minor, Op. 143.)

/TV MOZART (Sonata in C -minor).

(e) HANDEL (Solomon).

While night -in -

gales lull them to sleep with their song.

See also the first of Prof. Sir W. Sterndale

movement
Bennett's Woman of Samaria, where the melody of Luther's
Hymn undergoes free contrapuntal treatment as a syncopated
C.F. ; the first movement of Beethoven's Sonata in minor, D
Op. 31, No. 2 (bars 2 to 6) ; and the first movement of the
same composer's Sonata in F, Op. 10, No. 2 (bars 5 to 12).
A still more striking example of a Fourth Species C.F. is
to be seen in the episodical subject of the second movement
(Con moto) of Schubert's Sonata in D, Op. 53, which begins
thus :
 COMPOSERS' COUNTERPOINT. 27

42. Examples of C.F. in Fifth Species rhythm

are common enough in fugal writing ;
but they are
to be occasionally met with in other styles of
composition, as for instance in the opening subject
of the concluding Presto of Beethoven's Septuor in
EV-, Op. 20. Fig. 21 shows an example in which
Fifth Species rhythm is used for the opening
subject of an Aria, in which the different parts of
the accompaniment imitate the C.F. :

Fig. 21.
J. S. BACH (Christmas Oratorio, No. 57).

Nought a -
gainst the pow'r He wield - eth Can
_ ,
1* ,
_.

our fee - ble arm pre

- vail.

PRACTICAL EXERCISES. The student should now write

some Canti Fermi of his own. He might begin by taking
some unbarred successions of notes (like Fig. 14, and the
Semibreve Canti given in Student? Counterpoint}, and
endeavour to put these into a rhythmical form and shape,
by giving the notes different time values and grouping them
into bars, with slight melodic additions, &c. For example, a
semibreve C.F. might be rhythmically altered as in Fig. 22 :

Fig. 22.
C.F. No. i, Students' Counterpoint.

The same notes put into Florid Rhythm, with slight additions.

Next, he might write a number of short Canti Fermi in

each of the Five Species similar in form to those in Figs. 15
to 21. And lastly, he might endeavour to write complete
eight bar melodies (like those given in the Appendix). He
will derive considerable advantage in this respect from
reading Chapters II and III of Prof. E. Prout's admirable
treatise on Musical Form ( Augener & Co. ).
28 COMPOSERS COUNTERPOINT.

43. Three-dimensional treatment of the

five species of parallel movement. It will
be the aim of the next five chapters to point out
the legitimate development or extension of the Five
Orders or Species of Students' Counterpoint, which
may be said to be clearly observable in the works
of all composers who have re-established the beau-
tiful horizontal polyphony of the two-dimensional

period, upon the perpendicular lines of the modern

harmonic school which prevails at the present day.
Such knowledge is essential for the artistic treat-
ment of Canti Fermi written in the Free style ;
since it is necessary (i) to determine the species of
horizontal movement in which a C.F. is itself cast,
and (ii) to choose the most appropriate parallel
species for its contrapuntal surroundings.
Some writers limit the use of the term Counterpoint, to
Students' or Two-dimensional Counterpoint ; applying the
term "Free Part-writing" to Composers' or Three-dimen-
sional Counterpoint. But, inasmuch as these same writers
admit that "the five orders of Strict Counterpoint are
theoretically retained in Free part-writing" (W. S. Rockstro}^
and as the term part-writing does notprima facie convey the
idea of the presence of a Canto Fermo, but rather suggests a,
kind of two-dimensional music, in which the horizontal and
perpendicular aspects are considered with a minimum
attenticm given to the artistic effect of the complex or inter-
woven aspect, the present writer prefers to retain the use of
the time-honoured term "Counterpoint" as applied to all
well-balanced three-dimensional music.

44- Harmonic possibilities.^// modern

"
chords are available. Dissonant harmonies, both
fundamental and inverted, may be used with the
freedom of consonances, provided only that they be
regularly resolved. Chromatic chords may be
introduced." ( W. S. Rockstro.)

But in his early exercises, the young composer is advised

to add to the triads and first inversions, exclusively used by
him in "Students' Counterpoint," only second inversions of
 COMPOSERS COUNTERPOINT. 29

primary triads, and the chord of the Dominant 7th and its
inversions. Then by degrees, he may add the Dominant Qth
and its inversions, and "Secondary Sevenths" and their
inversions. The Dominant nth and 1 3th with their inver-
sions may come next, and lastly, and V6Py Sparingly, the
use of Chromatic Concords and Discords and their inversions.

45- Chord Indications. Following and extend-

ing the plan pursued in Students' Counterpoint^ the
various modern harmonies * may be indicated
thus :

Triads and their Inversions, I, \b, \c, &c.

Dominant
77 7 7
and their Inversions V, V^, W, V^f.
'jtlis

Dominant qths and their Inversions, V, V, Vc, V</,

',

99
*
* 9
*
99
' '
Ve.
The miner 9th may be indicated by a small prefixed to the
ft9 ,
,

9, as 7V, &c. This Jj should become tf in keys with sharp

signatures. The chords of the Leading and Diminished 7ths
(derivatives of the Dominant 9th) may be respectively

indicated,VII, VII.
Secondary Jths and Cheir Inversions,
7
I,
7

II,
7
III,
77 IV, VI,
VII. the respective inversions being indicated by the
italic letters b, c, d, placed after the Roman numerals, as in
the case of the inversions of the Dominant 7th given above.
11 13
Dominant nth and ijth. 7 V, V, with the inversions
respectively indicated by small italic letters as before. A
small (or a jj in keys with sharp signatures) will indicate
the minor 1 3th.
Chromatic Concords and Discords of the Supertonic. 11$,
9 11
7 13
IIj, IF, 117, II j, with italic letters for inversions. The
J added numeral indicates that the 3rd of the Root is
to the
accidentally sharpened or raised. A JJ will indicate this in
keys with flat signatures. A
(or tf) will also indicate the
mitwryfa. and I3th. 9 \\ 13
Chromatic Discords of the Tonic. I&7, I 7, Ifr7, 1(27, with
italic letters for inversions. A (or fl) will indicate the
minor 9th and 1 3th.

* All found fully described and

these chords will be
Book of Musical Knowledge,
illustrated in the author's Text
Parts II and III., issued by Trinity College, London, and
published bv A. Hammond & Co., 5, Vigo Street, London, W.
30 COMPOSERS' COUNTERPOINT.

Chromatic Concord of the Minor 2nd. j? II, 2 lib, (Neapo-

litan 6th] and JMfc. The prefixed to the numeral shows

I?

that the Root is chromatically flattened or lowered.

itself^
A tl
will indicate this in keys with sharp signatures.

Chromatic Concord of the Subdommant, IV fy, IV j? ,

IV p The flat added to the numeral indicates that the 3rd

<:.

of the root chromatically lowered.

is A fa will indicate this
in keys with sharp signatures.

Chromafic Concord of the Minor 6th, $ VI, |? VI b,

ty VI c. The prefixed to the numeral shows that the Root
|?

itself is chromatically lowered. A tj

will indicate this in
sharp signatures.
Chromatic Chords of the Augmented 6th, //. (Italian
**
^ 6th)
^>-. (French 6th), Ger. (Gennan 6th).
*J

46. Available Intervals of Melody." Me-

lodic leaps in any interval, whether diatonic or
"
chromatic, are freely permittted in counterpoint
intended for instrumental performance. (
W. S.
Rocks tr6).

47 Harmonic Intervals which in Two-

part Counterpoint adequately represent
Fundamental Discords. Fig. 23 will show the
student the available dissonant intervals and the
dominant chords which they represent- in the keys
of C Major and Minor. He is recommended to
construct similar tables in other keys :
 COMPOSERS COUNTERPOINT. 31

General Rules necessary for good

48.
and effective part-writing*. For the sake of
vocal smoothness, it may be well for the young
composer to confine himself at first to the melodic
intervals allowed in Students' Counterpoint. Sir G.
A. Macfarren's rules for horizontal, complex, and
perpendicular progression cannot be surpassed.*
They may be briefly summarised as follows :

ONE-DIMENSIONAL RULES.
(For Melody only. )
I. No melody
should proceed by an augmented interval ;
unless (i) in the course of a sequence, or (2) in a succession
of notes taken consecutively from the harmonic minor scale,
or (3) in an arpeggio group where the notes belong to the
same chord, or (4) when the note to which the skip is made
is unessential to the prevailing harmony, as in Fig. 24 :

Fig. 24.
^ MOZART (Zauber/tote).
zfci g-^g=

Aug. th.

II. A
melody proceeding by a diminished interval must
return to a note within the leap, and not continue in the same
direction as the leap. (See Students' Counterpoint, p. 13,
Rule XIV).
TWO-DIMENSIONAL RULES.
(For Combined Melodies. )
in. Consecutive Unisons, 8ves, and 5ths between
any two parts of the score are to be avoided as a rule. Excep-
tional cases of their three-dimensional use will be shown in
Chapter IX. But in order to gain special prominence for
any particular melodic phrase, it may be doubled in its
entirety by any or the whole of the parts singing or playing
together in 8ves or in unison.
IV. Hidden 8ves and 5thS are to be generally
avoided between the extreme parts.
V. The unison should not be approached by similar
motion between any two parts.

*
See Rudiments of Harmony\ pp. 8-13.
32 COMPOSERS' COUNTERPOINT.

VI. In a two-part score, a 3rd may not be followed by a

5th when both parts move by step. (Students' Counterpoint,
p. 13, Rule VIII)
VII. Parts should not Overlap. (Students' Counter-
point p. 13, Rule X).
',

VIII. No part should proceed in 4thS With the baSS.

IX. No two parts should proceed in 2nds, 7ths, or gths
with each other.
X. No two adjacent notes in the scale (2nd, 7th, or 9th)
may proceed by similar motion to a unison or an octave.
(Students' Counterpoint, p. 67, Rule IV).
XI. No two parts should proceed from an 8ve to a 7th or
9th by similar motion.
XII. No two parts should be in False Belation.

THREE-DIMENSIONAL MODIFICATIONS OF TWO-

DIMENSIONAL RULES.
(For Combined Melodies and Chord Progressions. )
XIII. Consecutive 5ths and 8ves are allowed by contrary
motion between primary triads whose roots lie a 5th or a 4th
apart.
X-IV. The fifth of either the Dominant or the Subdomi-
nant triads may be approached by similar motion if the top
part moves conjunct ly.
XV. The octave of either the Tonic or the Subdominant
triadsmay be approached by similar motion if the top part
moves conjunctly.
XVI. A part may proceed in 4ths with the bass when the
second 4th is a portion of a fundamental discord. See
Fig. 25 where both the second and third 4ths comply with
this condition ;

Fig. 25.
MOZART (Overture to Don Giovanni).

v r
4 4 '4

XVII. The leading note of the prevailing key must never

be doubled in any chord. This is forbidden, because of the
strong horizontal attraction of the leading note to the Tonic,
and of its equally strong perpendicular effect.
XVIII. False relation does not produce an unsatisfactory
effect when two notes of the same name but of different oitch
 COMPOSERS' COUNTERPOINT. 33

occur between two different parts of chromatic chords used

in thesame key. See Fig. 26 :

Fig. 26.
BEETHOVEN (Quartelt, Op. 18, No. 5).

s5_
99
E: I 11 b Ib E: VII 3 I
l

The chord marked * belongs to both the keys of E majox

and D major, being enharmonically II

1 e of the one, and

the other.
^V^/of
34 COMPOSERS' COUNTERPOINT.

CHAPTER IV.

THE FIRST SPECIES IN ITS DIFFERENT PHASES

OF SUSTAINED, REPEATED, DETACHED, AND
ARPEGGIO HARMONIES ITS VARIED USE IN
ACCOMPANIMENTS PEDAL BASSES CHRO-
MATIC HARMONY COMBINED CANTI FERMI.

49. The First Species of Students' Counterpoint

may be thus characterized :

(i). Every
note brings with it a change of
harmony.
(ii). Every note occupies
an entire bar.
(iii).
As a long sustained sound (usually a semi-
breve) ; and consequently,
(iv). The First Species possesses .an interest
which is vertical (i.e., harmonic) rather
structurally
than horizontal (i.e., independently melodic).

50. In Composers' Counterpoint, the First

Species has two primary functions :

(i).
To determine when and where the melody
of the C.F. requires a change of harmony, and
(ii).
To impart a certain degree of horizontal
interest to the maintenance of chords or of single
notes of any appreciable time-duration.

The following suggestions will be found helpful for deter-

mining when and where it may be desirable to change the

harmony :

(a) A long (or repeated) note or chord should commence

upon an accented beat.
 COMPOSERS' COUNTERPOINT. 35

(b) The harmony or at least the bass note shotJd change

at each accent ;
and conversely,
Each accent should have a new har-
(c]

(except when a less-accented triad

mony &
in root position is followed by its own |JG
2nd Inversion more strongly accented *J

than itself).

Although the harmony changes with each note of

a part written in First Species, each note of that part does
not always take up an entire bar, and neither single notes
nor chords need be actually sustained.

51. A First Species note may be repeated at

thesame or at a different pitch, as in Fig. 27, (a)
(b):-
Fig. 27.
(a) J. S. BACH (Fugue ziofthe "48").

Cpt. ist Species. 3rd Species, ist Species.

() HANDEL (Overture to Samson).

Cpt. First Violin, yd Species.

C.F. Second Violin, ist Species, with repeated notes of different pitch.

52. A First Species chord may be main-

tained :

(i). By the repetition of the same harmony in

. any kind of rhythmical figure (for a simple example,
see the opening bars of Beethoven's " Waldstein "
Sonata in C, Op. 53); and
36 COMPOSERS' COUNTERPOINT.

(ii).
the breaking up of the same harmony
By
into any kind of arpeggio figure unmixed with
passing notes. See Fig. 28, (a) (b} :

Fig. 28.
MENDELSSOHN (Lieder O/:ne IVorte, No. i).

() C. F. (A) C. F.

At (#) seen a plain First Species harmonization of a

is

C.F. in six parts, note-against-note

; at (b) the same harmony
is seen with the C. F. and bass part unaltered ; but the
arpeggio figures in the middle enable the one inner part of
(b} to produce the harmonic effect of the four inner parts of
(a), thus preserving the character of the First Species
harmonization by a horizontal arrangement in three parts of
exactly the same chords and individual part-progressions
seen in the six-part score of Fig. 28 (a).

53. The presence of a single passing note in an

otherwise purely arpeggio figure at once changes
the species from First to Third.
See Students' Counterpoint, p. 26, Rule III, which forbids
the use of an arpeggio figure in the Third Species. The
reason is obvious. An arpeggio is merely a horizontal
presentation of a First Species, chord.

54. From the purely rhythmical point of view, a

part written in the First Species can be regarded
as having a twofold relation to the other parts of a
score. This is even the case in Students' Counter-
point, where a First Species part :

(i). May move

together with another part in
notes of equal duration, as in Fig. 29, (a) ; or

(ii).
It may move in notes of longer duration
than those of another part heard with it, as in
Fig. 29, (b) ',-
 COMPOSERS' COUNTERPOINT. 37

Fig. 29.
<*) , ,
.

C.F. C.F.

55. In Composers' Counterpoint the two-fold

rhythmical relation of a First Species to an accom-
panying part (described in 54) can often be
observed in one and the same melody, as in the
C.F. of Fig. 30 :

Fig. 30.
MENDELSSOHN (Hear my Prayer).

C.F.
(Vocal}.

Counterpoint.
( Instrumental),

3 rd Species.

Here the C.F. is in First Species throughout ; but the

Counterpoint (although written in notes of equal length)
changes its species. (See page 6, VI). It begins and continues
in First Species from a to m, which species it resumes at c
and e ; but it is changed to Third Species at (i and (d]
because there it has four notes against the one harmony
established against the sustained First Species notes of the
C.F. (b toe) and (d to e).

56. In Fig. 31 there is no change of First Species

in either of the two parts engaged. The minims
represent one note common to two chords sustained
in the same part :

Fig. 31.
"

=* Qp J. S. BACH (Fugue 46 of the 48 ").

38 COMPOSERS' COUNTERPOINT.

Here, at first sight, the minims appear to represent First

Species, and the crotchets Second Species ; but a careful
analysis of the harmony as compared with that of the fourth
entry in the exposition of the fugue (bars 17 and 18), shows
that two chords are written against the longer notes of the
C.F., a manner of harmonization quite different to that of
the Second Species, in which two notes are written against
one chord.

57. The rules for Students' Two-part Counterpoint

become modified and expanded by composers
in the following ways :

I. It is unnecessary to begin with a perfect Concord,

Fig. 30, (/)
II. Melodic leaps by intervals of a dissonant character
may occasionally be taken. Fig. 30 (), (h}.
III.Repeated notes may occur. Fig. 30 (<), (i). But it
is always better to repeat an accented (than an unaccented)
note.

IV. Modulation may be permitted. Fig. 30 begins in

D minor and passes to G minor.
V. Chromatic alterations of the same note may occur in
the melody of the same part. Fig. 30 (*' ), (k).
VI. Chromatic harmony may be used if adequately
represented by any of the Dissonant intervals given in
Fig. 22, 47. See Fig. 30 (k), (c], (), (o).
VII. Second inversions are allowed under the same
conditions as in passages of ordinaiy harmony. Fig. 30 (h), (/).
VIII. The $th of the Dominant (or Subdominant) may
be approached by similar motion (See 48, XIV). As a
bare 5th represents a triad with an omitted 3rd, it is generally
to be avoided in two-part counterpoint. The only tolerable
bare $th is that of the Dominant (Fig. 30, (m). Similarly,
the only bare 4th which is at all tolerable in two-part work
is the inverted 5th of the Dominant, viz., the 4th above the

supertonic.
IX. As many as four 3rds or 6ths may be used in succession
(Fig. 30, c to d).
X. The unison should be avoided on the more strongly
accented portions of the bar.

58. The simplest possible use of the First Species

in more than two parts is shown in Fig. 32 :
 COMPOSERS' COUNTERPOINT. 39

Fig. 32.
Allegretto. BEETHOVEN {jtk Symphony}
A -4=3-, j i-, i 'ri :
j -; i

fe^fd
r t_r

*.
. T
That three-dimensional (and not merely /zw-dimen-
this is
sional) music
is obvious because (i) there is a distinct C.F.
wsed afterwards with different contrapuntal treatment in the
same movement, (2) there is a distinct element of complex
or contrasted action (however elementary) in the accompany-
ing parts, since these parts move obliquely where the
monotonic C.F. is stationary, and (3) the harmonic or
perpendicular element is the strongest feature of the passage
after its characteristic horizontal rhythm.

59. As
a rule, it is most undesirable to harmonize
each of the shorter notes of a C.F. with a separate
chord of its own. This may be done sometimes,
however, as in Fig. 33 (a) when the tempo is fairly
slow :

Fig. 33.
" *
C.F., Credo." ,* GOUNOD (Messe Chorale).
4o COMPOSERS' COUNTERPOINT.

of Beethoven's Eroica Symphony ; and bars 19-21 and 65-67

of the Chorus "Dies Irae," No. 2 of Mozart's Requiem.
60. All unaccented shorter notes in the C.F.
should be treated as passing notes as in Fig. 34 (a),
or as harmony notes of the same chord thus ;

temporarily changing the Species of the C.F. from

First to Second. See page 6, VI.
Fig. 34.
C.F., "Credo." ,* GOUNOD (Messe Chorale).

G.
I IV F. I IV G.m. I
6 In order to secure choral and instrumental
1.

effects of extreme richness and sonority without

the effort (and consequent occasional thinness of
harmony) of writing in a large number of real,
independent parts, any phrase or any appreciable
portion of a phrase may be doubled in the 8ve,
as in Fig. 35, which is a passage written for the
"
organ. But these alterations in the volume of
harmony should not disturb the flow of the original
parts, nor destroy the impression of individual
part-progression." (Percy Goetschius) :

Fig. 35.
C.F., "Credo." GOUNOD (Messe Ck ra 7*).

-| ^-i

r,_ L_L__^ri__
G.m. I F. V ib IV G.m. I

Notice incidentally the canonic imitation between the

extreme parts of Fig. 35.
62. First Species chords instead of being
sustained, may be written in the detached OP
 COMPOSERS' COUNTERPOINT. 41

Staccato manner shown in Fig. 36. Rests do

not perceptibly affect the mental continuity of any
harmony they may silence :

Fig. 36.
WEBER (Concertstiick, Op. 79).

rfro 3^ *"-l-fr*--J I i
">
g4-^ :=T==: l

The Consecutive 8ves in bar 2 are not recommended for

the Student's imitation. They are probably due to an over
sight on the composer's part.

63. For accompanying vocal and other

SOlOS, the First Species is largely used, and in
the different phases (rhythmical and otherwise)
already described in 50-62.
Frequently, an accompaniment written in several parts
(1)
may move almost entirely note against note with the solo or
C.F. See Bach's "Break and die, thou dearest heart"
(.V. Matthew Passion, No. 12) Brahms' accompaniment to
;

the Folk-song, "The wounded youth" (Op. 14, No. 2);

Mendelssohn's "Es ist bestimmt"; E. Grog's song " Mit
einer Primula veris," &c.
(2) A
First Species accompaniment, written in sustained
chords against a C.F. of shorter notes, seldom lasts for more
than a few bars at a time. See the middle portion of
E. Greig's song " Mein Ziel," for example. Occasionally,
however, an accompaniment to an entire movement is so
"
constructed ; see the Aria ' While my watch I am keeping
'

in Gounod's Redemption. Sometimes melodic passages sung

by chorus voices are so accompanied, see Handel's Israel in
Egypt (No. 10, "But as for his own people," and No. 8,
"lie sent a thick darkness"). See also Mendelssohn's
S. Paul " Now are we made "and -No.
" Far be (No. 23,
it from
manifest, 42,
thy path ").
For examples of Instrumental C.F. with First
Species harmonization see Beethoven's Sonata in V,
Op. 7, first movement, bars 59-65 and the same composer's
;

Sonata in C, Op. 53, first movement, bars 35-42.

64. As stated in 52, the continuity of First

42 COMPOSERS COUNTERPOINT.

Species Chords may be maintained by repetition

in all kinds of rhythmical figures.
See for example the accompaniment to J. L. Hatton's
well-known song To Anthea " and the opening bars of
' *
;
" "
Spohr's chorus Blessing and glory in the Last Judgment.
For more varied forms of repetition, see Mendelssohn's " I
"
waited for the Lord (Lobgesang, No. 5), and "It is enough "
(Elijah, No. 26}. For repeated and sustained chords mixed,
"
see "Jerusalem (S. Paul, No. 7). For repeated harmonies
mixed with occasional obbligato figures of melody see " O
r
God, have mercy" (S. Paul, No. 18}, and "I praise Thee'
(S. Paul, No. 26]. For repeated chords used in a detached,
Continuous and an accellerated manner, see Mendel-
ssohn's "Henceforth, when ye hear" (qjth Psalm, No. 5).
No finer example of the tremolo treatment of the First
Species can be found than that which accompanies the alto
solo in Beethoven's Mass in D. Syncopated chord
repetition may be seen in the accompaniment to Mendelssohn's
"Then shall the righteous" (Elijah}, and in the opening
tenor solo of his q^th Psalm.

Repeated Chords must always be regarded

65.
as a cheap form
of accompaniment, and, therefore,
should be sparingly used.
66. The C.F. may be assigned to an instru-
mental accompaniment, whilst voices sing repeated
rhythmical chords against it, as in Fig. 37 :

Fig. 37.
C. F. (Organ Reed Solo). GOUNOD (Messe Chorale).
'
V
jl ' 1 J
 COMPOSERS' COUNTERPOINT. 43

In passages like Fig. 37 the vocal parts may be kept

absolutely independent of the C.F. ; or, one or more
of the
voices may double (in the 8ve or unison) the whole, or a
portion of the C. F.
In the first two harmonies of Fig. 37, the vocal parts are
quite independent of the C. F. , which then
contributes a real
additional fifth part to the score. In bars 2, 3 and 4, the
C. F. is doubled by the alto part, and in bars 5 and 6 by the
treble.

67.Greater contrapuntal value is attached to a

passage in which the C.F. is kept perfectly distinct
and separate from its accompanying parts.
But, on the other hand, an instrumental C.F. sometimes
gains in prominence when it is doubled by one of the vocal
parts. This gain is increased when it is not doubled
throughout by the same vocal part, as in Fig. 37. N.B.
Such duplication is good, however, only when the C.F. is

accompanied by the First Species and by no ether.

68. Pedal basses and inverted pedals consisting
-of either sustained or repeated notes may be classed

.amongst First Species treatment in Composers'

Counterpoint.
First Species pedal notes are of frequent occurrence,
especially in Choral Fugal-writing. The pedal note may be
independent of the voice parts, but it is more often incorpor-
ated in the Vocal score, as in the final chorus of Mendelssohn's
S. Paul, and many other instances.
A good example of perfectly independent orchestral
double pedal is seen in Mendelssohn's "How lovely are
the messengers" (S. Paul, No. 26}. In bars 55-57 the tonic
is sustained in whole bar notes by the stringed bassi, whilst
the upper strings have the dominant (inverted pedal) in
repeated syncopated rhythm."
In the opening of Bach's O Grief," (S. Matthew Passion,
No. 25], the repeated semiquavers in the bass, express the
idea of palpitation suggested by the words.
For a beautiful example of a holding note in the voice
part, accompanied by a melodic sequential figure derived
(from the sustained harmony, see bars 13-16 of No. 36 of
Bach's S. Matthew Passion ; and for an example of a vocal
pedal note accompanied with different harmonies see bars
29-31 of Bach's "Sleep, my beloved" (No. 19, Christmas
Oratorio}.
For an example of a holding note in the accompaniment
treated as an inverted pedal, see bars 16-19 of Bach's "Jesus
44 COMPOSERS COUNTERPOINT.

Saviour" (S. Matthew Passion, No. /<?), and the passage " O
Vater," 22 bars before the end of No. 3 in Beethoven's
Mount of Olives. The violin part in Mendelssohn's
first
"Cast thy burden" (Elijah No. 75), has some highly
,

effective holding, notes high up in the scale against the

voices of the quartett.
69. The artistic use of arpeggio figuration of
First Species chords demands great care. A one-
part arpeggio being made to convey in a horizontal
manner the effect of complete harmony in several
parts (see Fig. 28, a, b} the individual and definite
progression of each of the several parts included
in any arpeggio figure must receive the greatest
attention on the composer's part, if he desires to
preserve the pure simplicity of First Species chord-
to-chord harmonization. The following hints for
clear arpeggio treatment will be found useful :

I. An arpeggio part should flow

smoothly, and in a regular
uninterrupted rhythm.
II. An arpeggio figure is defined by its general melodic

outline, and by the direction taken by the intervals of which

it is composed. The intervals of one arpeggio group may be
different in size to the intervals of the next group ;
this does
not alter the identity of the prevailingy^7/r^, which should be
retained throughout the entire passage in its original hori-
zontal shape.
III. The prevailing arpeggio figure may, however, some-
times take an inverted direction, or its melodic outline may
be slightly changed to accommodate (i) the shorter notes
of the C.F. or (2) more rapid root changes in the harmony of
the passage.
IV. A rest may be substituted for the first note of the
arpeggio figure during any point of its progress.
V. The melodic outline may be changed when the arpeggio-
figure is transferred to another part of the Score. Such a
change would usually take place at the beginning of a new
phrase or section of the C.F.
VI. it is wrong to double the Leading Note or any
fundamental discord in an arpeggio figure when this note
occurs upon a strong or -medium accent in the bar and it ;

is generally well to avoid such duplication wherever it is

convenient to do so.
VII. Consecutive 5ths and
8yes must not occur in
direct succession between the arpeggio part and any other
part in the score.
 COMPOSERS COUNTERPOINT. 45

VIII. The individual notes of the groups or figures of an

arpeggio part should follow the same horizontal laws of part-
progression which would be observed if the same harmonies
were written in a succession of unbroken chords. See Fig. 28.
IX. When the arpeggio part is in the Bass, care must be
taken to indicate the real bass of the passage by assigning its
notes to the lowest sound of each arpeggio figure.
X. When the arpeggio part is in the Treble, great care
must be taken to keep it so subordinate to the C.F. that the
necessary prominence of the principal melody of the score be
never lost sight of.
XI. Beautiful First Species effects can easily be obtained
by the combination of sustained chords with the arpeggio
figures derived from them. The student has only to add to
Fig. 28 (b) the four chords in Fig. 28 (a) to produce such a
combination.
The use of First Species harmonization by means of
Arpeggio Figures of accompaniment may be fairly said to be
inexhaustible in its variety. The student will do well to
make his own collection of examples from the works of great
masters. Those of Henselt may be especially recommended.

70. The harmonization of Modal Canti

Fermi with modern Chromatic Harmony.
Fig. 38 shows to what extent this can be judiciously
done. The C.F. is in the III (Phrygian) Mode.
Fig. 38.
BACH (Ckurch Cantata,
J. S. "Sc/iau', lieberGott").
C.F. O Haupt vollBlut und Wunden.
46 COMPOSERS' COUNTERPOINT.

The only chords used in Fig. 38, which are forbidden in

Students' Counterpoint, are (a) the last inversion of the
Dominant 7th, (b] the Diminished 7th, (<r)the second inversion
of the Chromatic discord of the Supertonic Minor 9th, (d) the
second inversion of the Tonic Triad, and (e) the first inversion
of the Chromatic Supertonic 7th.

71. Two and contrasted C.F. may be

different
sometimes heard in after separate and
combination
individual treatment in the same work. Such
combination can be the more easily effected if one
of the subjects thus brought together be in the first
species, as in Fig. 39, (C.F. I.), and Fig. 55 (ii) on
P- 54-
Fig. 39.
J. S. BACH (Christmas Oratorio).
C.F. I. Vom Himmel hoch da komm ich her.

J. J. -j ,J. J- -U-0
r *

crar-
Subject of Pastoral
^ '& r
Symphony which opens Part II of the Oratorio.

The bass of Fig. 39 is an example of how far a C.F.

may be subjected to alteration without losing its identity.
See 35.
 COMPOSERS COUNTERPOINT. 47

CHAPTER V.

THE SECOND SPECIES AS DISTINGUISHED FROM

THE THIRD FREE TREATMENT OF THE
THESIS AND ARSIS AUXILIARY NOTES, BOTH
DIATONIC AND CHROMATIC APPOGGIATURAS
CHROMATIC PASSING NOTES CHANGING
NOTES IRREGULARLY-RESOLVED ANTICIPA-
TIONS SECOND SPECIES TRANSFERRED FROM
ONE PART TO ANOTHER ITS USE IN THE-
MATIC DEVELOPMENT AND ACCOMPANIMENTS.

72. In Students' Counterpoint, the Second

Species has the following characteristics :

(i) TWO notes

of equal time-duration (l) thesis (Ofeflrie
or accented] and arsis (apffig or unaccented] are written
(2)

against every chord. When the C.F. consists of dotted notes,

three equal notes can be so written.
(ii) The thesis is invariably concordant
with the other
notes of the chord it is sounded with.
(iii) The arsis may be either (i) a concord, or (2) an
auxiliary (passing) note.
(iv) A passing note can be approached and quitted only
by step of second but may either (a] return to the harmony
;

note it came from, or (b] pass onwards to the next degree of

the scale.

73. In Composers' Counterpoint of the Second

Species not more than tWO notes (or occasion-
ally three] are written against a chord; but the
thesis need not be always a concord, and auxiliary
notes (whether used as thesis or arsis) need not be
invariably approached by step of second, although
they are generally quitted in that way.
48 COMPOSERS' COUNTERPOINT.

Any note of the 'C.F. accented or unaccented, whether

approached" by step or by leap, can be treated as an auxiliary
note, provided it is quitted by step. See 77-87.

74. The rhythmical difference between the

Second and Third Species is clearly shown in Fig.
40, where the C.F. is in the former, and the
Counterpoint in the latter :

Fig. 40.

J. S. BACH (Fugue 17 of the "4$").

Cpt. in %rd Species.

C.F. Ab: Ic Vb Ib "Vc VII*

in znd Species.

Here, at first sight, the C.F. looks like First Species, and
the Counterpoint like Second. But before any Species can
be determined in Compose 'S* Counterpoint, an analysis of the
harmonic structure of the passage must be made. In Fig. 40
the harmony is clearly changed with each crotchet beat ;
consequently, the C.F. has two notes written against one
chord, and is in Second Species, while the Counterpoint,
which has four notes in each rhythmical group, is Third m
Species. Sometimes, a Counterpoint written continuously in
equal-duration notes looking like Third Species throughout,
may begin in that Species and be afterwards changed to the
Second Species by the way in which the C.F. is harmonized.
See Fig. 41 :

Fig. 41.
3rd Species. J. S. BACH (Fugue 19 of the "48").
2nd Species.

IV \Ilb V \b VI l\\b I

A somewhat similar case occurs in Fig. 42.

75. When during the course of the C.F. a long

note occurs which is worth four Second Species
notes, as at (a) in Fig. 42, the harmony may be
changed in the middle of that long note in order to
 COMPOSERS' COUNTERFORT. 49

preserve the continuity of the Second Species,

should this be desirable :

Fig. 42.
J. S. BACH (S. Ann's Fugue).
3rd Species. 2nd Species.
_^A__

_JJ-^- ,J.U
^ C.F.
7 Hrf V3
Efe: I V 13 I ek:I I

76. The note on the need not always be athesis

harmony-note. It may be an accented auxiliary

note as in Fig. 42 (a).
At (a) the Efe is plainly an accented auxiliary note
proceeding to the 3rd of the tonic chord of B fe on the arsis.
7
At (b) the Eft is a harmony note to the chord II d in the key
ofBfe.

77. Auxiliary notes may be defined as unes-

sential notes of embellishment which stand on the
next scale-degree above or below an essential note
of the prevailing First Species harmony.
Under the term auxiliary notes may be included passing-
notes, changing-notes and appoggiaturas.

78. The upper auxiliary note is always the next

degree of the diatonic scale for the time being.
The lower auxiliary note is usually the diatonic
semitone below the essential note, except when the
latter happens to be the major 3rd of a chord.
Then, the lower auxiliary note may be a whole tone
or a semitone below, as the composer pleases. See
Fig. 43 :

Fig. 43. MOZART {Sonata

C.F. n-! m --,
*-*w*J,
_ J
ijjy?'
in F).

The lower auxiliary note at (a) would more usually be

written
Djt.
 50 COMPOSERS' COUNTERPOINT.

79. A
Chromatic Auxiliary note is never con-
sidered to be in false relation with any harmony
note sounded with or near it. See Fig. 44, (a) :

Fig. 44.
MOZART (Symphony in C\
C.F.
*'"
I
>
-' *~
! is I*

-A I * ""
-

See also the q

quaver Bjt against the crotchet Bfa in Fig.
5iM,87 ,p.5 2.

80. In Students' Counterpoint, the only auxiliary

notes used are unaccented passing notes. In
Composers' Counterpoint, auxiliary notes may
occur upon either the thesis or the arsis. An
accented auxiliary note is called an Appogglatura
" "
(Italian Appoggiare to lean).

This is because "

supposed to be a kind of buttress, or
it is

leaning support to the note before which it is placed."

Ouseley.
8 1. It is often convenient to regard as Appoggia-
turas the fundamental discords of the 9th,
nth, and i3th, by resolving them in a second
species manner upon adjacent notes derived from
their own roots, while the rest of the chord ^remains,
as in Fig. 45 :

Fig. 45.

9V

.(=._.
^
i
J=.

i
T
2
"

In all cases of this kind, the simultaneous striking of a

i
if
-g-
4=."
2

fundamental dissonance with its note of resolution is best

avoided, although it can be done with good effect during the
prolongation of a first species fundamental chord, as in
Fig. 46 :
 7
COMPOSERS COUNTERPOINT.

Fig. 46.
BEETHOVEN (Leonora Overture, No, 3).

(nth)
<'>
J. J. , ^
i=fc

82. Speaking generally, when an appoggiatura is

sounded together with the octave of its note of
resolution, it is better for the latter to be approached
in a direction contrary to the progression of the
appoggiatura, as in Fig. 47 (a) :

Fig. 47.
MOZART (Sonata in F).

-"
J ,

ir-r
83. An
Appoggiatura can be approached by
leap ;
and
in this way may be described as a kind
of unprepared suspension. See Fig. 48 (a\ (b\ (c) :

Fig. 48.
MOZART.
(a) (3) (c)

B.m. 113

84. An Appoggiatura approached by leap is

resolved in the direction contrary to that taken
by the leap. See Fig. 48 (a), (), (*).

85. Chromatic
auxiliary notes are invariably
resolved upwards if the accidental is a sharp,
Fig. 49 (<:), but downwards if the accidental is a
'

flat, Fig. 49 (<*)

 COMPOSERS' COUNTERPOINT.

Fig. 49.
BRAHMS (Second Symphony),

-= -r-T
w

It will be noticed that the Treble part of Fig. 49 is merely

ii Second and Third Species embellishment of the C.F. itself.

86. Passing notes (as well as appoggiaturas)

may be chromatic. When a chromatic passing
note has been introduced, the melody must proceed
by semitones until the next harmony note is reached,
as in Fig. 50 (a) :

Fig. 50.
Good, (a) Bad.
J..

cm=

87. Changing notes are occasionally intro-

duced Second Species triplet groups in which
into ;

case the note which a 3rd can be also

leaps
approached by leap, as in Fig. 5 1 (a ), (b\ (c) :

Fig. 51.
ROSSINI (Semiramide).

3EEB^=e*
F r r >

88. A thesis note is sometimes repeated at the

same or at a different pitch in a First Species
 COMPOSERS' COUNTERPOINT. 53

manner (see 51) for the arsis, when (a) it is

inconvenient to use other notes of either an essen-
tial or unessential character as in Fig. 52 (a), or
when (b) it is desirable to prepare a discord on the
next thesis, during a temporary change to the Fourth
Species, as in Fig. 52 (b) :

Fig. 52.
MENDELSSOHN (Laudct Syoii).
C.F. Ancient Plainsong. . ,

~~! I ~1 . J -H* . m . I J

(tf)
<*)(*>

***-a
~m
G : II- V3 1 V I_7V3 I

89.A rest may be used for the thesis (as in the

bar of an exercise in Students' Counterpoint).
first

But when one part has a rest, another must have a

note; as in Fig. 53 :

Fig. 53.
MOZART (" Hosanna," Mass in F No. 6).

sr "is
See also the opening bars of the third variation on the C.F.
Vater unser in Mendelssohn's 6th Organ Sonata, and bars 7
to 12 in the Fugato movement of Handel's Overture to
Semele.

90. Either the thesis or the /> (not both) may

occasionally be occupied by two notes instead of
one. See Fig. 53 (a\ (a\ (b).

91. Below the C.F. the 5th of the Root may

be written upon the arsis whenever it can be
properly approached and quitted as the bass note
of a | chord. See Fig. 54 (a\ (b\ (c\ (d) :
54 COMPOSERS COUNTERPOINT.

Fig. 54.
MENDELSSOHN (Psalm xlii).

C.F.

92. An irregularly resolved note of anticipation

is sometimes used as the arsis in Composers'
Counterpoint of the Second Species.
Usually, an Anticipationis a note introduced on the arsis
which essentially belongs to the thesis of the following chord.
Regularly resolved in this way, it belongs to the Fourth
Species rather than to the Second (see Chapter VII). An
irregularly resolved note of anticipation progresses by a skip,
instead of remaining upon the note which it anticipates.
The anticipated note then appears in some other part (or it
is understood as a possible interval) of the ensuing chord.
See Fig. 55, (i) (ii) :

Fig. 55.
(i) C.F. SCHUMANN.
gfl I
,

F: IV lc 7 V I

J. S. BACH (Church Cantata, " Wachet Attf").

" wake !"
(ii) C.F., Sleepers,

prq=3 I
H
h-g *
i

J
J
i

p-j
^--^pS2 - = -
j
a^^r-

(3) W

Efe: IV* I3 V* 13 7 V IV

Fig. 55 perhaps as remarkable a specimen of Second

(ii), is

Species Counterpoint as could be found anywhere. The

Treble C.F. is vocal^ the Alto (Second Species) is instru-
mental. At (a), the arsis G anticipates the C.F. note G in
the next chord. At (), the thesis BJ2 is the root of the
I3
chord V, and can therefore be approached by skip. At (c),
 COMPOSERS COUNTERPOINT. 55

the arsis A
fr (7th of root) appears to be resolved by rising a
7th instead of falling a 2nd. At (</), the arsis F anticipates
a possible 5th in the next chord. At (e), the arsis antici- G
pates the 3rd of the next chord. At (/), is an appoggiatura
approached by leap, and resolved in the same (instead of the
contrary) direction. At (g}> the appoggiatura (h] is antici-
pated. This example is another instance of the combination
of a First Species C.F. with a Second Species C.F.
previously heard in the same work, with a different harmoni-
zation. It is not put forward for the student's imitation,
but rather as a specimen of what is possible in the hands of
an experienced composer.

93. As stated in 8 VI (page 6) the Second

Species need not be maintained throughout any
passage by the same part which begins with it.
The Second Species rhythm may be transferred
to the melody of another part, as shown in Fig. 56 :

Fig. 56.
J. S. BACH (Fugue 8 of the "48").
ist. 2nd. ist.
C.F.

etc.

ist. 2nd.

See also bars 7-11 of Handel's Chorus, "And with His

"
stripes (Messiah, No. 25).
The permeation of an entire four-part score by the Second
Species can be clearly seen in Fig. 57. All the parts engage
in the Second Species, but not one of them in a continuous
manner.
Fig. 57.
J. S. BACH (Christmas Oratorio, No. 17).

C.F., Vom Himmcl hoch da komm ich kef.

~L

E2EIEE2E
T ^ tr r 1

1%, i;', ,

C: VI IV II_ 7 V V VI IV<5 I
 COMPOSERS' COUNTERPOINT.

94- The Second Species is largely used for

aceompanimental purposes in vocal and instru-
mental music.
Fig. 58 affords a typical example ot its use in an instru-
mental work :

Fig. 58.
HAYDN (Quartett, Op. 74, No. i).

to

G: I/ 7 V Ic V 13 V* lEm.V I C 5I3 V

^W

I A m. cV
The following are the chief points of interest in Fig. 58 :

(i) The appoggiatura occurring in the midst of a scale

passage at (a) (a).
(ii) The
percussion of dissonant notes by leap. See (), (<r),
(<?), (e). A
comparison of Fig. 58 with Fig. 59 will show that
these C.F. leaps are really made to harmony notes.
(iii) The sequential passage in bars 2 and 3, in which the
music is made to pass through the keys of E minor, C major,
and A minor, in rapid succession, may be explained as a series
of short Tonic pedal points see Fig. 59 ;
.

Fig. 59.
 COMPOSERS' COUNTERPOINT. 57

from which it will be readdy seen that the consecutive octaves

marked in bar 3 are not really objectionable, the Bass coun-
terpoint being in this place nothing more than
an ornamented
Tonic pedal point.
" "
Bach's 24th Prelude in the 48 is another fine example
of the accompanimental use of the Second Species. But
here the continuously flowing bass part is not always pure
Second Species in the second half of bars 26, 28 and 30 the
;

rapid quaver chord-changes alter the character of the bass

counterpoint from Second Species to First. For some in-
teresting examples of the use of triplet-group Second Species
see the Third Movement of Tschaikowsky's Symphony
Pathetique, Op. 74 (p. 122 el seqq of Donajowski's Miniature
Edition in score).

95. A still more interesting use can be made of

the Second Species for purposes of thematic
development by combining a C.F. against its own
notes sung by another part in the First Species by
augmentation. See Fig. 60 :

Fig. 60.
* DR. S. S. WESLEY (Organ Fugue in C$ minor).
C.F. ii|,. I

cjfm.

Here the C.F. appears in all four parts of the score

simultaneously. In the Treble it continues in the Second
Species for the first two bars, and is fused into the Fifth
Species for the next two bars. The C.F. appears in the Alto
by augmentation in the First Species, in the Tenor by
inversion in the Second and Fifth Species, and in the Bass
by inversion and augmentation in the First Species. For
somewhat similar cases see bars 5 and 6 of Handel's Chorus,
" Let all the
angels of God," (Messiah, No. 35) also Brahms'

* This
example, taken from Dr. G. M. Garrett's Edition of
Dr. S. S. Wesley's magnificent Fugue, is here printed by kind
.permission of the publishers, Messrs. Novello & Co., Limited.
58 COMPOSERS' COUNTERPOINT.

Deutsckes Requiem No. 2 (letter K

in the Score) and No. 5
(5 bars after letter A
in the Score). These are beautiful
"
examples of art concealing art."

96. When employed for accompanimental pur-

poses, the Second Species is most frequently used
in the bass.

Good examples of Second Species accompaniments to

VOCal SOlOS may be seen in Handel's " But Thou didst not
" "
leave (Messiah, No. 32) and It is the Lord that ruleth the
sea" (2nd Chandos Anthem].
Fig. 6 1 may also furnish an example of the manner in which.
a solo voice may be accompanied in a Second Species style :

Fig. 61.
Cre do in u - num

As a means of securing an independent accompaniment for

a Chorus the artistic use of the Second Species may be
" Fac me vere "
observed in Dvorak's (Stabat Mater No. 6,^
" Docti sacris institutis "
Solo and Chorus) Mendelssohn's
"
(Lauda Syon, No. 5), "See what love (S. Paul, No. 43)
where a Second Species appears in both of the outside parts
of the accompaniment (violins and bassi). See also Handel's
"All we like sheep" (Messiah, No. 26}, " My mouth shall
" But
speak the praise of the Lord" (jth Chandos "
Anthem],
the waters overwhelmed their enemies (Israel in Es&pt,
No. 14], and ** O Baal, monarch of the skies" (Deborah*
No. 35\
 COMPOSERS' COUNTERPOINT. 59

CHAPTER VI.

THE THIRD SPECIES VARIOUS MODIFICATIONS

AND EXPANSIONS OF STUDENTS' RULES
THE FREE USE OF CHANGING NOTES, AP-
POGGIATURAS, CHROMATIC AUXILIARY NOTES,
&c. THE USE OF THE THIRD SPECIES FOR
THEMATIC DEVELOPMENT, AND THE INDEPEN-
DENT ACCOMPANIMENT OF SOLO AND CHORUS
WRITING.

97. In Composers' as well as in Students' Counter-

point, pure Third Species is distinguished from the
Second by having groups of not less than four
notes written against each harmony of the bar quite
irrespective of the rhythmical note-grouping of the
Canto Fermo.

98. Acontinuous Counterpoint consisting of

quick notes of equal length may often at first sight
have the appearance of being written in Third
Species throughout its entire course ; but when
it will be
analyzed readily seen that the Species is
constantly being changed from Third to Second or
even to First according to the number of Chord
Changes which occur within the bar. See Fig. 62,
<), W, W, (d) :-
6o COMPOSERS' COUNTERPOINT.

Fig. 62.
SPOHR (Calvary, No. 4).

seize my soul !

A.m. D. A.m.
VGVr. Ir V I3VII3I-

Fig. 62 is an extract from one of the most dramatically

conceived songs in Spohr's Calvary ; a song in which a
continuous succession of quavers is kept up throughout the
entire accompaniment in some part or other. At (a), the
First Species is used, the harmony being changed with each
quaver ; at (b] the Second Species is used with two quavers
against each chord ; at (c) the First Species is used again for
two quavers only at (d) the Third Species
; is used, with six
quavers against one chord.

99. That Third Species is often written in nearly

as Strict a style as Students' Counterpoint of the
same kind can readily be seen, in Fig. 63, from
the three examples by Handel written upon the
same C.F. :

Fig. 63.
HANDEL (Susanna).

C.F.

D.m. I A.m. lc

D.m. V
 COMPOSERS' COUNTERPOINT. 61

F. V C. VII3 I FV I

(i) shows how a modulation

Fig. 63 from a minor key to
that of itsdominant can be successfully accomplished in two-
part Counterpoint. Fig. 63 (ii) shows no departure
from the
rules of Students' Counterpoint (except the hidden 5ths at the
fourth crotchet). Fig. 63 uii) shows a modulation from
a
major key to that of its dominant and back, all within the
space of a single bar, and at (a] and (d) we observe the leap
from a passing note allowed only in a Cadence by licence in
Students' Counterpoint, (p. 64, Rule XI).
Prof. Prout says of Fig. 64 that it differs from the strictness
of Students' Counterpoint in only two respects :

(i) The consecutive 8ves between the first notes of bars

r

and 2, and
(ii) The arpeggio of the Dominant 7th in bar 4.

Fig 64.
MOZART (Fugue for Orchestra).
C.F.

It may be remarked in connection with bar 4, that the

Third Species arpeggio of a triad (forbidden in Students'
Counterpoint, p. 26, III) necessitates the repetition of one
note at the same, or a different pitch. The arpeggio of 7 V
brings four notes differently named into a Third Species
group, and is therefore more acceptable to the ear. More-
over, as no part is obliged to continue in any particular
species it may have commenced with (see p. 6, VI) a single bar
of a first species arpeggio figure occuring in the midst of a
Third Species passage is very often more welcome than not.

ioo. Passing-notes may be written against leaps

of harmony notes even when they produce dls-
cords by 'instantaneous percussion. (Com-
62 COMPOSERS' COUNTERPOINT.

pare Fig. 65, (a) (b), with Students' Counterpoint,

p. 60, III, and p. 62, VI, ii) :

Fig 65.
WEBER to
"
(Overture Oberon"\

1 01. Two parts may move together by con-

seCUtive discords (usually yths) when all four
notes concerned in the progression may be derived
from the same dominant root, as at (a) (b) in
Fig. 66 :

Fig 66.
S. WESLEY (Organ Fugue in G).

C.F.

G: v- !Em: 9 V- I -- D: 9 V -- I

102. Discords may be used upon the first of a

group when both the notes which are struck together
belong to the same chord. See Fig. 67 (a) (b}\
Fig. 67.
SCHUMANN (Quintet in \1, Op. 44).

C.F.

103. The 5th Of the Root may (when properly

approached and quitted as the bass note of a
 COMPOSERS' COUNTERPOINT. 63

| chord) be heard as the outside note

of a group
in the Bass. Compare Fig. 65 (c) and Fig. 67 (c)
with Students' Counterpoint, p. 26, V.

104. In two-part Counterpoint the unison may

occur on the first of a group if the C.F. note has
been heard in the Third Species as the last note of
the previous group. See Fig. 67 (d).

105. Repeated notes. The fourth note of

one group may be repeated as the first note of the
next group (see Fig. 67, e) ; and the first note may
be repeated as the second note of its own group.
See Fig. 67 (/), and Fig. 62 (d\
1 06. Tautological repetitions of the first
two notes of a group as its third and fourth notes

(see Students' Counterpoint, p. 20, Rule XI) may

sometimes be used with fine effect, as in Fig. 27,

() P- 35) and Fi S- 68:

~
Fig. 68.
MENDELSSOHN \Athalie).
C.F.

G.m. V-
In he full score, each of the quavers in Fig. 68 has to be
i

played twice as repeated semiquavers. The passage of

tautological melodic figures (a to b] is obviously a Third
Species expansion of the slower crotchet movement shown
in Fig. 69 :

Fig. 69.
to . -( *- H*-

At (c) in Fig. 69 the fourth crotchet has been written EJ

in order to showrelation to the passage, viz., that of
its real
a chromatic passing note lying a semitone below the next
64 COMPOSERS' COUNTERPOINT.

harmony note, F $. Consequently the false relation between

F|| (semibreve)
and F# (quaver) in Fig. 68, bar I, is only
apparent, not real.

107. Third Species note-groups should be as

Symmetrical and as Sequential as circumstances
will allow. See Mozart's Requiem, No. r, bars 20-
25, where the old church melody "Tonus Pere-
"
grinus receives beautiful Third Species treatment,
and also Fig. 70 :

Fig. 70.
C.F. (First Subject.) BRAHMS (^tk Symphony).
\ .
I

(Principal parts only.)

7Z^.~9"f
z*fe:E Qg3=i
C.F. (First Subject by canonic imitation, tath below.)

The Student may well compare with Fig. 70 as a companion

passage, bars 41-44 from the first movement of Beethoven's
Sonata in D
(Op. 10, No. 3), in which the semibreves in the
top part show a double augmentation of the first four notes of
the First Subject, accompanied by imitative Third Species
quaver figures.

1 08. Symmetrical and Sequential figures are, how-

ever, best used imitatively (as in Fig. 70). When
used one after the other in one continuous part
they may become as tiresome by constant repetition
as are some of the organ basses in Cathedral
music :

Fig. 71.
DR. MAURICE GREENE (Put me not to rebuke).

For - sake me not, O Lord, For -

i: i~
 7
COMPOSERS COUNTERPOINT. 65

109. As stated in 8, VI, (page 6), the Third

Species need not be maintained throughout any

passage by the same part which begins with it See
Fig. 72 :

Fig. 72.
HANDEL (Dettingen Anthem).
J
g
,
L
. i
.

I
i

Jj
.
I ^j
'
=^f^~
<

C.F.

no. The familiar Changing note group de-

scribed in Students' Counterpoint, page 27, VIII,
may be considerably modified in Composers' Third
Species :

(i) Either
of the auxiliary notes may be chro-
matically inflected, as in Fig. 51, page 52 ; or

(ii) The interval of the third between the two

middle notes of the figure may be expanded to that
of a fourth as in Fig. 73 (a), (b\ (c) :

Fig. 73.
MOZAKT
~ (Fantasia an
CF' '

C:IV - G: VII b VI 3 7 V - - VI IV 6 Vb

The Fugue from which Fig. 73 is taken is well worthy the

student's attention it is
quite a study upon this Changing
:

note figure. It will be observed, that when the interval of a

fourth occurs between the middle notes of a figure, the first
note is an appoggiatura, and one or both of the middle notes
belong to the chord.

in. Appoggiaturas and all kinds of chromatic

and diatonic auxiliary notes (described in 77-87)
may be as freely used in the Third as in the Second
Species.
66 COMPOSERS COUNTERPOINT.

Fig. 74 is an interesting example of the use of unaccented

chromatic auxiliary notes :

Figf. 74.
DR. MAURICE GREENE (My God! My God I)

C.F.
.

-&-J

Fig. 75 shows how accented chromatic auxiliary notes may

be used :

Fig. 75.
MJKVDELSSOHN (Violin Ccncerto> Op. 64).

The Student might be further referred to Schumann's

Quintet tn'^L, Op. 44, First Movement, where at bar 19,
after the double bar, there is a long passage which deserves
the most careful study. It begins thus :

Fig. 76 exhibits a proper use of chromatic passing notes in

the Third Species :

Fig. 76.
C.F., "Credo."

frJ-nJ-W-rfr
 COMPOSERS' COUNTERPOINT. 67

H2. For purposes of thematic development,

an interesting use can be made of the Third Species
by combining a First Species C.F. against its own
notes sung by another part or parts in the Third
Species by double diminution as in Fig. 77 :

Fig. 77.
J. S. BACH {Church Cantata}.

113. New rhythmical sections, phrases and even

may be developed by a
sentences simple process
Of expansion from an ordinary four note Third
Species group as given in Fig. 78 :

Fig 78.

tf-

Fffm. I IV

FromFig. 78, by the use of a few repeated chords arranged

in an arpeggio fashion, and an ascending and descending
68 COMPOSERS' COUNTERPOINT.

scale, the following exceedingly fine passage has been

developed by expansion :

Fig 79.
J. S. BACH {Echo from Suite in B minor).

F3m. IV

114. The Third Species is drawn upon

largely
by composers for purposes of accompani-
ment,
No hner example of its use could be quoted than the Third
Movement of Mendelssohn's jth Organ Sonata.
In song's it generally appears as the top part of the
accompaniment as in Mendelssohn's Treble Solo, For I had
gone forth (42nd Psalm, No. 3). Its rapid motion necessarily
limits its use to the expression of words conveying ideas of
unusual activity, speed, or agitation. Repeated notes may
occur in such an accompaniment with considerable frequency.
See Handel's "The waves of the sea" (jrd Chandos
Anthem}^ and Haydn's Rolling in foaming billows (Creation),
which contains examples of the use of four and six notes to
each harmony employed. Arpeggio figures are also used
largely in accompaniments, but mixed with passing-notes
to distinguish them from the arpeggio figures of the First
Species.
In The Golden Legend, Sir Arthur Sullivan makes a use of
the Third Species for purposes of accompaniment which
deserves special study owing to the admirable dramatic effect
and contrast which he obtains from an employment of the
same contrapuntal means varied by different colouring and
treatment. In Scenes I and IV, where Lucifer appears in
the garb of a travelling physician from the great medical
School of Salerno, quite an atmosphere of mediaeval learning
is given to the music by means of its academical Third

Species character ; but in Scene II (where Elsie is left alone

in the house of Ursula) she is surrounded, as it were, by a
 COMPOSERS' COUNTERPOINT. 69

halo of prayerful religious fervour, which is also obtained by

means of the Third Species character of the accompani-
ments, in which pedals and holding-notes in the bass are
used with ecclesiastical effect. Notice, too, in Scene II, how
the voice is first accompanied by a single instrument, the two
parts having in their successive bars holding-notes
alternated
with Third Species figures of melody somewhat after the
manner of Fig. 72.

115. The Third Species is used more frequently

than the Second for the independent accoxn-
paniment of a chorus which contains imitative
writing. In this case the Third Species often has
four notes written against a harmony which already
has two notes sung against it by one or more of the
voices.

For continuous use of the Third Species see Mendel-

ssohn's concluding Choruses to his 42nd Psalm and Lauda
Syon ; and Behold now, total darkness (S. Paul, No. 15).
For imitative use of the Third Species, see No. I of his
95th Psalm (bars 88-90). For the use of bold SCale-
passages used against notes or chords repeated by the
voices, see Mendelssohn's S. Paul, No. 5, 28 bars from the
end; No. 8, 13 bars from the end (where they are used with
fine effect in the bass), and No. 29, beginning at bar 25, where
they are handed about between the two violins and viola. For
the use of Third Species with six notes to a harmony, see
S. Paul, No. 23, at the Fugal passage which begins 56 bars
before the end of the Chorus, and the whole of the ^ move-
ments of the Gloria in Excelsis of Beethoven's Missa. SoUnnis
in D, Op. 1 23. For Third Species in which auxiliary notes
both diatonic and chromatic are freely used, see Mendel-
ssohn's S. Paul, No. 22 (bar 30 and onwards). As a most
beautiful example of the free use of arpeggios mixed with
passing-note figures, see the entire accompaniment to S. Paul,
No. II. See also the Schick salsited of Brahms.

1 1 6. A Third Species may not be always abso-

lutely independent of the vocal parts. It may

occasionally be an instrumental variation of the

C.F. played simultaneously with it, as in Fig.
80:
70 COMPOSERS' COUNTERPOINT.

Fig. 80.

J. S. BACH (Christmas Oratorio).

C.F., O Haupt voll Blut und Wundtn.

Notice how the Violin Third Species is made out of the

Treble, Alto, and Tenor parts of the Chorus and how the ;

String bassi part is a mere modification of the Vocal bass in

quicker notes repeated at a different pitch.

117. A good example of how to fit an independent

orchestral accompaniment to a choral passage con-
taining imitative work is seen in Fig. 81 :

Fig. 81.
Vocal parts. J. S. BACH (Christmas Oratorio, No. 26).

mOutside Orchestral parts only.

 COMPOSERS' COUNTERPOINT. 71

Observe the two places marked (a) in which the string parts
collide with the voice parts (oblique motion from second to
unison). This is not allowed in Students' Counterpoint,
where sounds of equal and identical quality are dealt with.
The unequal and vastly different quality of vocal and string
tone renders such collision of parts far less harsh ; but its
successful treatment requires considerable taste and experience
on the part of the composer.
Study also the independent Third Species accompaniment
to Brahms' fugal chorus,
" Der Gerechten seelen"
(over a
tonic pedal) which concludes No. Ill of the Deutsches
Requiem.
For the general use of the Third Species as an independent
accompaniment, the student could not possibly find better
examples than those he wiJl meet with in J. S. Bach's Church
Cantata, "Sleepers, wake."
72 COMPOSERS' COUNTERPOINT.

CHAPTER VII.

THE FOURTH SPECIES MODIFICATION AND EX-

PANSION OF STUDENTS' RULES ORNAMENTED
FOURTH SPECIES FREE TREATMENT OF
SUSPENSIONS ANTICIPATIONS GENERAL
HINTS FOR THE USE OF COMPOSERS' FOURTH
SPECIES ITS ACCOMPANIMENTAL EMPLOY-
MENT.

1 1 8.
Syncopation is equally a distinctive
feature of the Fourth Species in Composers' as in
Students' Counterpoint. But, whereas in the latter
the use of the bind or tie is imperative, and the
note on the thesis if not a concord must be a
discord of suspension with a downward resolution,
and that only in the former, the use of the tie may
;

under certain conditions be dispensed with (see

p. 25, Fig. 1 8, latter half)
and the thesis note, no
longer compelled to be either a concord or a sus-
pension, may be an upwardresolving retardation,
a note of anticipation, or an essential dis
cord.
The
suspensions in Composers' Fourth Species
may occasionally receive the ornamentations
which characterize the Fifth Species of Students'
Counterpoint, as in Fig. 82 :
 COMPOSERS' COUNTERPOINT. 73

Fig. 82.
J. BACH (Cantata for the i6tk Sunday
S. after Trinity).
C.F. (Soprano) O Haupt voll Blut und Wunden.
Flute. > C

C. Ill 7 II^ 7 III^ 7 II<? 7 V^ I A.m. IV3 7 V

This kind of ornamented Fourth Species which
(in
the syncopation is continuously maintained) is that which Sir
G. A. Macfarren erroneously prescribed as the only true
Fifth Species of Students' Counterpoint.

119. In addition to occasional Fifth Species

ornamentation, Composers' Fourth Species very
frequently exhibits a free treatment of sus-
pensions in some of the ways shown in Fig. 83 :

Fig. 83.
i-
^ J-r
74 COMPOSERS' COUNTERPOINT.

II. A Retardation may be defined as a discord of

suspension which moves upwards instead of downwards.
See Fig. 83, (b, c, e,g).
III. A suspended discord, or a retardation may be resolved
upon another discord. See Fig. 83 (b, i).
IV. The Octave to the note of resolution may be
frequently heard against a suspension if it be approached
and quitted by conjunct and contrary motion. (Compare
Students' Counterpoint, page 38, 47 A ; page 52, XVII ;

page 58, VIII and page 65, XV, with Fig. 83, c).
;

V. Suspended discords, instead of being resolved whilst

the rest of the chord remains (as at Fig. 83, a, b, c, d) may
delay their resolution until the appearance of another
chord derived from a different root. (See Fig. 83, e, *).
Percy Goetschius calls this passive resolution.
VI. This delayed resolution may take place upon a
chord in a different key to that in which the actual suspension
occurred. (See Fig. 83, /, where two discords of suspension,
firstheard in D minor, are resolved upon a chord in C major).
VII. A suspension may be transferred to another part
(as in Fig. 83, g,) but in any case it should be resolved in the
part where it was last heard.
viii. A suspension may be prepared by a note
Shorter than itself (as in Fig. 83, h) but in such a case,
the note of preparation is not tied to the
suspension.
IX. " Suspensions may occur in any part, but are most
common in the Soprano. They are also excellent in either
middle part, but are somewhat indefinite and dangerous in
the Bass." (Percy Goetschius).
X. As in Students' Counterpoint, a suspension usually
occurs on the thesis, and its resolution upon the arsis.

121. Suspension of Whole Chords. An

entire chord may be sometimes prolonged from an
arsis beat to the following thesis, in such a manner
that the expected accented chord is deferred for a
beat or so. See Fig. 84 :

Fig. 84.
MENDELSSOHN* (Six Christmas Pieces).

m
 7
COMPOSERS COUNTERPOINT. 75

In Fig. 84 the natural rhythm of the music is preserved by

the strongly marked location of the ordinarily accented beats
(the repeated pedal note A
in the bass part) ; but it is not
always necessary to do this. Schumann and other modern
composers sometimes take but little pains to preserve the
normal rhythm. See Fig. 85 (a), (b} :

Fig. 85.
SCHUMANN (Bunte Blatter, No, 12).
()

'

I ^1** I U U
See also the same composer's Grillen (Fantasiestiicke,
Op. 12, No. 4), and many of his other pianoforte pieces.
In the suspension of whole chords over a moving bass, all
notes of the first chord which are dissonant to the bass of the
second chord must move conjunctty. As a rule it is a good
thing for the root of the second chord to be a 4th or a 5th
above or below the root of the first chord.
122. In composers' Fourth Species the arsis is
frequently occupied by a Note of Anticipation.
This, when regularly resolved, is exactly the opposite
of a Suspension, since it is a note which does not
legitimately belong to the chord against which it is
sounded, but to the following chord.
The Suspension is a note which legitimately belongs to
the chord previous to the one it is sounded against ; it is
therefore a note prolonged or sounded after its expected time.
The Anticipation, on the contrary, is a note which is
sounded before its expected time.

123. The real difference in effect between

anticipations and suspensions may be seen in
Fig. 86 :

Fig. 86.
(<5) Anticipations. (c) Suspensions.

* * * * f r * r
9
V 7 VI 7 V3 I 9 V 7 VI 7 V I 9 V 7 VI 7 V3 I

At Fig. 86 (a), we have a simple First Species progression

of chords ; at (b} we see a Fourth Species variation of the
76 COMPOSERS' COUNTERPOINT.

same progression by means of anticipations ; and at (c] we

have a further Fourth Species variation of the original
progression by means of suspensions. The Student will
observe that in both Fig. 86 (b] and Fig. 86 (c] there is one
common feature, viz. the repetition of an arsis note upon the
,

next thesis. It is this feature of repetition which admits the use

of anticipations into Composers' unsyncopated Fourth
Species. And moreover, it is the difference in effect
between anticipations and suspensions which is capable in
experienced hands of giving such charm and variety to this
free expansion and logical development of the strict and
unyielding Fourth Species of Students* Counterpoint,

124. Hints for the successful treatment

of Anticipations :

I. The anticipation occupies the arsis, i.e., an unaccented

beat, or occasionally a weak portion of an accented beat. In
this respect it is also the opposite of the suspension (which
occupies the thesis}.
' '
II. Anticipations are most intelligible in the Soprano, but
are possible in any part," (Percy Goetschius}. See Fig. 87 (a).
Fig. 87.
HANDEL (Messiah).

III. The anticipation should never exceed in duration

half the value of the chord in which it occurs. (Fig. 87, a).
IV. It loses its true effect, and endangers the rhythm of the
passage when it ceases to be easily recognizable as a foreign

element in the prevailing harmony.

V. Anticipations are generally re-Struck ; seldom (if
ever) are they tied to the notes they anticipate. (Fig. 87, a).
VI. It is often convenient to regard as anticipations the
fundamental discords of the 9th, nth, and I3th, when
these discords occur on the arsis as short notes, and are
resolved upon an accented chord with a different root, (as in
Fig. 88, a, b, c] :

Fig. 88.
0)

J3
I V
 COMPOSERS' COUNTERPOINT. 77

VII. In Fig. 89 will be seen an example of the use of

anticipations in Composers' untied Fourth Species I
Fig. 89.
" Credo "
in Tenor.
C.F., ()

I 7 V VI 7 V
At Fig. 89 (#) (), occur anticipations of accented passing
notes or appoggiaturas ; at (b) (), anticipations of accented
harmony notes.
For some beautiful examples of this kind of untied Fourth
Species see No. 35 of J. S. Bach's S. Matthew Passion (the
Choral "O man thy heavy sin lament"), or No. 70 of the
same /work (the Solo and Chorus, "See the Saviour'
outstretched arm").

125. Sometimes a note may be anticipated in one

part and sounded on the accent in a different
part. See Fig. 89 (b\ where the E P in the
top^part
anticipates the root of the following chord which is
eventually heard in the bass. This transferred
resolution belongs rather to Second Species treat-
ment than to Fourth.
126. Similarly, anticipations which resolve
irregularly upon some other note than the one they
anticipate belong properly to the Second Species
rather than to the Fourth. See page 54, 92.

127.The following General Hints for the

US8 Of Composers' Fourth Species may be found
useful :

I. The C.F. may itself temporarily engage in the Fourth

Species as in Fig. 90 (a), whilst the part which commenced

the syncopation may temporarily be fused into some other
species, as in Fie;. 90 (b} :
 COMPOSERS' COUNTERPOINT.

Fig. 90.
J. S. BACH (Organ Fugue in C major).
Cpt. 4th Species.X
U--V
|x

V 13

II. The thesis note instead of being an unessential suspen-

sion may be an essential diSCOPd as in Fig. 90, (a), (c).
III. Harsh pePGUSSlOns Of diSCOPdS may be tolerated
if one of the parts be made to assume an
arpeggio figure of
First Species harmony, and the other part moves by the step
of a second, as in Fig. 91, (a), (b), (c) :

Fig. 91.
J. S. BACH (Organ Fugue in A min9\

IV. Untied Fourth Species should be made to

assume a decidedly rhythmical and symmetrical shape as in
Fig. 92, and Fig. 18, p. 25 (second half). See also Bach's
Dorian Toccata -to* Organ, bars 7, 8, 9, &c.
Fig. 92.
C.F. .Third Sp. J. S. BACH (Organ Fugue in D).

Cpt., Fourth Sp.

V. There may be one or more intervening notes

between the syncopations, as in Fig. 93 :

Fig. 93.
S. WESLEY (12^/4 Organ Voluntary).

V cr:
m
VI. As stated in 8, VI (page 6) the Fourth Species need
not be maintained throughout any passage by the same part
 COMPOSERS' COUNTERPOINT. 79

which begins with it. Its rhythm may permeate the entire
score, as in Handel's Chorus, "Theme sublime," (fephthah,
No. 6l) and Bach's Fugue in minor (No. 14 of the
Fj
"48").
VII. A beautifulsequential use of the Fourth Species
may be seen in Sir John Goss's well known anthem,
taste and see (bars 58-62, between the alto and bass parts).
See also the first chorus in the same composer's anthem,
The Wilderness.
VIII. Repeated notes may be used in order to maintain
an unbroken passage of syncopation. See Fig. 94 (#), (b) :

Fig. 94.
S. WESLEY (Organ Fugue in D -minor).
C. F. in middle part. () A 0?)_

IX. For convenience in phrasing, or for some kindred

purpose, a P6St may be used upon the thesis in a Fourth
Species figure without causing any perceptible break in the
continuity of the syncopation, as in Fig. 95 (a) :

Fig. 95.
HAYDN (Quartett, Op. 76, No. 3).
C. F. in Tenor, "Austrian Hymn." (a)

X. Sometimes the Fourth Species may appear only in

detached phrases separated by rests of considerable
duration, as in Fig. 96, (a} t (b) :

Fig. 96.
" Credo." CH. GOUNOD (Messe
C.F., Chorale).
8o COMPOSERS' COUNTERPOINT.

XI. Fourth Species Syncopation may vary in time-

duration, according to the rhythmical needs of the
movement in which it is used.

Fig. 97 is an example of whole-note syncopation :

Fig. 97.
C.F., "Credo." "~^
j i

j j i

J.^._JVpJ J

For an example in ? time see the Finale of Beethoven's

Eroica Symphony > 1st Violin part (beginning 33 bars before
the Poco Andante}.

Fig. 98 is an example of half-note syncopation :

Fig. 98.
" Credo." CH. GOUNOD (Messe
C.F., Chorale.)

Fig. 99 is an example of quarter-note syneo-

pation :

Fig. 99.
C.F., "Credo.' I

-- n N^
'
^ -

a g*

A fine example of quarter-note syncopation is to be seen in

the concluding movement of Schumann's Quintett in E^L^
Op. 44, at the passage beginning bar 226.
Untied Fourth Species figures may be used upon still
smaller divisions of a bar, as in Fig. ioo :
 COMPOSERS COUNTERPOINT. 81

Fig. 100.
WAGNER (Overture to Tannhaiiser).
3
3 :t 3

j!j^q^^3jgjg:|ffiji^g

128. The Fourth Species is well adapted for

accompaniments to songs and concerted vocal
music set to words which need an agitated or an
appealing phase of expression. It can be. used in

syncopated form (with or without intervening

notes), and also without syncopation.

The following are typical examples of its use :

Syncopated^ without intervening notes, see the 10 bars

preceding the Da Capo in Bach's Sleep, my beloved (Christmas
Oratorio, No. 19); Beethoven's Mass in
"
D
("Passus et
sepultus est in the Credo] and in several pages in Part III of
Schumann's Faust.
Syncopated, with intervening notes* see Bach's S. Matthew
Passion, Nos. 57 and 69 ; Mendelsohn's My
God, within
me is my soul cast down (42nd Psalm, No 5).
See -without Syncopation, Bach's Up, my soul, and
Although mine eyes (with intervening notes) in the S.
Matthew Passion, Nos. 75 and 18. A good modern example
of untied Fourth Species (mixed and varied with Second
Species) can be seen in the accompaniment of Arthur
Somervell's Shepherd's Cradle Song. Two highly contrasted
examples of the unsyncopated form for the accompaniment to
a chorus may be seen by comparing Bach's S. Matthew
Passion, No. 35, with Weber's Gipsy Chorus in Preciosa.
82 COMPOSERS' COUNTERPOINT.

CHAPTER VIII.

THE FIFTH SPECIES (FLORID COUNTERPOINT)

MODIFICATIONS AND EXPANSIONS OF STU-
DENTS' RULES ELLIPTICAL RESOLUTION OF
SUSPENSIONS SEQUENTIAL IMITATION -
GROUPS OF SHORT NOTES USE OF THE
FIFTH SPECIES IN COMPOSITION How TO
WRITE A FUGAL EXPOSITION THE COUNTER-
SUBJECT DOUBLE COUNTERPOINT IN THE
SVE. THE CODETTA FREE PARTS
CANONIC WRITING WITH AND WITHOUT FREE
PARTS,AND OVER A CANTO FERMO.

129. Students' Florid Counterpoint of the

Fifth Species may be said to possess the following
characteristic features :

(i). The
four previous species are to some extent blended
together by the employment of notes of various time-values :

semibreves, minims, crotchets, dotted and tied notes, and

a sparing use of quavers each quaver being invariably
approached and quitted conjunctly.
(ii). The best blending of species is that which takes place
within the &ar, as in Fig. 101, (a), (b), (<:); and consequently,
(iii). It is better not to make a too continuous use of any
one particular species, but to endeavour to secure as much
rhythmical variety in the melody of successive bars as may be
possible with the homogeneous flow of the entire part.
(iv). Suspended discords are always resolved upon the
medium accent in a bar of quadruple time, and
(v). Two crotchets should not be tied together.

130. Composers' Florid Counterpoint of the

Fifth Species should exhibit (in a more marked
degree than that described in 129) the greatest
 COMPOSERS' COUNTERPOINT. 83

amount of rhythmical variety consistent with the

true dignity and melodic continuity of the hori-
zontal movement. We therefore look for an easy,
elegant flow of melody in each part of the score,
which an occasional repetition, of a note upon a
lessaccented part of the bar does riot materially
interrupt. See Fig. 109 (a). The chord changes
should not be too frequent, and should occur with
something like periodic regularity. The subdivisions
of the pulse-beat (as quavers, semiquavers, or notes
of less time value) should be neither spasmodic in
their rhythm, nor occur one after the other in
continuous hurried groups. These shorter notes
should be written upon the less accented portions
of the bar, and those of them which are harmony-
notes may be occasionally approached by leap and
(more rarely) quitted by leap. Any one species-
may be continued for a longer period than would
be advisable in Students' Florid Counterpoint.
Tied crotchets may be sometimes used, as in
Fig. 10 1 (d\ and there may be occasionally synco-
pation at the half-bar. See Fig. 103, (a\ (b). Fig. i o i
is an example of a plainly written passage of Fifth

Species Composers' Counterpoint :

Fig. 101.
C.F. "Credo" in Bass. GOUNOD (Messe Chorale)

ri
to (d) l^
A J.
. I
I
,

-*-
jtJL '

.J. "? -^r

G. IV II G.m.I3VII3 I IV

Examples of the best use of the Fifth Species (especially

from the rhythmical point of view), may be seen in Handel's
Messiah, No. 17 ("Goodwill towards men"), No. 28 ("He
trusted in God"), No. 57 ("Amen"); the same
composer's
Israelin Egypt, Nos. II, 21, 26 and 31 ; Bach's Fugues, 22,
84 COMPOSERS' COUNTERPOINT.

31, and 33 of the "48"; Mendelssohn's S. Paul, No. 22

{"Sing His glory for evermore"); Sir Hubert Parry's De
Profundis (the opening chorus, and"et ipse redemit Israel") ;

Sir Arthur Sullivan's Golden Legend (Final Chorus, "The

deed divine"); Sir A. C. Mackenzie's Rose of Sharon (Finale
of Part II, "God save the King"); Professor Stanford's
Madrigal, Out in the windy West (see the intermediate move-
ment, "Green grows the meadow grass"), and the final
movement of Sir John Stainer's Room for the Queen. The
foregoing examples (several of them mere excerpts of a few
bars only), are merely suggested to the reader as typical
.specimens of Composers' Fifth Species, in order to enable
him to realize the style which is best for him to imitate. But
here (as indeed with the former chapters of this little book),
the young composer is earnestly advised to collect for himself
a large number of examples from the works of every acknow-
ledged composer of excellence both ancient and modern.
Such a self-made collection of specimens will be the best
possible help and guide he can possibly have for successfully
shaping the direction of his own contrapuntal efforts.

131. Other modifications of the rules of

Students' Fifth Species may be here noted :

I. A
long note on the medium accent, preceded by shorter
notes, need not always be tied into the next bar, as in
Students' Counterpoint (page 41, Rule VI). See Fig. 101,
.(a), (*), (c).
II. Discords of Suspension are sometimes allowed to
receive what can be best described as Elliptical ReSOlll-
tion, as in Fig. 102, (a), where the suspended note, A, can
only be regularly resolved upon an imaginary G, which may
be said to be understood as the implied supertonic root.

Fig. 102.

J. S. BACH (Organ Fuue in F).

C.F.
I
,
JSL

9 V*
Si
IV3-
F. I I C.
IlJk

F.
 COMPOSERS' COUNTERPOINT.

III. Sequential imitation can be successfully contrived

between one or more of the parts written in Fifth Species,
whilst the C. F. is itself unsequential in its melody :

Fig. 103.
" Credo" in Bass. GOUNOD (Messe
C.F., Chorale)

^ <> I . V
3E^

J. jSL
gi=^ 4 g^-

G. I Em.I C. V Ic V VI

Here, the First Species opening is contrasted by a beautiful

sequential use of the Fifth Species in bars 3 and 5. See also
Fig. 107.

IV. Isolated groups of four short notes (quavers,

semiquavers, &c. ), are best used in an imitative, or a sequen-
tial manner. The first note of the group need not be tied to

by his kind permission)

use of these groups

Fig. 104.

MOZART (Short Fugue in B\l\

(Written for his pupil, Thomas Attwood).

& m

i
86 COMPOSERS' COUNTERPOINT.

Fig. 105 exemplifies the sequential use of groups of short

notes :

Fig. 105.

MOZART (Mass in C minor).

132. The Fifth Species can be successfully em-

ployed in a variety of ways, but its greatest and
perhaps its most frequent use in musical composition
is in movements cast in Fugal and Canonic form.

133. An explanation of the contrapuntal con-

struction of the opening section of a Fugue that
technically known as the Exposition will suffice

here; no further application of the principles of

contrapuntal design being necessary for the com-
pletion of the after portion of the Fugue.

134. A Fugal Exposition consists of:

(i). A
C.F. or Subject announced in single notes by one
of the voices engaged in the composition :

Fig. 106.

(ii). A
Counter-Subject, i.e., a counterpoint which
generally accompanies the C.F. throughout the Fugue,
making with it
good and complete two-part harmony.
Fig. 107.

Counter-subject. J
j '^r *:

^
' '
I
_] I i. |
[

s
CF- -
^ [* II r p*
[
r ^H^ 1

C. V .13 IV VII 7 V IV/^ VI

 COMPOSERS' COUNTERPOINT. 87

The Counter-subject need not be in Fifth Species as in

Fig. 107.It can be in any Species. See Fig. 18 for an
example of a Counter-subject in First Species; see Figs.
41, 42 and 54 for examples of Second Species Counter-
subjects ;
see Figs. 40, 63-66, and 73 for examples of
Third Species; and Figs 90-94 for examples of Fotirth
Species Counter-subjects.
(iii). One or more additional Counterpoints
to make
(as each is successively added to the score) good harmony
with the Subject and Counter-subject. See Figs. 109, in.
These additional counterpoints are free, i.e., they occur
only once in the Exposition, and do not, like the Counter
-

subject, always accompany the C.F., whenever it

is heard

throughout the Fugue.

135. How to write a good Fugal Counter-

subject. As the Counter-subject is bound to
appear sooner or later in the Fugue on the side of
the C.F., opposite to that where it was first heard,
it must be written in Double or Invertible
Counterpoint, i.e., it must be capable of being
sung with equal grammatical propriety either above
or below the C.F.
The Counter-subject has been shown above in Fig. 107 ;

here, in Fig. 108 it is shown below the C.F.

Fig. 108.

C.F.
" ~ *
I. ^ ^
Countersubject~ I

|
\

,
I

C. V3 IV3 V3 V 7 WIV VI3

All that the student requires to know of Double COUH-

terpoint at this stage of his progress may be here briefly
stated :

(i). It will suffice thatthe C.F. and Counter- subject be (as

in Fig. 107), invertible in the Octave,
(ii). When these two melodies change places, the
INTERVALS
become by
12345678
INVERSION 87654321
Consequently, the student should be ever at a loss to know
if

what any becomes by inversion, let him subtract the

interval
number of that interval from nine, and the remainder will
give him the numerical name of the interval he requires.
88 COMPOSERS' COUNTERPOINT.

(iii). Whenever the interval of a 5th is written above the

C.F. second crotchet in the treble of Fig. 107, bar i),
(as in the
it becomes when inverted below the C. F. the bass note of a

| chord, or second Inversion (see the second crotchet of the

bass of Fig. 108, bar i).
(iv). To produce a satisfactory effect, the Bass note Of a

4 Chord must not be approached by leap from the Bass note

of any other chord in an inverted position. If the ? chord
occurs upon a strong or medium accent, its Bass note may
remain to be the Bass of the next chord ; otherwise it must
move conjunctly up or down one degree only.
(v). The distance between the C.F. and Counter-subject
should seldom, if ever, exceed the interval of an 8ve.
(vi). The Counter- subject should have a totally different
rhythmical outline to that of the C.F., so that it may be
easily recognizable during the course of the Fugue. This
can well be done by giving it moving notes against the
stationary ones of the C. F. , and vice versa.

136. The Counter-subject being duly written,

only one more step remains to complete the Ex-
position, if the Fugue is written for three voices
only. This is the addition of a single free part
(i.e., a part which need not be susceptible of inver-

sion) to the two already in existence :

Fig. 109.

r l
tF*-*-
1
I
*
C. V Vb .1 II Ib^Vd I3
V*- IVc IV

So nothing more need be explained concerning the

far,
contrapuntal construction of a Three-part Fugal Exposition.
There remains, however, its Formal or modulating aspect.

137. The formal plan of a Fugal Exposi-

tion may be thus briefly stated :

The
Subject is first given out in the Key of the Tonic; but
the next time it is heard, the second or responsive voice sings
 COMPOSERS' COUNTERPOINT. 89

it Dominant Key, and on account of this change of

in the
key, the second entry of the C.F. is always called the
Answer. Consequently, the Counter -subject, when it first
makes its appearance as the inseparable counterpoint to the
C.F., is (with the Answer) heard in the Dominant Key. But
the third entry of the C.F. is in the Tonic Key as at first,
and is accompanied by the Counter-subjectalso in the Tonic
Key. The transition or modulation from Tonic to Dominant,
and back to Tonic again, is, when necessary, effected by a
short connecting passage called a Codetta. As in Figs.
107 and 108, the Counter-subject was added to the C.F. as
an Answer, we will begin our Fugue in the key of F, so
that the Answer will appeqpr in the Dominant Key of C.

Fig. 110.
THREE-PART FUGAL EXPOSITION.

Trij"
"*"
1
~~ ~
90 COMPOSERS COUNTERPOINT.

begun in Fig. 1 10, this fourth or

remaining voice will be the
Bass. See Fig. in. The Treble
will continue (as did the
Tenor and Alto parts before it), with the Counter-subject.
Consequently, two free parts (Tenor and Alto), have to be
added before our four-part Exposition is complete. Each of
these new parts will be different from the free part previously
heard (Figs. 109, no, lowest part), and the conclusion of the
Exposition beginning where no left off will read thus :

Fig. 111.
Counter-subject in Dom. key.

1 i
- ^ipn uf
Newfree parts Jor Alto and Tenor.

Codetta. A nswer in Dom. key.

138. The Fifth Species is also largely made use

of in Canonic writing. A Canon
a com- is

position so written that the various parts exactly

imitate one another throughout its entire length.

In all canonic writing, a short phrase is led off by one of

the voices engaged, as in Fig. 112, (a). This is imitated or
answered by the next voice, as at (&), and this answer is then
made the C.F. to a Counterpoint sung against it by the first
voice, as at (c) This Counterpoint is, of course, imitated by
the second voice, as at (d), and so becomes the C.F. for a
new Counterpoint to be written against it in the first voice,
as at (e), and so on. This process is carried out in all canonic
composition.
Fig. 112.
fl () to to
 COMPOSERS COUNTERPOINT. 91

imitated by the second voice an octave below the

pitch of the first voice.
This is not the place for a description of the many different
kinds of Canon used in the various styles of Composition.
What concerns us here, is the Contrapuntal aspect of
Canonic writing. The chief points to be noted are ( I ) the :

almost exclusive use of the Fifth Species, (2) every bar of

Counterpoint written in the course of a Canon becomes
in its
turn a Canto Fermo, (3) necessary contrast of rhythm is
obtained by one of the imitating parts being written in notes
of longer duration than the other. See Fig. 112, bars 2, 3,
and 4.

139. Sometimes in a composition two parts may

be written in Canon, whilst the remainder of the
parts engaged in the score are quite free
in their

progression.
A familiar example of this is to be met with in the tune
1

called Tallis Canon, usually sung to the Evening Hymn,

"
Glory to Thee, my God, this night." For other examples
" For
see the Recordare in Mozart's Requiem, the Chorus,
the Lord is a mighty God," in Mendelssohn's gjjth Psalm,
the Ciedo in Haydn's Third Mass, and No. 20 in Schumann's
Album blatter for Pianoforte, Op. 124.

140. Sometimes two parts written in Canon may

be added to a Canto Fermo as in Fig. 113 :

Fig. 113.
Canon 2 in i Fifth below, over a C.F. in the Bass.

*J
rf*|i
1*1

C.F., "Credo."

Many beautiful examples of this kind of writing are to be

found in the Choral Preludes of J. S. Bach for the Organ.
Those on " Gottes Sohn ist kommen," " Liebster Jesu," and
*'
Vom Himmel hoch," may be especially mentioned for the
student's reference. See Prof. E. Prout s Double Counter-
point and Canon, pp. 199-205.
92 COMPOSERS' COUNTERPOINT.

CHAPTER IX.

COMPOSERS' LICENCES WITH RESPECT TO FORBIDDEN

PARALLEL PROGRESSIONS REASONS FOR THE
PROHIBITION INTENTIONAL AND UNINTEN-
TIONAL DUPLICATION OF A PART CONSECU-
TIVE 4THS, 2ND, QTHS AND 7THS WHEN
CONSECUTIVE 5THS ARE MOST DISAGREEABLE
HOW THEIR BAD EFFECT CAN BE MITIGATED
THE UPPER NOTE OF THE SECOND FlFTH
VIEWED IN ITS RELATION TO FUNDAMENTAL
DOMINANT HARMONY CONCEALMENT OF
FIFTHS BY CROSSING OF PARTS, SUSPENSION,
AND ARPEGGIO TREATMENT.

141. A close study of many of the standard

works of the best composers will reveal the fact
that considerable licence is occasionally taken in
the direction of open disregard of rules which have
been laid down for the guidance of students, who
standing upon the threshold of their artistic career
need definite instruction in the proper management
of certain parallel part progressions.
142. From time immemorial the following Con-
secutives have been most wisely denied to
Students :

(1) Between any two parts of the score Consecutive Uni-

sons, Perfect 8ves and 5ths, and all kinds of 2nds, 7ths, and
9ths.
(2) Between the Bass and any upper part Consecutive
Perfect 4ths. These are allowed between two upper parts
written over a bass which moves together with them. For
example, see the two upper parts in Fig. 84, in which the
third part in quavers is the real moving bass.
 COMPOSERS' COUNTERPOINT. 93

As an example of the unsatisfactory use of 4th s between

upper parts where the bass does not always move with them,
see the alto and tenor parts of Fig. 1 14 :

Fig. 114.
DR. C. TYE (Actes of the Apostles, 1553).
I

143. The reasons assigned for these salutary

rules vary with the nature of the Consecutives
prohibited.
It is generally understood that Consecutive Unisons and
Octaves weaken the ensemble of the passage in which they
occur : Consecutive 5ths emphasize a want of connection
between two first species harmonies Consecutive 2nds or
:

7ths in addition to their individual and inherent harshness

become yet further discordant when their resolution is either
disturbed or rendered vague and uncertain.
Obviously no two parts can proceed together in unison and
preserve their individuality they become one single part,
;

and the score becomes one part the poorer. Very much
the same thing may be said of Consecutive 8ves, or the
progression from 1st to 8ve or 8ve to ist. But such parallel
progressions as these are objectionable only when they
suddenly and unexpectedly disturb the two-dimensional
"balance" of a passage in which the individuality of each
part of the score is elsewhere clearly defined. Not only is
the ensemble effect weakened by the sudden loss of a part,
but the Consecutives bring into unseasonable and unmeaning
prominence a certain succession of notes which may not be
of sufficient importance to merit such treatment.

144. "When a melody or phrase is intention-

ally doubled unison or in 8ves (see 61, p. 40)
in
the duplication must be continued long enough for
the intention to be perceived" (Sir Hubert Parry).
For examples, see the opening phrase of Mendelssohn's
Farewell to the Forest (Op. 59, No. 21); Haydn's Chorus,
94 COMPOSERS' COUNTERPOINT.

Come gentle Spring (" Seasons," No. 3, bars 7, 8, 9, from

the end] ; Bach's S. Matthew Passion (No. 67, where at the
very end of the chorus occurs the only instance of unisonous
singing in the entire work). Sir John Stainer says that "any
phrase, however short that phrase may be, can be strengthened
by unison or octaves in writing for voices or instruments."*
For examples of the shortest possible intentional duplications
of this kind, see bar 3 of Sir Arthur Sullivan's Diamond
Tubilee Hymn, "OKing of Kings," and Fig. 115.
Fig. 115.
DR. W. CROFT (died 1727), Burial Service.

eth,

There can be little doubt that the 8ves between Treble and
Tenor in bar 3 of Fig. 115, are due to an intentional duplica-
tion of the 4-3 suspension in order to gain additional emphasis
for the accented syllable of the word "whosoever" without
at the same time losing (in a four-part unaccompanied chorus)
the rich harmonic eftect of the 5th of the root the first
crotchet D.

145- Consecutive Unisons and 8ves are

bad only when two parts, which are in the main
separate and distinct, suddenly for no apparent
reas.oa lose their individuality for a moment, by
taking a single step or so together by the same
parallel progression. See 67, p. 43.
An instance of a faulty unintentional use of consecutive
8ves has been already pointed out (see bar 2 of Fig. 36, p. 41).
Other examples are common enough ; we may, in passing,
refer to the opening symphonic movement of Mendelssohn's
J.obgesang (bar 68, between 2nd Violin and 1st Flute, Oboe,
and Clarinet and in bars 150-1, between the 1st and 2nd
;

Violin parts). It is important to bear this rule in mind

during the arpeggio treatment of the First Species (see

* A Theory of Harmony founded on the Tempered Scale.

Ed. 1871, D. 86.
 COMPOSERS' COUNTERPOINT. 95

69, VII, p. 44). For example, Fig. 116 (a) although per-
" "
fectlygood considered as note-against-note First Species,
is open to adverse criticism when varied as at (b) by the

arpeggio treatment of the two upper parts :

Fig. 116.

146. It has been already shewn in 48 XVI (see

p. 32, Fig. 25} that an upper part may proceed in

perfect 4thS With the bass, when the second

4th is plainly a portion of a fundamental discord.

See also Fig. 18 (p. 25), where the two 4ths in bar I
admit of this explanation, the second 4th being a portion of
the chord 7 Vc.

147. Apassage of consecutive 7ths has been

somewhat similarly justified in 101 (p. 62) by the
fact that all the four notes concerned in the parallel

progression were derived from the same dominant

root. See Fig. 66 (a), (b}.
See also the consecutive 9ths between the 1st Violin
and Bassi parts in bar 65 of No. I of Mendelssohn's Lobgesang,
which admit of a similar explanation.
Consecutive 2nds (the inversions of 7 ths)
148.
may some extent be excused in the same way.
to
Consecutive 2nds may also be tolerated when the
resolution of a fundamental discord is suspended in
the ordinary course of fourth species treatment, and
the harmony note with which the suspension forms
a 2nd, proceeds at once to a note of the next chord,
as in Fig. 1 1 7 (a), (b) :

Fig. 117.

'

'

(a)

If the two middle parts of Fig. 1 17 be inverted, it is evident

that consecutive yths may be tolerated in the same way.
9t> COMPOSERS' COUNTERPOINT.

149. Consecutive 2nds, yths, and 9ths are also

frequently tolerable when they are the result of the
use of chromatic auxiliary notes, as in Fig. 118 :

Fig 118.
9
i-^. -?

*-<*$,-
7^7
150. The academical
prohibition of consecutive
5ths has always stood upon a somewhat different
footing to that of all other consecutives.
Although no physical reason has ever been discovered to
justify the proposition that parallel perfect 5ths are naturally
repugnant to the musical ear,* the fact remains that shorn
of all mitigatory harmonic or contrapuntal surroundings two
single parts proceeding together with the distance of a per-
fect 5th between them produce an effect which is intolerably
unpleasant. From the purely perpendicular or harmonic
aspect, consecutive 5ths are generally more or less offensive
to the ear, in proportion to the want of relationship or other-
wise existing between the chords which produce them.
It may be open to consideration whether the bad aural im-

pression conveyed by consecutive 5ths be due more to educa-

tion and habit than to any natural law ; but it is certain that
their prohibition has been a prominent feature of every
authoritative treatise on Musical Composition which has yet
been written. It is also a fact that not unfrequently the
entire merit of a new piece of music has been decided according
to the more or less skilful observance of this prohibition so ;

much so, that academical critics and examiners have been

credited with the belief that "the whole doctrine of musical
composition consists simply and solely in the injunction to
avoid such parallelisms" (Gottfried Weber, 1820). "Many
punctilious theorists seem to make it their business to scent
and hunt and who on that account
for faulty 5ths in scores,
are distinguished by the appellation of Quint- Hunters. These

by Dr. W. Pole and Mr. Sedley Taylor,

* See remarks made

Proceedings of Musical Association, March 8th. 1882.

 COMPOSERS COUNTERPOINT. 97

people may often have heard such passages without being at

all scandalized, until to their great terror they chanced to
set on the printed page a sin so abominable in their eyes,
that then, and then only, they began to feel astonished how
'
their pure ears could have submitted quietly to hear such
' "
sad work (F. Schneider, 1827).
The unconditional prohibition of $ths on the one hand
would appear to be as unreasonable as the unconditional
contempt for the rule which forbids their indiscriminate use
on the other hand. The life-long experience of most musi-
cians would go far to prove that while many consecutive 5ths
sound disagreeable and bad, many others cannot be said to
have so ugly an effect. The prohibition of 5ths may there-
fore be sometimes regarded from a too limited point of view.
"
Lawgivers who do not survey the entire extent of the sub-
ject they legislate about, are sometimes disposed to fancy they
have discovered a principle of universal application, as soon
as they ascertain that it fits the limited scrap of the field which
"
may happen to be in their direct line of vision ( Gottfried
Weber].

151. Consecutive 5ths are only really disagree-

able when and distinctly recognizes
the ear clearly
and perceives them. The more concealed are the
5ths, the less are they perceptible, and the less is the
aural annoyance which is experienced therefrom.

152. The
final decision as to whether any con-
secutive 5ths may be considered as being sufficiently
palliated and free from objection, must be that of
a refined, cultivated, and experienced musical
ear.
In doubtful cases the young composer has always been
advised by the most reliable teachers to avoid a parallel pro-
gression by $ths in preference to admitting it, for these two
reasons :
(i) What may not produce a repulsive effect to an
inexperienced ear, when the passage is tried over on a piano-
forte, may probably have the opposite effect upon a more
sensitive ear especially when heard under different condi-
tions of performance and tone production ; and (2) a young
composer unnecessarily exposes himself to a great deal of
hostile criticism, which it may be just as well for him to
steer clear of, in at least the earlier stages of his artistic
he should happen to be a candidate for a
career, especially if
Musical Degree or some other high academical diploma.
98 COMPOSERS' COUNTERPOINT.

153. It has been well said by one of the best

teachers of counterpoint in modern times that
* "in
99 out of every roo cases in which consecu-
tive 5ths lie in wait for the unwary or lawless
composer, a more natural and graceful progression
is at hand ; and if a desire for originality (or
eccentricity) tempts to the one, the craving of an
artist for beauty and fitness of expression will

usually lead to the other."

154. As already pointed out in 51, the bad

effect of consecutive 5ths can to a certain extent
be mitigated by concealment. Concealment may
take various forms, such as contrary motion, sus-
pensions, confinement to the inner parts of a score
(see Students' Counterpoint, p. 72, 94, I), but more
especially by harmonic or contrapuntal environment
of an interesting character, and by arpeggio treat-
ment.

Examples of Fifths by Contrary mot On are common

enough. See Beethoven's Pastoral Symphony, bars II, 12,
and in many other places ; also Mendelssohn's Sleepers wake!
(S. Paul, No. 1 6, bar 19, between ist Trumpet and Bass
Trombone), and the same composer's Lobgesang, No. I (see
the passage for Violas and Celli in E 32 bars before the
,

recapitulation of the 1st Subject in the Allegro of the

Symphony).
These 5ths by contrary motion generally occur between
triadswhose roots lie a 4th or a 5th apart. Sometimes the
contrary motion is dispensed with as in Brahms'
Deutsches Requiem, No. 6 (i2th bar from the end of the
movement) Kullak's Fleurs Animees, No. I (quoted by
;

Front, Harmony, p. 45) and Sterndale Bennett's Overture,

;

The Naides, bars 12, 13. The following is a conspicuous

as well as a beautiful instance of this deliberate use of con-
secutive 5ths :

*
See Consecutive Fifths, by Dr. F. E. Gladstone (Proceed-
ings of Musical Association March 8th, 1882).
 COMPOSERS' COUNTERPOINT. 99
Fig. 119.
SCHUMANN (Pianoforte Concerto in A -minor).

irrrr
Direct Consecutive 5ths may be sometimes effectively con-
cealed between the inner parts of even a four-part score, as in
Brahms' Deutsches Requiem, No. i, bar 22, and Beethoven's
Sonata, Op. 14, No. i, bar 53; see also Mendelssohn's Lob-
gesang, No. i, bar 13 (2nd Flute and Oboe and 4th Horn).

155. As in the case of consecutive 4ths with the

bass (see 146), so too with consecutives between
any two parts, the unpleasing parallel progression
is rendered more
agreeable to the ear when the
second fifth can be recognized by the ear as
more or less distinctly belonging either to the
Dominant Triad or to the series of discords built
upon a Dominant Root (yth, major or minor 9th,.
nth, and major or minor i3th). Dr. Hiles (Har-
mony of Sounds] remarks, that a consecution of
"
perfect 5ths may be tolerated when the harmony
is sufficiently discordant to partially draw the atten-
tion of the ear from the progression."

Probably one of the most offensive pairs of consecutive

5ths is that of the tonic followed by the 5th of the supertonic,
as in Fig. 120 (a\; yet even the harshness of this progression
is considerably mitigated when the second 5th (by the altera-
tion of a single note of the second chord), is made easily
recognizable as a portion of the second inversion of the
Dominant major Qth, as in Fig. 120 (b) :
Fig 120.
fo
ioo COMPOSERS' COUNTERPOINT.

In Fig. 121 the upper note of the second 5th is the Third
of the Dominant Chord.
Fig. 121.
PERCY GOETSCHIUS. J. S. BACH (Organ Prelude in G).
r ~i
a
o \

See also Mozart's Zauberflote Overture, bars 189 and 191,

between ist Violin and Bassi.
In Fig 122, the upper note of the second 5th is the Fifth
of theDominant Chord.
Fig. 122.
BEETHOVEN
(Qttartett in C% minor, Op. 131).
 COMPOSERS' COUNTERPOINT. 101

In Fig. 124 the upper note of the second yh is the

Eleventh of the Dominant Chord.

Fig. 124.
* WESLEY
MOZART DR. S. S.
(Pianoforte Sonata in B\l). (Choral Song _for Organ).

See also the opening Symphony to Part II of Spohr's

Last Judgment (bars 54, 55).

In Fig. 125 the upper note of the second 5th is the

Thirteenth of the Dominant Chord.

Fig. 125.
MOZART (Symphony No. 4).

It is noticeable in Fig. 125 that all the notes belonging to

the first two chords in bar 2 can be sounded together as the
fourth inversion of the great Dominant Chord of the 1 3th.
But although the effect may be tolerable when the tonic triad
is followed by that of the submediant with consecutive 5ths
between the outside parts, the same cannot be said when the
of these triads is reversed. It may be added that
progression
it is impossible to find
anywhere a satisfactory specimen of
consecutive 5ths above the bass notes of triads rising a 3rd.

In Fig. 126 the disagreeable effect is scarcely mitigated by

the inversion of the Tonic triad, although the contrary
motion of the bass is somewhat helpful in the aural conceal-
ment of the 5ths :

*
By kind permission of Messrs. No veil o & Co.
 COMPOSERS' COUNTERPOINT.

Fig. 126.
RHEINBERGER {Monologue in Gfor Organ).

vi nv
D: I \b

156. It has been already shown in 27 and 28

(pp. 17 and 1 8) that the art of concealing consecu-
tive 5ths by the contrapuntal crossing* of parts,
and by the Fourth Species device of suspension,
was known and practised by mediaeval composers.
It is needless to add to the examples given in those pages

by quotations from the works of their successors in more

modern times, but the reader might examine with interest
the fifths concealed by the crossing of the Alto and Tenor
Trombone parts in bars 122, 123 of the Allegretto in G minor
in the Symphony of Mendelssohn's Lobgesang, comparing the
moveinent of these parts in relation with those written above
them for 1st Flute, Oboe, and Clarinet. Bars 22-25 f tne
first movement of Dr. Dykes' well known and beautiful

anthem, These are they, show a chain of fifths concealed by

suspension after the manner of the i6th Century Madrigalist,
,

Luca Marenzio, shown in Fig. 10, p. 18. As an example of

the successful concealment of 5ths by the combined devices
of suspension and arpeggio, the passage quoted in Fig. 127
can scarcely be excelled :

Fig. 127.
J. S. BACH {Fugue in Cfor Organ).

C.F.

* of Messrs. Novello & Co.

By kind permission
 COMPOSERS' COUNTERPOINT. 103

For somewhat similar examples to the above, see bars 41,

42, of the same fugue, and bars 38, 39, of the same composer's
great Organ Fugue in G minor (Peters' Edition, Vol. II,
No. 4).

157. Fig. 128, however, presents an example of

how some not absolutely unbearable 5ths have been
induced (rather than concealed) by suspension :

Fig. 128.
*
E. W. WOLF (Quoted by Gottfried Weber).

-r--L-^l J JL J j j
_
i
:

_
r r

158. Sometimes consecutive 5ths which have a

bad effect when heard in a progression of note-
against-note first species chords (as in Fig. 129 (a),
become considerably improved by the application
of judicious arpeggio treatment, as in Fig. 127
and Fig. 129 () :

On
the other hand, an effective note-against-note series
of species chords can become offensive by injudicious
first

arpeggio treatment. Compare Fig. 130, (a) and (b}.

Fig. 130.

* Ernst Wilhelm Wolf (1735-1792), Court Capellmeister

of Weimar ; author of Musikalischer Unterricht, &c.
104 COMPOSERS' COUNTERPOINT.

First Species Chords must be of long duration in

order to effectively bear arpeggio treatment of this kind.
See Fig. 131 :

Fig. 131.
PROF. SIR W. S. BENNETT (Naides Overture).

| >ff"*flTi~g=r-.
 APPENDIX.

CANTI FERMI FOR EXERCISES IN COMPOSERS'

COUNTERPOINT, WITH DIRECTIONS FOR USING
THE SAME.

IN order that the size of the present volume might be

reduced as much as possible, the Author has, by the kind
permission of his friend Professor E. Prout, availed himself
of the large and admirable collection of Canti Fermi,
contained in the Professor's well-known work, Additional
Exercises to Counterpoint: Strict and Free (Augener's
Edition, No. 9183, .a). These Canti Fermi will be referred
to in the following Exercises, by quoting the page of
Professor Prout's book in Arabic Numerals, and the number
of the C.F. in Roman Numerals. Thus: 53, Ixxix, will
mean Prout page 53, C.F. No. Ixxix.
:

All exercises set for four vocal (or instrumental) parts may
be worked in five (or a still greater number of parts) at the
discretion of the teacher, to suit the needs of the pupil.
It is hoped that the course of practical exercises here

prescribed may constitute a series of stepping stones between

the severe simplicity of the strict school of Contrapuntal
work and study on the one side, and the absolute liberty of
unrestricted Part- writing (unrestricted in the sense of there
being no Canto Fermo to work upon) on the other. At any
rate, the earnest worker will find here a comparatively easy
a
(because graded] introduction (a) to the scoring of church,
chamber, and orchestral music ; (b) to the artistically
designed independent accompaniment of solo and concerted
music by both keyboard and stringed instruments ; and (c) to
the first steps in the contrapuntal construction of movements
in both fugal and canonic forms. Moreover, these exercises
have been specially designed as an aid to the successful
working of examination papers set for the higher diplomas
of our recognized Musical Colleges, and for University
Degrees in Music.
 7
T06 COMPOSERS COUNTERPOINT.

OTHER ABBREVIATIONS.
S. A. T.B.= Soprano, Alto, Tenor, Bass. In two-part
exercises, c=Canto Fermo, I, 2, 3, 4, or 5, the number of
the Species set. If C comes first> the C. F. is to occupy the
top part if the number of the species comes first, the C.F.
;

will be in the bass. Thus c 1 means that the C. F. is in the

Treble, and the First Species in the Bass. 3 c= Third
Species Treble, C.F. Bass. Similarly, Ac2 means that the
C.F. is in the middle
part of a three-part exercise, the
Second Species is in the Bass, and A, an added part which is
to be written in the Treble. CA2A=C.F. Treble, added
parts in Treble and Bass, Second Species in Tenor. An
added part is intended to be one of less contrapuntal interest
than some of the others in the score. It is meant to be

mostly in First Species, but may temporarily change into any

other species whenever necessary or convenient.

EXERCISES.
Exercise 1 . Harmonize each of the following
modal melodies, first in three parts with the C.F.
in the top part; then in four parts (for S.A.T.B.)-
with the C.F. in the tenor part. The C.F. in any
case may be transposed to suit the convenience of
the voice to which it is assigned, according to the
directions given in Students' Counterpoint^ p. 8,.
2O :

(a) MODE I.
 COMPOSERS' COUNTERPOINT. 107

<c) MODE III.

See Prout, 14, xxviii.
O Haupt, voll Blut und Wunden.

(d) MODE IV.

m
ii

(e) MODE V.

(/) MODE VI.

34=5= *
=1^=1=
^
^g). ^ '
-
.J.

(,f) MODE VII.

See Prout, 18, xlv.
Kovnm Gott Schopfer, Heiliger Geist.

iK) MODE VIII.

See Prout, 17, xli.

Gelobet seist du, Jesu Christ.

Exercise 2. Harmonize each of the above

modal melodies in four parts with the C.F. in the
&ass.
io8 COMPOSERS' COUNTERPOINT

Exercise 3. Put the following Canti Fermi

into rhythmical shape, as exemplified in Fig. 22,
p. 27. Give the semibreve notes different time
values, and group them into bars, making slight
melodic additions to the text when necessary or
desirable. Group the bars so formed into phrases,
and mark off the endings of the phrases by such
suitable melodic cadences as may be required.
Prout, page i, ii to v; i, vii and viii ; 2, ix to xi;

2, xiii to xx ; 2, xxii ; 3, xxiii and xxiv ; 3, ii and

iv to viii ; 5, ii, iii and v ; 6, vii to xii ; 7, i to vi.

Exercise 4. See Fig. 30, p. 37. Two Parts.

Write a 1st Species against the following C.F.,
occasionally note against note (as in Fig. 29, a) and
occasionally with a long note against shorter ones of
the C.F. (as in Fig. 29, b). 20, i (c 1) ; 25, xxii (c 1);
26, xxvii (1 c) ; 31, ii
(1 c) ; 31, iii
(c 1) ; 37, xxiii
(1 c) ; 38, xxiv (c 1) 45> H (c 1) ; 46, Ivii (c 1)
; ;

53, Ixxvii (1 c) ; 53, Ixxviii (c 1) ; 59, xcvn (1 c).

Exercise 5. See Figs. 32 and 33, p. 39.
Write modern vocal 1st Species harmonies, note
against note. Three Parts : 10, v (c 11) n, xii ;

(1 c 1); 61, i(Hc); 61, ii(ll c). Four Parts: 13,

xxiv (c 111); 16, xxxviii (11 c 1); 18, xliv (c 111);
61, iv (111 c) ; 61, vi (111 c) ; 62, x (111 c).

Exercise 6. See Fig. 34, p 40. Write modern

vocal 1 st Species harmonies, using the unaccented
shorter notes of the C.F. as passing notes. Three
Parts: 10, ii (c 11); 12, xiv (1 c 1); 61, iii (11 c).
Four Paris : 61, v; 62, ix; 63, xvii ; and '64, xxi
(all 111 c).

Exercise 7. See Fig. 35, p. 40. Write modern

vocal 1st Species harmonies, allowing the bass
(or some other part) to imitate the C.F. Four
Parts: 12, xv (c 111); 12, xvii (11 c 1); 13, xx
(11 cl); 14, xxv (c 111).
 COMPOSERS' COUNTERPOINT. 109

Exercise 8. See Fig. 36, p. 41. Write a

1st Species pianoforte accompaniment, consisting
of detached chords to 22, x; 24, xix; 27, xxxiv
(2 chords in a bar) ; 33, ix ; 44, xlvii ; 59, xciii.
Exercise 9. See Fig. 36, p. 41. Set the
following C.F. for ist Violin, and add parts for
2nd Violin, Viola and Cello, consisting of detached
ist Species chords: 21, v; 24, xvii; 26, xxvi (3 chords
in a bar); 28, xxxvii; 35, xvii; 45, 1 (chords on
the weak accents in the bar) ; 49, Ixv (4 chords
in a bar).

Exercise 10. See 63 (i), p. 41. Write a

Pianoforteaccompaniment consisting of 1st
Species chords moving almost entirely note
against note with the C.F. 27, xxxiii; 35, xv;
40, xxxii; 44, xlix; 45, lix; 52, Ixxiv; 52, Ixxvi.

Exercise 11. See 63 (2), p. 41. Harmonize

the following C.F. in four parts with 1st Species
sustained chords. Write for String Quartett (2
violins, viola and (c for ist violin);
'cello) 22, xiii
23, xv (c for viola) ;
xxxi (c for 2nd violin);
27,
30, xlvii (c for ist violin); 38, xxvi (c for ist
violin) ; 50, Ixix (c for viola, 3 chords in a bar) ;
54, Ixxxiii (mostly 4 chords in a bar) ; 60 c (c for
2nd violin).
Exercise 12. See 64 (pp. 41-2). Write a
Pianoforte accompaniment, consisting of repeated
1st Species chords (arranged in various rhythmical
figures) to the following C.F. 22, xii (crotchet
:

chords; 28, xxxvi (crotchet chords); 28, xxxviii

(quaver chords) ; 40, xxxv (quaver chords) ; 43,
xliii(semiquaver chords); 51, Ixxiii (semiquaver
chords).
Exercise 13. See- 69 (pp. 44-5). Write a
Pianoforte accompaniment consisting of IstSpeeies
chords arranged in various arpeggio figures, to the
110 COMPOSERS COUNTERPOINT.

following C.F. ; 21, vi ; 23, xiv ; 24, xviii ; 26, xxix ;

27,xxx 29, xlii; 35, xvi; 36, xix (all with one
;

chord in a bar, as a rule) ; 38, xxvii ; 41, xxxvi ;

45, Hi; 52, Ixxv.

Exercise 14. Write a continuous 2nd Species

(as in Fig. 42, p. 49) against the following C.F.,
which consist of notes of unequal time-duration.
Two Parts: 40, xxxiii (2 c) ; 43, xlii (c 2) ; 27,
xxxii (c 2). Three Paris : 26, xxiv (2 c A) ; 32, vi
(c 2 A); 34, xii (c A 2). Four Parts : 23, xvi
(c A A 2) ; 1 1, ix (c 2 A A) ; 69, xiv 2 in Treble,
bars 1-4 ; begin :

2 in Alto, bars 5-10 2 in Tenor, bars 11-17

:
;
2 m
Treble, bar 18 to end.

Exercise 15. Write a 2nd Species with

occasional auxiliary notes of a chromatic character.
Two Parts: 50, Ixx (c 2); Three Parts : 43, xliv
(2 c A) ; 13, xxi (CA2); Four Parts: 14, xxix
(c A2 A, for bars 1-18 ;
c 2A A, 19 to end).
Exercise 16. See Fig. 49, p. 52. Write in
the Treble a 2nd Species Embellishment of a
C.F. in an inner part. Three Parts: 54, Ixxxii
(2 c A) 58, xc (2 c A ; after bar 17, c A A, without
;

further embellishment of the C.F.) ; Four Parts :

ii, vi (2 A c A).

Exercise 17. See Fig. 53, p. 53. Write

2nd Species, with occasional groups of two short
notes on the thesis or arsis. Two Parts : 60, xcviii
(c 2) ;30, xiv (2 c). Three Parts: 12, xvi (c 2 A).
Four Parts : 14, xxvii (2 A c A).
Exercise 18. Write 2nd Species with three
notes against one harmony. Where the C.F. has a
 COMPOSERS' COUNTERPOINT. in
three note group write ist Species. Two Parts:
46, Iv (c 2). Three Parts: 48, Ixii (c 2 A) 26, xxv ;

(2 c A) ; 17, xl (A 2 c). Four Parts: 34, xiii

(c A A 2) ; 56, Ixxxviii (2 A c A).
Exercise 19. See Fig. 51, p. 52. Write 2nd
Species (three notes against one harmony), using
occasional changing note groups. Three Parts : 24,
xx (c 2 A) ; 21, vii (c A 2) 25, xxiii (2 c A).
;
Four
Parts : 21, iv (2 A c A).
Exercise 20. See Fig. 55, p. 54. Write 2nd
Species, occasionally using irregularly resolved
notes of anticipation. Certain C.F. notes may be so
treated. Three Parts : 33, viii (c 2 A) ; 30, xliv
{2 c A) ; 22, xi (c A 2). Four Parts: 22, ix (c A A 2) ;
13, xxiii (c A 2 A).
Exercise 21. See Figs. 56 and 57, p. 55.
Permeate the entire score by the 2nd Species, by
transferring it from one part to another. Two
Parts: 56, Ixxxvii (c2); 54, Ixxxi (2 c, with
occasional triplet groups) ; 29, xli (c 2). Three
Parts (for viola, and cello) :
violin, 40, xxxiv
(c for violin); 42, xl (c for viola); 21, viii (c for
viola) ; 63, xv (c for cello. Four Parts (for
S.A.T.B. Chorus): 12, xviii (c for S.) ; 13, xxii
(c for T.) ; 1 6, xxxv (c for A.) ; 18, xlvii (c for S.) ;
62, vii and 64, xviii (c for B.) ; 34, x (c for S.).
Five Parts (for two violins, two violas, and cello) :
70, xviii (c for cello).

Exercise 22. See Fig. 60, p. 57. Combine

the following C.F. against its own notes sung in
another part by augmentation :

tr- t

Aftet this, revise any back work which may need

further attention.
ii2 COMPOSERS' COUNTERPOINT.

Exercise 23. See Fig. 61, p. 58. Write 2nd

Species accompaniments as directed, treating the
C.F. in each case as a solo voice or instrument.
Pianoforte Accompaniment 35, xiv and 37, xxii.
',

String Quartett Accompaniment, 47, Ixi (setting C.F.

for Solo Flute).

Exercise 24. Use the 2nd Species as an

independent accompaniment to the following C.F.
which first harmonize in four vocal parts (S.A.T.B.),
the accompaniment in each case to be for String
Quartett: 14, xxvi; 28, xxxix; 44, xlviii ; 53, Ixxix.

Exercise 25. Write a continuous 3rd Species

(as in Fig. 63, p. 60) against the following C.F.,
which consist of notes of unequal time-duration.
Two Parts: 68, x (3 c); Three Parts: 42, xxxix (c A 3
using ist Species notes in the bass when the C.F.
has a 3rd Species group of four notes) ; 43, xli (c 3 A,
six notes to a chord); 39, xxx (3 c A, six notes to
a chord). Four Parts : 1 7, xlii (c A A 3) ; 44, xlv
c 3 A A).
Exercise 26. See Fig. 62, p. 60. Write a
continuous Bass in short notes of equal length,
changing the Species by varying the number of chord
changes within the bar. Two Parts : 39, xxviii.
Three Parts (with CF. at the top} : 38, xxv and 39,
xxix; Three Parts (with C.F. in the middle}: 26, xxviii
and 40, xxxi. Four Parts (with C.F. at the top) :
19, xlix; 30, xlvi and 59, xcv.

Exercise 27. Write a continuous top part in

short notes of equal length, changing the Species by
varying the number of chord changes within the
bar. Four Parts (for String Quartett} : 66, iii
(3
in quavers) ; 67, vii (3 in semiquavers).

Exercise 28. Use the 3rd Species sequen-

tially or imitatively, or in both ways, Theee Parts :
 COMPOSERS' COUNTERPOINT. 113

r
9, xlviii (C.F. in middle part). Four Parts : 63, xii,
and 27 xxxv (six notes in a bar; C.F.
in tenor).

Exercise 29, See Fig. 72, p. 65. Permeate

the entire score by the 3rd Species by transferring
it from one part to another. Two Parts : 51, Ixxi
(c 3) ; 4 7, lix (3 c). Three Parts (for violin, viola
and cello]: 58, xcii (c, for violin), (for Voices,

S.T.B.y, 44, xlvi (c for S) ; Four Parts (for

Voices, S.A.T.B.): 15, xxxii (c for tenor); 16,
xxxvi (c for S) ; for String Quartett : 62, viii (c for
cello); 51, Ixxii (c for 2nd violin).

Exercise 30. See Fig. 73, p. 65. Use of 3rd

Species changing note groups in various parts of
the score. Four Parts (for String Quartett) :
10, iii (c for viola) 57, Ixxxix (c for 2nd violin)
; ;

67, viii (c for cello).

Exercise 31. See Figs. 74, 75 and 76, p. 66.

Use of all kinds of Chromatic Auxiliary notes in
3rd Species groups in various parts of the score.
Three Parts (for violin, viola and cello) : 36, xviii
(c for viola, 3rd Species groups to be in semi-
quavers). Four Parts (for String Quartett}: 55,
Ixxxiv (c for ist violin). Five Parts (for two
violins, viola and two celli) :
67, vi ;
and 70, xv
(both with c for ist cello).
Exercise 32. See Fig. 77, p. 67. Combine
the following C.F. against its own
notes sung in
another part (or parts) by double diminution :

13, xxii (first four bars) ; 12, xviii (first five bars) ;

1 8, xlvi (first part).

Exercise 33. Write 3rd Species accompani-

ments as directed, treating the C.F. in each
case as a Solo voice or instrument. Pianoforte
accompaniment, 48, Ixiv ; 32, iv. String Quartett
accompaniment, 32, v (setting C.F. for Solo Oboe).
04 COMPOSERS' COUNTERPOINT.

Exercise 34. See Fig. 80, p. 70. Harmonize

the following C.F. for four-part Chorus (S.A.T.B.),
and add an accompaniment for two violins (playing
in unison or in 8ves), viola and cello. The violin
parts to be a 3rd Species variation of the C.F. :

16, xxxvii ; 18, xlvi ; 20, iii ;

31, i
; 34 xi.

Exercise 35. See Fig. 81, p. 70. Harmonize

the following C.F. for four-part Chorus (S.A.T.B.),
and add an independent accompaniment for Strings
of a 3rd Species character. 16, xxxiv; 32, vii ;
49, Ixvii; 53, Ixxx ; 55, Ixxxv ; 59, xciv.

Exercise 36. See Fig. 82, p. 73. Add a

continuous ornamented 4th Species part for
ist violin, to a three-part harmonization of the

following C.F., the entire score to consist of Four

Parts (written for the ordinary string quartett) :

10, iv (c for 2nd violin) ; 63, xvi (c for cello).

Exercise 37. Write a continuous tied 4th

Species, containing free treatment of Suspensions
and Retardations (See 119, 120). Two Parts
29, xliii, 4: c, beginning upper part so :

&-*-
Three Parts : 1 1, vii (4 c A).

Exercise 38. Write a continuous untied 4th

Species (with Anticipations. &c.). Three Parts:
62, xi (4 AC); 12, xiii (4:C A). Four Parts : 15,
xxxiii (i c A A) ; 58, xci (4 A c A).

Exercise 39. Combined use of Anticipations

and Suspensions with 4th Species sometimes
tied, sometimes untied, and with or without
intervening notes, the 4th Species not necessarily
confined to the melody of any one part (See
 COMPOSERS' COUNTERPOINT. 115

Fig. 89, p. 77). Three Parts: 56, Ixxxvi (c in

middle part) ; 66, v, c in Bass, begin top part so :

* etc -

Four Parts : 66, ii, c in Bass, begin top part so :

-

w=s

Exercise 40. For 4th Species Whole Note

Syncopation (See Fig. 97, p. 80). Four Parts:
45, liii, begin Bass so :

64, xix, begin Treble so :-

**
^^^i

Exercise 41. For 4th Species Half-note

Syncopation (See Fig. 98, p. 80). Two Parts:
37, xx, 4 c, begin Treble so :

the four-note semiquaver groups in C.F. to be

treated as untied 4th Species). Three Parts: 68,
ix (4 A c). Four Parts : 50, Ixviii (4 c A A) ; 70, xvi
(4 AA c).

Exercise 42. For 4th Species Quarter-note

Syncopation (see Fig, 99, p. 80). Three Parts: 37,
xxi, 4 c A, beginning top part so :

=q=r=*= s==zpq

4i,xxxvii(4cA)j 41, xxxviii (c 4 A); 49, Ixvi (c 4 A).

Parts : 68, xii (4 A A c).
n6 COMPOSERS' COUNTERPOINT.

Exercise 43. For 4th Species syncopation

smaller divisions of the bar (see Fig. 100, p. 81).
^j
Four Parts : 60, xcix (4 A c A).

After this, revise any back work which may need

further attention.
Exercise 44. Write accompaniments of a
4th Species character (tied or untied) as directed,
treatingxthe C.F. in each case as a solo voice or
instrument. Pianoforte Accompaniment: 24, xxi;
47, Ix; 48, Ixiii. String Quartett Accompaniment :
46, Ivi (c for oboe) ; 46, Iviii (c for flute).
Exeneise 45. See Figs. 191, 103, 104. Three
Parts (S.A.B ,
or S.T.B.) add two vocal parts in
:

5th Species to the following C.F. :

55);
10, i (c
n, viii
(5 c 5) ; 63, (55 c)
xiji ; n, xi (c
55);
12, xix (5 c 5) ; 63, xiv ($> c) ; 13, xxii (c 55) ;
15, xxx (5 c 5) ; 64, xx (55-C) ; 64, xxii (55 c).
Exercise 46. Four Parts (S.A.T.B.): add
three vocal parts in 5th Species to the following
C.F. 1 7, xxxix (c for S.)
:
;
1 1, x (c for A., key Bfe) ;

19, (c for T., key Afe)j 64, xxiii

1 ; 18, xliii (c for S.);
15, xxxi (c for A, key minor) D ; 8, vii ; 65, xxiv ;

8, x; 65, xxv.
Exercise 47. Addtwp-parts in 5th Species
to the following C.F., consist of three
trT^6re to
parts, written for violin* vjpla and cello: 69, xiii;
70, xvii; 71, xx ; 8, viii; 8, ix; 8, xi.
Exercise 48. Add three parts in 5th Species
to the following C.F., the score to consist of four
parts written for the ordinary String Quartett : 65, i ;
66, iv; 68, xi ; 71, xix; 8, xii.

Exercise 49. Write

Fugal Expositions for
Three Parts, using the following C.F. for subjects (see
Fig. no, p. 89), beginning with lowest part of score
:

4, x. Beginning with middle part of score : 4, v ; 4, vi.

Beginning with highest part of score : 4, L
 COMPOSERS' COUNTERPOINT. 117

Exercise 50. Write Fugal Expositions for

Four Parts, using the following C.F. for subjects
(see Figs, no and in, pp. 89, 90): 4, 4, iii
ii ; ;

4, iv ; 4, vii ; 4, viii ; 4, ix ; 4, xi ; 4, xii.

Exercise 51. Additional subjects for Fugal

Expositions, for Four Parts :

z*z:
(c)

(d)
r

r* y r
id I
|_

3^
Exercise 52. See Fig. 113, p. 91. Add two
5th Species parts in Canon to the following C.F.
i, i (5 5 c); 5, i
(5 5 c); i, vi (5 5 c); 3, iii (5 c 5);
5, iv(5c5); 2, xxi (5 c 5); 3, i (c55); 2, xii (c 5 5);
6, vi (c 5 5).
n8

INDEX
TO

PROUT'S ADDITIONAL EXERCISES TO COUNTERPOINT.

The Roman numerals refer to the numbers of the Canti

Fermi in Prout's book ; the Arabic numerals refer to the
numbers of the Exercises in this Appendix.

PART I.
 INDEX.

xx, 41
 COMPOSITIONS
BY

CHARLES W. PEARCE,
MUS. CANTAB. D., ; F.R.C.O.

Published by
CHARLES VINCENT, 9, BERNE RS STREET, LONDON, \V.

PASSION CANTATA,
s. d.
"The Man of Sorrows," Vocal Score 20
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EASTER CANTATA.
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Words only, per hundred 40
(A reduction on quantities.)

CHRISTMAS CANTATA.
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SERVICES.
Te Deum and Jubilate in C 06
Office for Holy Communion in C . . ..06 . . . . . .

Magnificat and Nunc Dimittis in C 04

The Three Services complete for is. 6d.
Office for Holy Communion (Easy Setting arranged from Ancient
Plainsong) 04
Magnificat and Nunc Dimittis in E flat (Composed for the Exeter
Diocesan Choral Association) .. .. .. .. ..03
Magnificat and Nunc Dimittis set to Ancient Sarum Tones . . 04.
ANTHEMS.
Souls of Men (Lent) .. .. .. .. .. .. ..02
The Spirit of the Lord God (Ember Tide) 04
The Comforter Which is the Holy Ghost (Whitsun Tide) . .
..03
Then shall the King say (Hospital Sunday) 03
The God of Harvest praise (Harvest) 04
The Souls of the Righteous (Saints' Days) 03
SACRED SONG.
The Life Everlasting (with Accompaniment for Pianoforte, Violin,
and Organ) I 6
ii COMPOSITIONS BY CHARLES W. PEARCE.

CAROLS and HYMNS.

*. <d.
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PART-SONGS.
Serenade, "While my Lady sleepeth" (S.A.T.B.) ..
..03
Ode, "Light Beyond "(S. A. T.B.) 04-
ORGAN.
Four Short and Easy Pieces for Church Use. Book I Prelude,
Communion, Melody, and Evensong . . . . . . T 6
Four Short and Easy Pieces for Church Use. Book II A Sunset
Reverie, Autumn Song, Requiem, and Spring Song . . . . i 6
Four Short and Easy Pieces for Church Use. Book Ill-
Nocturne, Barcarolle, Adoration, and Meditation for All
Saints' Day . . . . . . . . . . . . . . . i 6
'
Dedication Festival Postlude, "Blessed City, Heavenly Salem i 6
Easter Postlude,
" The Lamb's "
High Banquet called to share . . i t

Prelude and Fugue in E flat . . . . . . . . . . . . i 6

" "
Symphonic Poem for Christmas, Corde natus ex parentis . . i 6
Dramatic Fantasia for Passion Tide, "The Royal Banners" . . 20
Fantasia on Chant Themes by Battishill . . . . . . . . i o
Fantasia on The National Anthem (with additional part for Tenor
Trombone) . . . . . . . . . . . . . . . . i 6
First Sonata in E minor . . . . . . . . . . . .
..30
.Second Sonata in C major .. .. .. .. .. ..20
Triumph Song . . . . . . . . a o

SONGS.
The Colonel's Story (for Baritone) . . . . . . . . ..20
To music, to becalm his fever . . . . . . . . . . ..20
THEORETICAL WORKS.
Students' Counterpoint . . . . . . . . . . . . ..20
Composers' Counterpoint . . . . . . . . . . . . ..20
Rudiments of Musical Knowledge (with Questions) . . . . i o
"
and their Relation
Organists to the Clergy." A Paper read
at the Dublin Conference of the Incorporated Society of
Musicians . . . . . . . . . . . .
..03
 INSCRIBED TO DR. W. H. CUMMINGS, F.S.A.
(Principal of the Guildhall School of Music).

STUDENTS' COUNTERPOINT,
BY

CHARLES W. PEARCE,
Mus. D. Cantab., F.R.C.O.
(Professor of Harmony, Counterpoint, and Composition, at the
Guildhall School of Music, and Trinity College, London).

This Book is in use at the Royal Academy of Music, the

Guildhall School of Music, Trinity College, London, the London
Academy of Music, the London Organ School, the London
Society for teaching the Blind, the Alexandra College, Dublin,
and in many other institutions.
Price 2/-

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' 1
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 STUDENTS' OPINIONS.
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theories of his own. The work is marvellously cheap, and we commend it to
.all teachers and students who desire a clear and concise exposition of the
backbone of the divine Art." Clapham, Balham &* Tooting Gazette.
" We know of no better
elementary treatise on the subject." Kent County
-Examiner.
" The little book is a valuable
one, Dr. Pearce having shown considerable
.ability in his treatment of the subject, and having rendered it as attractive as
its nature will permit. The rules are set forth in a clear and cone se manner,
serving to train the mind and feeling of the future composer." Satisbury <5r
Winchester Journal.
Rudiments of Musical Knowledge,

CHARLES W. PEARCE,
Mus. D., Cantab., F.R.C.O.

Bmnd in Cloth, price Is net.

HIS Primer is a text book of the rudiments of musical

knowledge, and should prove of the utmost value to all
students in practical and theoretical music.

The language is clear and concise, and the information-

contained is thoroughly modern.

It willbe found most valuable for those who may be pre-

paring for one of the various paper- work examinations in
rudimentary musical knowledge, or who may be desirous of
being able to answer fluently the viva voce questions put by
the examiners in practical subjects, such as pianoforte and
violin playing, singing, &c.

A separate chapter is devoted to the complete consideration

of each special branch of information such as pitch-names and

places, sharps and flats, rests, time-duration, scales, &c., &c.,

instead of grading and combining these different subjects into-
so many progressive lessons. A
teacher will know quite easily
how much of any particular chapter can be omitted at first,
and be afterwards studied as the need for this knowledge
makes itself felt.

At the end of the book are 150 Questions and Exercises,

arranged in chapters to correspond with the chapters in the
book, these will be found most valuable.

LONDON
CHARLES VINCENT, 9, BERNERS STREET, W.
 HARMONY :

DIATONIC AND CHROMATIC,

CHARLES VINCENT, Mus. Doc., Oxon.
Bound in Cloth price js. net.
,

THE Author bases his System on ihe Diatonic, Chromatic and

" Root
Enharmonic Scales, and discards altogether the so called
his definition of "Root" " The Scale interval
Theory,'' being
upon which the identity of a chord depends."
The student is here taught to compose his own basses and
harmonize simple diatonic melodies from the very first.
Elementary form is also considered, and much practical infor-

mation given on the subjects treated.

There are Thirty Chapters :

I. Chords of the Major Scale.

TI. Writing a Bass Part.
III. Progression of Parts.
IV. Adding a Treble Part to a given Bass.
V. Adding Inner Parts.
VI. Sequences.
VII. Writing in Four Parts.
VIII. Accents, Rhythm, Cadences, and Elementary
Form.
IX. Chords from the Minor Scale.
X. Harmonization of Diatonic Melodies.
XI. Suspensions.
XII. Passing Notes.
XIII-XV. Inversions.
XVI-XX. Chords of the Seventh.
XXI-XXIV. Chromatic Chords.
XXV. Chord of the Dominant Ninth.
XXVI. Modulation.
XXVII. Chords of the Diminished Seventh.
XXVIII. Free Resolution of Discords.
XXIX. Pedal Point.
XXX. Harmonization of Melodies, and the Addition
of Simple Accompaniments.

LONDON :

CHARLES VINCENT, 9, BERNERS STREET, W.

 GQUSIG

j. d.
ELEMENTARY EAR-TRAINING ... Dr. Fred. G. Shinn 2 o
TONALITY AND ROOTS Dr. A. J. Greenish 1 6
STUDENTS' COUNTERPOINT Dr. Charles IV. Pearce 2 o
COMPOSERS' COUNTERPOINT ,, 20
HINTS TO SINGERS ...... R. White, Mus. Doc. 3
SCORING FOR AN ORCHESTRA ...Dr. Charles Vincent 1 6

THE READING OF Music M. E. P. Zeper i 6

MUSICAL MEMORY AND ITS
CULTIVATION Dr. Fred. G. Shinn 2 6

ON ORGAN PLAYING ... Arthur Page, F.R.C.O. 2 o

VOICE CULTURE Guido Porpora 3 o

COMBINED RHYTHMS R. I. Rowe S

MANUAL OF SIGHT-SINGING ... Dr. F. J. Sawyer 1 o
,, PART II ,, ,, 1 o

NEW-CENTURY PIANOFORTE METHOD Dr. C. Vincent 2 o

THE FINGERING OF ARPEGGIOS, S. Myerscough, Mus.B. i 6

FORM IN Music ......... J. Humfrey Anger 3 o

HARMONY, DIATONIC AND CHROMATIC Dr. C. Vincent 3 o

RUDIMENTS OF Music FOR CHOIRS AND

SCHOOLS ... ... ... .... Harvey Lohr 6

RUDIMENTS OF MUSICAL KNOWLEDGE Dr. C. W. Pearce 1 o

To be continued.

CHARLES VINCENT,
9, BERNERS STREET, LONDON, W.
CAR
MT Pearce, Charles William
55 Compo s er s ' c ount er point
P35C61

UNIVERSITY OF TORONTO

EDWARD JOHNSON
MUSIC LIBRARY