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TEXT-BOOK
OF

SIMPLE AND DOUBLE

COUNTERPOINT
INCLUDING IMITATION OR CANON
BY

PROF. DR.

HUGO RIEMANN

TRANSLATED FROM THE GERMAN

BY
S.

HARRISON LOYEWELL
DIRECTOR OF MUSIC, WHITMAN COLLEGE,
WALLA WALLA, WASHINGTON U.S.A.

LEIPZIG
BREITKOPF & HARTEL
1904

vi

TEXT-BOOK
OF

SIMPLE A^B DOUBLE

COUNTERPOINT
INCLUDINa IMITATION OR CANON
BY

Prof, Dr.

HUGO RIEMANN

TRANSLATED FROM THE GERMAN

S.

HARRISON LOVEWELL
DIRECTOR OF MUSIC, WHITMAN COLLEGE,
WALLA WALLA, WASHINGTON, U.S.A.

LEIPZIG

BREITKOPF

&

1904

HARTEL

HT

APR

91973

DEDICATED
TO

HEINRICH ORDENSTEIN

PREFACE.
IHE

present treatise on counterpoint must not be

regarded as a more developed exposition of the ideas

contained in

my

a work, which

"A

book,

School of Melody*",

unfortunately, I erroneously entitled,

Sketch of Counterpoint by a

While that text-book

of

"New

the

fore an advanced
press, the

which

course

Method".

treated particularly

and analysis, and there-

figuration

subjects,

New

in

harmony

was

thoughts embodied in the present

were being formulated and matured, as

verified in the preface

of

my

in the

volume

may be

seen

"Musikahsche Dynamik

und Agogik".
The warning,
not to

so justly given

Scholz

monic

figuration, I

Harmonic

let

by

Prof. Dr.

Bemhard

counterpoint degenerate into

beheve

figuration,

as

have

now

har-

sufficiently considered.

taught,

is

an indepen-

dent course coming between harmony and counterpoint;

counterpoint, as

it

must always be,

is

the theory of

the free invention of melody.

"Neue Schule der Melodik", Hamburg,

publishers.

1883;

Gradener

&

Richter,

PREFACE.

VI

Hence, by the changed appearance which the real

theory

of

hope

of teaching, I

to those

mns

counterpoint

who

am

for itself in

knowing that

for

with

my
is

now

hope to attract new friends and to con-

I also

vince them that nothing

than to doubt

new

peda-

them the gap, which

has hitherto existed in theoretical instruction,

filled.

system

offering something acceptable

are intimately acquainted

gogical method,

my

is

old truths

further from

my

intention

and to produce something

sake of novelty.

for the

Hamburg, March

16,

1888.

Dr.

Hugo Eiemann.

PREFATORY NOTE OF THE TRANSLATOR.

IT has been my chief endeavor to produce a translation from the
German original text into English simple enough to be readily intelligible
to the average student of music.
The translation could be more literal,
but

it is

doubtful

if

there would be a proportionate gain in simplicity of

expression.

My thanks are due to Rev. Julius von Gumppenberg of Walla Walla

and to President Stephen B. L. Penrose, D. D., of "Whitman College, for
their invaluable assistance as revisers of the text.

W^alla Walla, Washington, U. S. A.

June

16, 1902.

S.

Harrison Lovewell.

CONTENTS.
Page.

PREFACE
PREFATORY NOTE OF THE TRANSLATOR
CONTENTS
DIRECTIONS FOR THE USE OF THE BOOK

CHAPTEE

I:

V
YI
VII

.... Yni

SIMPLE COUNTEEPOINT

1_102

The harmonic and rhythmical

analysis of the cantus

fomus. 2. Two-part -vvTiting, note-against-note. 3. Unequal
counterpoint in longer notes (one note against two or three;.
5. Syncopa4. Two, three, four and six notes against one.
duolets
quatolets
tion and counterpoint using triplets
of counterpoint.
6. Rhythmical forms
and quintolets.
7. Rhythmical forms of the cantus firmus. 8. Cantus firmus
1.

and counterpoint developed rhythmically throughout. 9. Flor10. The greatest freedom of invention:
id counterpoint.
cantus firmus introducing a large number of motives, and
the counterpoint developed without restriction. 11. Three12. Increase of voice-parts by means of
pai't counterpoint.
parallel thirds.
13. Three and four-part counterpoint with
a freer use of parallel thirds and sixths.

CHAPTER

14.

II:

DOUBLE COUNTERPOINT ....

Double counterpoint

in the octave

15.

102-149

Double counter-

point in the tenth. 16. Double counterpoint in the twelfth.

17. Double counterpoint in the sixth and eleventh.

CHAPTER

in:

BilTATIVE COUNTERPOINT
149-201

(CANON)

canon in the unison and the octave.

19. Plain
20. Plain canon
canon in the under-second (over-seventh).
21. Plain canon in the
in the over-second (under-seventh).
under-third (over-sixth). 22. Plain canon in the over-third
23. Plain canon in the under(over-tenth) and under-sixth,
fourth (over-fifth). 24. Plain canon in the under-fifth (overfourth).
25. Simultaneous entry of the theme in direct and
contrary motion (also with third-doublings). 26. Canon in
27. Canon by augmentation and diminuconti'ary motion.
28. Mirror canon, crab canon and other peculia,r artition.
29. Two-part canon with independent third and fourth
fices.
30. Two-part canon upon a cantus firmus (choral
parts.
canon); three and four-part canon, and also double canon.
18. Plain

APPENDLK. CANTUS
PUNTAL EXERCISES
ALPHABETICAL INDEX

FIRIVH

FOR CONTRA202-206

207208

FOR THE USE OF THE BOOK.

DIRECTIOTs^S
From among

the numerous cantus firmi in the Appendix, the student

should select a limited number for his contrapuntal exercises that, upon
the basis of a few cantus. he may solve all the problems of the three
chapters.

The

exercises should be

marked

in accord with the

numbers of

the single paragraphs, and also so as to agree with the figures which
indicate problems 182 this is necessary because later, reference is made
;

to the exercises in the first paragraphs, either the counterpoint being used
as cantus for other

new

exercises, or a third or fourth voice is to

to the exercises already written.

Since

all

be added

the model examples are develop-

ed from only seven cantus, a strict compliance with the teachings of the
book must be insisted upon the continual evolving of new forms from the
one germ is of great benefit to the student and very stimulating to musical
But before the study of counterpoint is begun, not only plain fourfancy.
part harmony* must have been completed, but sufficient discipline must
also have been attained in figuration and analysis **.
Modulation + can be studied as auxiliary to the exercises in counterThe nature of rhythmical construction is made intelligible by my
point.
book, "Musikalische Dynamik und Agogikfi".
;

"Handbuch der Harmonielehre", Leipzig, 1888; Breitkopf & Hartel.

Hamburg, 1883, Gradener & Richter.
[ " Systematische Modulationslehre'", Hamburg, 1887; J. F. Richter.
if Hamburg, 1884; D. Rahter. Translator's Note. To the above textbooks may be added: "Simplified Harmony", London, 1896; Augener&Co.
*

** "Neue Schule der Melodik",

"Katechismus des Musik-Dictats", Leipzig, 1890; Max Hesse, "Grosse,

Kompositionslehre ", Berlin und Stuttgart, 1902, 1903, W. Spemann and
"System der musikalischen Rhythmik und Metrik", Leipzig, 1903, by the
same author.

CHAPTER

I.

SIMPLE COUNTERPOINT.
THE HAKMONIO AND RHYTHlVnCAL ANALYSIS OF THE
CANTUS FIRMUS.

1.

THROUGH the discarding of the thorough-bass figures usually

accompanying a cantus firmus, as found in harmony methods,
is granted to the student, and an im-

greater artistic freedom

taken toward independent musical creativeness.

portant step

is

But

not saying that everything in the earlier exercises

that

is

was predetermined, for indeed, even

in those exercises in four-

part harmony in -^hich the chord construction* was determined

beforehand,

one's

fancy had a reasonable amount

of

scope,

namely: as regards agreeableness in the formation of melody,

and

in the making of progressions

Harmonic figuration increased
materially.
The harmonies are now

also, in spite of restrictions,

of intrinsic

merit in the bass.

possibiHties

these

quite

nearly free, but not wholly, because, to a certain degree, the

cantus firmus

still

determines the proper chords.

possible to harmonize a couple of notes in

However,

many ways;

it is

yet the

more nearly perfect, the more positive, the more symboKcal,

yea, the more convincing a short cantus is as regards force of
conception, the more authoritatively will it command a particular
harmonization, such a harmonization as will blend into
essence,

its

own

and was already decided before the other voices were

added.

Nothing

will give falser results

that they produce

By

the author's

many

than to demand of students

differing counterpoints

"Handbuch der Harmonielelire",

upon the same

Leipzig, 1898, Breit-

kopf und Hartel third edition of " Skizze einer nenen Methode der Harmonielehre" (1880).
;

RiEMANN, Counterpoint.

sbiple counterpoint.

I.

new counterpoint bringing

cantus firmus, each

to

a harmonically different interpretation; but rather

the

cantus

theii'

efforts

should be so directed, that, through repeated correcting and

refining,

a counterpoint

conceived which can be looked upon

is

as the matchless one, standing alone in jDlace

of

many

inferior

and valueless contrapuntal melodies, as the one of beauty, natural,

perfect.

artistic,

The

who has not preceded

teacher,

the writing of two-part

counterpoint with the study of harmony and with exercises having

predetermined chords, cannot do better than to instruct pupils in

the waiting and constant rewriting of exercises in the hope that

among many false efforts the desired countei'point may be found.

The not already deadened natural musical instinct will invariably tell the gifted pupil when the contrapuntal melodies
and

are good or bad,

formity

whether they are written in cor-

also

the rules; but

-vNith

sical instinct is

with those less talented the

if

mu-

weak, so that in spite of earnest effort he only

succeeds in producing an aimless groping about amid his bungling work, art suffers

power

no

of small

those

of training

Meanwhile

loss.

they learn to write counterj)oint correctly

and

logically

among

this

judgment.

who

those

bition are

For

method has the

way by which

that

is,

rationally

even though composers are not produced from

of students,

class

having trained

tlie

talents in

it

is

there

still

the satisfaction of

sound

musical

not to be forgotten that only a few of

enter upon the study

upon

called

is

and performers with

listeners

of theory with zeal

and am-

enrich nrasical literature with their

to

creations; nevertheless the study of the technic of composition

is

an indispensal)le requirement for the

full

development of the

art-understanding.

To
easy

Mozart or a Mendelssohn in counterpoint is

genius knows so well how to soar beyond unnatural fetters

An
old

instruct a

apparently serious ol)jection which the adherents to the

method

of counterpoint (-vnthout previous study of

advocate against the

new

is,

that this

spontaneity of melodic invention,

harmony)

new method hinders

and figuration (whether

the
witli

or without predetermined lianiionies) displaces the free forming;

of melody.

It

against the old,

would be
if

it

difficult

to

defend the new method

were not for the fact that the objection

THE HARMONIC AND RHYTHMICAL ANALYSIS

1.

does an injustice in two directions:

stowed upon the

j)raise

and blame without

old,

is

&-c.

undeservedly be-

justification is given

to the new, because:

It

1)

is

very doubtful whether the strict rules of the old

method are adapted

for

the development and advancement of

this spontaneity.

By

2)

the

new method

this is

not more difficult of attain-

ment.

The

la)

and
just

the

rulings of the

old

method concerning

admissibility

inadmissibility of certain successions of intervals are surely

as much a
new method.

fetter

as

are the predetermined harmonies of

2 a) These predetermined harmonies

are

support and a

guide to the musical fancy preventing any relapse into chaos.

must not be forgotten that

so long as the harmonic prinwere unfathomed, the old method was the only possible

It
ciples

one;

and

also,

that the theory

of

counterpoint,

as

formerly

taught by Fux, and to-day by Bellermann, was already fully developed before Zarlino (1558) recognized the major and minor

About 150 years ago

harmony progressions, and gradually the theory of harmony was developed to
completion.
If the polyphonic wonderworks of Bach or Handel
are examined in the light of the new method, no rigid conformity
chord as two principal factors in harmony.

Bameau

called attention to the logical order in

to old theories will

be seen

how

be discovered, but with astonishment

will

it

clearly those immortals (and also other great masters)

discerned, or had knowledge of the nature of harmony, moraig with such freedom and perfect naturalness, that
it would be incomprehensible to believe that they had created
under the restrictions of "rules".
"We will now make clearer our present point of view.
intuitively

By means of many years' practice in the writing of plain

and figured exercises with given harmonies, the student has
gained
plicity,

ciples

understanding of the regularity or wonderful simharmonic construction, and has mastered the prinof the functions of tonic, dominants and various dissonant

forms;

through

an?

of

not only has he

experience,

memorized many formulae, but

has embodied

his

own musical

also,

ideas

those musical forms within which the harmonic development

1*

in
is

SBIPLE COUNTEEPOINT.

I.

He

held.

has grasped more or

less clearly the

ditions controlling cadential effects

firmus gives him,

as

rhythmical con-

The cantus

and modulations.

were, an outline of a picture drawn

it

with a few sharp strokes which he must bring to full hfe by

means

It

of his fancy.
is

a sketch

indeed, only the principal figure

and the task

figure to
figures,

full

or

consists

the

in

value by means of the antithesis of contrasting

simply

through

the

brings the principal figure into

make

clear whatever

character

is

sketched

is

bringing of this principal

aid

of

foreground which

The counterpoint should

relief.

hidden in the cantus

is

fii-mus,

true

its

to be made manifest; the counterpoint should not

suppress the cantus firmus nor be subordinate to

one's duty to conceive a

melody

It

it.

in conjunction with

not

is

a cantus

is rendered insignificant and

aim should be to make the
cantus firmus gain greater significance through the counterpoint.

firmus by which

unintelligible*;

the

given voice

but rather, the

The counterpoint must interpret

If

we examine Bach's

fugues,

the

cantus firmus.

it will

be clearly demonstrat-

ed that not once in the modulatory part does the theme receive

a different meaning through the counterpoint than that

wliich the first

be interpreted

it.
A theme which can
and then another must appear
point the sense of a theme can

counter -subject gave

first

one

characterless.

To what

be speciahzed

will

Avay
fine

be seen soon enough; the essential thing,

the sohd foundation, must remain standing.

What is this foundation, and of what

Two things are to be understood at
mony and Rhythm, and both
it

is

required that the key,

The following

in their

does

it

consist?

the same time: Har-

more general application

or tonality, of the cantus firmus

task can present itself to the musician,

transformation of an ostinato
ferent ways; however,

that

is

namely: the

chaconne, passacaglia) in a great

a separate piece

many

dif-

of work, somewhat com-

parable to the simultaneous introduction of two principal themes.

Just as

such combined themes must be conceived together, so also an ostinato must

be sketched so as to permit various ways of being interpreted.

tasks have nothing to do with the

If such

case under consideration, there

the contrary, no doubt that the truly progressive composer's

first

is,

duty

is

on
to

learn to understand and effectively to develop his thoughts polyphonically

in

order to

make

their individuality of full value.

1.

THE HAEMONIC AND RHYTHMICAL ANALYSIS

&c.

be established, and also, at the same time, the positions of the

rhythmical stress points, or

ictus.

In short themes of few notes there not only can be uncertainty, but in reahty a double manner of comprehending the

rhythm may be

possible,

for example,, the following cantus

as,

firmus shows:

q*^-

-^-

^-.-^

which can be just as well understood in major

(c^)

as in minor

sense; while the rhythmical articulation, as shown by the

("e)

and the position of the accented measures, as shown

by the fork (v) over the bar-lines, is indisputable. But, on the
brackets,

contrary, a cantus firmus:

2.

occasions no doubt in regard to the key {a minor, in so

as

at least,
also

possible);

far

although a major

one considers the signature,

is

but the rhythmical construction can waver be-

tween
a b

When
do

is

to

such doubts

make two

g^ a
arise,

and

g'^
\

a.

the best thing for the student to

exercises out of the one;

the one cantus firmus, which

is

that

is,

consider

understood in two ways, as two

cantus firmi and then work each one separately.

mixing of

wrong and hinders the complete intelHgibihty of the

Consequently we consider it a chief duty
technical routine.

the two

is

of the pupil to have a full understanding of the cantus firmus,

and are convinced that only then

point in a sensible manner.
as a whole

is

It

is

is it

comprehended, that

nothing about "knowing")

how

possible to write counter-

only

it is

is,

when the cantus firmus

when one feels (to say

articulated in accord with

harmony and rhythm, that a counter-voice can be written which

adjusts itself to it and discloses its inner meaning; binding
itself to it, while independent in character and yet accompanying, so that the two come into a higher unity.

SIMPLE COUNTERPOINT.

I.

6
I do not

know how many

fetters attach themselves thereby

freedom of conception; at any

to the

rate,

when an

objective

point and the principal stress-points are recognized, inventiveness unfolds itself

more

freely than

it

could groping from note

to note of the cantus firmus.

The
long,

so

method has occupied our attention sufficiently

we again return to the work self-evidently joined to

old

previous steps in theory

note-against-note

11.

(I.

cantus firmus illustrates the

'1

the writing

figuration

and

of

four-part exercises

analysis).

The following

work:

12?:

-(22-

:t=

Key: c major or a minor; we decide in favor of the

Rhythm: the second and fourth measures are accented,

first.

that

upon the first e and the final c. Another

way of understanding the rhythm (first and third measures as
accented) must be rejected as being artificial.
A plain fouris,

cadential effects are

part writing appears thus:

The

three-part writing:

or thus:

-j^

g^l

T=g=

 2.

and

TWO-PART WRITING: NOTE-AGAINST-NOTE.

two-part writing:

finally in

0.f.
,

-,Q>-

Opt.!

For

the present there

is

if

1^1
'

nothing to be said about the exer-

and three-part writing. If

derstood that the second measure forms the
cises in four-part

concludes the
the

g"

counterpoint

e as

symmetry, then

first
is

the

of

sixth

who has not been

stress-point,

evident that d

is

un-

clearly

is

e in

conceived within the harmonic progression

c^\ also the treating of

the

it

it

first

/"

as 1 of the sub-dominant,

super-dominant

(^)

is

and

evident to anyone

too thoughtless in the writing of

harmony

exercises.

2.

TWO-PART WRITING: NOTE-AGAINST-NOTE.

If now, first of

all,

we turn

aside fi'om the four-part, three-

part and more than four-part treatment of a cantus firmus,

and confine our

efforts

for considerable time

to

strictly

two-

only because the largest possible freedom of

part writing,

it

movement

thereby granted to the counter-voice or counter-

point,

is

which

is

not written contradictory to the cantus firmus,

is

but brings out

its

meaning the more

A free movement

clearly.

of the individual voices is also possible in three-part

part writing, but since recourse must be

made

and four-

an occasional
crossing of the parts, or to a progression in intervals in which

the voices are

too

far

apart,

this

manner

to

writing shows

of

too great a deviation from the simple two-jDart writing to which

we

are accustomed, and therefore

we would be unable

to join

the free writing in four parts to a style of four-part writing

in

which the voices would preserve

throughout

their

proper

and represent harmonies which

most naturally bind themselves to one another. For the figuration of a voice-part, and also alternate or simultaneous figurposition against

one another

ation of several voices in simple part-writing,

is

only a further

completing of the theory of the harmonic meaning of the tones

(passing-notes,

auxiHary

notes

and

anticipations),

permitting

within moderate bounds an unfolding of the faculty for forming

I.

SIMPLE. COUNTERPOINT.

These then are the reasons why (being

melody.

fully

equipped

with a positive feeling for the logic of harmony and metrical

forms [sjTnmetry]) we must

to

free melody,

fulfilling the

When
is

first

begin with a given voice placed

another voice, which has been invented as a

in antithesis

sufficient

skill

requirements of harmonic clearness.

therein has been attained, the next task

add a third voice-part to the two voice-parts already

after that, comes the adding of a fourth voice-part, and

to

finished
finally

produce,

as the highest of school tasks

the

at

same time,

the student

melodically

several

is

to

independent

voice-parts, or counterpoints, to a cantus firmus.

From
a

melody

contrapuntal

movement

when

correct

is

written

contrary

in

to the cantus firmus; the inversion thereby arising is

form of imitation.

rather

avoid the error of presu^iposing that

the beginning,

Tivo

are

voice-parts

more

the

characteristic the less they seem to conce)'n tJicmsdves about one

they mttst not appear

anotlwr;
or

As

to

progress in either contrary

motion!

jJarffflcl

is called to what has

"Neue Schule der Melodik". page 93,
harmonic substitution by means of two tones,

regards two-part writing, attention

been said in the book,

concerning clear

namely

For
3, jjj;

all

harmonies good two-voiced substitutions are:

moreover for the natural (minor) seventh chords

and

and

also, indeed: ^

and

for the sixth chords:

chiefly

(yij);
A TTT

fi

vi'

third-ninth chords: 3*, j^<, '^

3'

TTT

j,

g or

-^

finally for the minor

VI' ^^^

and yy<.

The entrance of a new harmony must make these substituThe old and common rule in two-part counter-

tions clearer.

l^oint that the

of

an

unison

exercise,
is

of

at the close

unison must be used at the beginning and close

we cannot acknowledge

good
of an

effect

as valid;

however, the

not alone at the beginning, but also

exercise,

indeed even at the melodic inter-

punctions (points of repose, breathing places and cadential effects

in the cantus firmus),
in

minor

if

it

takes

if

the

fundamental tones are used (and also

prime of the

tonic).

contrary, the cantus firmus begins with the

But

tliii'd,

if,

on the

to begin the

 2.

TWO-PART WRITING: NOTE-AGAINST-NOTE.

counterpoint in unison with this note would be a doubling of the

and must be rejected it is impossible for the ear to permajor in an unprepared doubled e; in such
a case, the counterpoint should unreservedly begin on c or g.
If in an exercise in a major key, the cantus firmus begins
with the fifth of the tonic, the counterpoint would rather take
the fundamental tone even though the usually avoided empty
third

ceive the key of c

fifth

There

^ substitution ensues thereby.

is

nothing wrong in

the counterpoint beginning with the third.

The frequent beginnings with

the fundamental tone of the

dominant upon the up-beat:

i
are not to be mistaken for
point of the dominant

is

this,

because the unison counter-

the natural one.

Beginnings with tones foreign to the tonic harmony are not

excluded, although infrequently used.

-S'

25)-

cantus firmus:

3II

In the first
in c major or a minor.
a would naturally be the third of the subdominant, and the right counterpoint would be f:

is

equally

understood

case, the initial note

10.

-^

Judging the matter from our point of view (harmony and

figuration having been completed),

ance on the accented

and

part

of

so a cantus firmus:

11.

a beginning with a disson-

the measure

is

not excluded,

10

SIMPLE COUNTERPOINT.

I.

permits f to appear in the counterpoint as the fourth of the

tonic:

^^

12.

In general
3(111)'

may be

it

chord-substitutions

following

*^^

along

that

said

although more rarely used; and being

must be employed with care:
^

whenever the fourth

with

are

less

and

(^)

equal value,

of

understood

easily

suspended before the third;

is

whenever the major seventh

suspended before the

is

octave
3 the sixth

used as a suspension before the

the under-second as a suspension before the third;

Yjj^

the major under-seventh as

the under-octave

jy

fifth

and

a suspension before

finally:

the major under-fourth as

a suspension before the

under-third.

All these cases

which

(to

common

^-nd
g3

yj

y may

be added) have

sound apparently hke empty

fifths and fourths, which, not only by the old methods of teaching, but also by the principles we have expounded, are poor
harmonic substitutions; they are undoubtedly bad and are to
one thing in

in that they

be rejected when considered in the sense of

but when
^ |y|
through their connection with other chords they have dissonant
;

meaning, they are wholly correct.

pecuhar charm belongs

to those dissatmnces

which appear

as ''feigning consonances"^ for example:

4

T<

-fe^

tt

.-)

11

The augmented second on account

VII'

i
of

its

vm

IV

III

.z

resemblance to the

and the augmented fifth through its resemblance

the minor sixtli are good harmonic substitutions

minor
to

third,

TWO-PAET WEITING: NOTE-AGATNST-NOTE.

2.

11

5<
lEJ

14.

tr-

r-

:^

:^-X

These are not recommended, and are only mentioned that

sucli cases may be understood.

Poor harmonic

substitutions in

two-part writing are those

presenting major seconds or minor sevenths; also those repre-

and major

senting the natural (minor) seventh chord

1

(vn) ^^^

(n)

^^^^

-^^^

venths

5 (vi)

sixth chord;

^^^ those signifying a suspension

'

^^

(uj) or

worse are the minor seconds and major se-

[-^^ y-Q->, 3, etc.).

we undertake the study

Since

nature of figuration

is

of

counterpoint after

understood, there

is

the

no reason why we

should not regard the tones of the cantus firmus as passingnotes,

and

so

gain a large number of cases where incidental

chords arise in two-part writing, which would be unsatisfactory

as

harmonic substitutions.
If the conceiving of a tone as a passing-note

condition that

it

appear at a rhythmically

less

subject to the

is

important place,

then in general we would say that when the tones of a cantus

lirmus

enter

and progress further diatonically upon the upthen the proper counterpoint should be

beat of a measure,

broken chord-tones, the particular ones being of

tance.

It

stitutions

is

necessary,

little

impor-

however, that the real harmony sub-

on the accented part of the measure be satisfactory.

Consequently the following formations arise:

III

i^

E^S
<9I

rv

il^i^EiiSil
f

12

I.

SIIVIPLE

COUNTERPOINT.

--gl-

i^i^

-^_

vir
III

The opposite can also be true, that is, the counterpoint can
have a passing-note when the cantus firmus brings upon the upbeat a tone which can be understood as a second chord-tone
harmony

of the preceding

possible

also

(the

same examples).

Finally,

it

is

that passing-notes appear simultaneously in both

the cantus firmus and the counterpoint

tones appear in

tlie

the counterj)oint

(b).

same way

in

(a)

or that second chord-

both the cantus firmus and

no consequence what intervals arise thereby; at least

neither empty octaves, unisons, fifths or fourths, nor even seconds
It is of

and sevenths are objectionable:

16. a)

\^^m^^^^

tf
4

II

3f
-i
I

1
1

VI

A
:^

:=d^^

K)'

^-r-r-

jS2-

t^

vu
In addition to the permissible octaves which arise through
beginning with the fundamental tone

(also I)

of the tonic or

dominants and the closing ui)on the fundamental tone of the

we have won a large number of octaves, wliich for two-

tonic,

part writing are faultless.

ially significant one,

To

these must be added an espec-

namely, that one which represents the six-

TWO-PAET WRITING: NOTE-AGAINST-NOTE.

2.

four chord.

But

it

may remain an open

13

we

question whether

are able to understand the six-four chord

when

it

appears in

the form }, or under certain conditions, whether the octaveu)

can give the effect of a suspension; at any

be said against the following progressions:

rate,

nothing

is

to

.^A4;=f^

17.

rIn such cases I would decide that the octave belonged to

the category of dissonances in the cloak of consonances'^

ing consonances"

['^

feign-

If all these varied possibilities in the comprehension of the

tones of

a cantus iirmus and of the progression of a counter-

point have been so absorbed into the student's consciousness as

always to be present and imaginable without

effort,

nobody

wish to say that counterpoint written by such a method

will

a
mechanical manipulation, a figuration of preconceived harmonies
is

and a hindrance to the spontaneity of melodic invention.

Fancy has many ways open for its free development. The
learning of the harmonic significance of tonic, super-dominant
and sub-dominant could just as well be considered damaging
to the creative activity of the

fancy; nevertheless, the student,

who, at the threshold of free counterpoint just begins to understand the technical terms, passing-tones, suspensions and chord-

would make poor progress. The fullness of possibilities

would confuse him, and the attempt at writijig
whatever his
desire
a couple of good counterpoints would hardly reward
him for his expended efforts. Again it may emphatically be

tones,

When

the octave enters close to the sixth, such an effect cannot be

denied, for example:

iii^
18.

<

14

I.

said that

SIMPLE COUNTERPOINT.

the present introduction to free counterpoint can be

who have mastered harmony and figurawho have attained this mastery progress

of value only to those

tion.

But

for those

both easy and rapid, since the writing of counterpoint with

one or more notes against one note is in reahty hardly more

is

than a

rejietition

of

the exercises in figuration

(but with the

emphasized distinction that the harmonies are not predetermined

and a far freer development of melodic forms is possible than in
the course in figuration).

It will

be perceived that there

be outlined and explained, as nearly

work and
of

all is

an

practice, so that the teacher's activity

correction only.

The

is

httle to

affair of individual
is

Hmited to that

following explanations accompanying

the paradigms have the particular object of showing the teacher

work of the pupil is to be

which
has to be pointed out.
examined and the way to progress
It is self-evident that they will also be of service to the student,
the points of view from which the

inasmuch as they indicate the principles by which the proper

method of working the exercises is achieved. We now are prepared for the arranging and solving of the first problem.

Problem

1.

To write

a second voice-part, note-against-

note, against the cantus firmus.

The given

voice-part

The cantus

may be

firmus

the following:

considered as uppermost voice

has

but one meaning harmonically and rhythmically. The key is

/"minor; the rhythm shows the typical two-measure metre, beginning on the unaccented measure the long notes in measures
4 and 8 being points of repose; since

in both cases the fundamental tone of the scale forms the points of repose, we can
consider them as perfect cadences (c' ''c), which are readily

possible as judged from the preceding tones {g

The ail in the fifth measure, leading to 67,

as

it

indicates

at hand.

/,

is

that a turning to the key of b; minor

The student already knows through

f).

remarkable
is

close

studies

in

modulation that f^ in f minor is an intermediate harmon}the transition to the sub-dominant.

in

his

TWO-PART WRITING: NOTE-AGAINST-NOTE.

2.

Thereby the cadences

most fixed:
^"9--

20.

-1^

For

the

0/-

up seems

four measures a further dividmg

first

for

Izztz

[f

desh'able,

four measures are al-

for the final

%^

is

it

15

already

known

that

1+1 + 2 + 4

is

the

normal type of thematic organization. Our cantus firmus joins

itself to this form most naturally when a perfect close is effected
on the second measui'e; the second and third measures permit
a two-measure cadence:

^=*

21.

If the nature

may

counterpoint

of the

begin.

1=:=^

theme is now understood, then the

The beginning with the unison is. ex-

cluded because the cantus firmus begins on the third

the choice

between the prime (c) of the minor and the fundamental tone (/). If f is chosen the beginning is not satis-

therefore

is

factory in

relation to the next following tone, since the can-

its

and taking the very same

would hamper the counterpoint. "We decide

tus firmus approaches too near,

note twice

itself

upon f an octave lower. The principles for the forming of

melody, clearly expounded in the text-book of harmony, are

now

of value, especially that part which

develo^ping

of

the melodic possibilities;

treats

that

is,

of the further

a melodic voice-

must not grope hither and thither

must determine ivith decisdefinite purpose^ and iwogress to a climax (which
can be negative, that is, lower instead of higher). The attainment of the goal can be its conclusion (for instance, where our
cantus firmus works upward to the octave); or it can return
As an additional hint, leaps
to the position it had at first.
possible.
whenever
must he filled up
part, claiming independence,

upon a few
ion upon a

We

degrees of the scale^ but

now attempt

in the first half of this

from the lower f toward the middle:

problem

to progress

16

I.

C.

SBIPLE COUNTERPOINT.
'=^

f.

22.

S:
9-

Cpt,

'^

and a counterpoint results which makes the passage in a charmanner and corresponds perfectly, both harmonically
and rhythmically, with the cantus firmus. The unison close
(foui'th measure) upon f is faultless; the first cadence (in the
acteristic

second measure) with the third in the lower voice-part

cellent, since the

defined;

punctuation of the phrase

is

is

ex-

not too sharply

the sub-dominant in the fourth measure and the six-

four chord in the fifth measure fittingly prepare the cadence.

The empty octave

of

censure since they

(at a)

and the empty

should represent

fifth (at h)

are worthy

new harmonies.

The

lower g could be thought of as a passing-note, but the upper

voice-part leaps at the same moment; instead of this, c could
follow

and with the same harmonic meaning

may not sound too empty we
the impression of f;^ by the choice of &^ instead

f with good

effect

but in order that the octave

would intensify
of g.
is

The

representation of the chord

Y by

h^f

is

wrong.

It

and then the cantus

as a chord-tone coming after the beat makes this

possible to consider 6^ as a passing-note,

firmus with

/"

meaning more evident.

But an objection could be made since the cantus firmus for
two measures is only a figuration of the tonic chord, and the
six-four chord in the third measure loses its significance. If in
the second chord we were obliged to choose \P in place of (7,
the repetition of

/>^

for the counterpoint

is

disagreeable.

The

surmounted if we make use oi d^ instead of ^^

Now the counterpoint no longer moves diatonically, but proceeds toward its goal by energetic steps of fourths with the
desired turnings-back after each leap by the principles already
difficulty is

famihar to us:

23-

te^

After such earnest efforts

counterpoint back to

its

it

is

our desire to conduct the

starting-point.

That does not seem

 2.

TWO-PAET WKITING: NOTE-AGAINST-NOTE.

even

impossible,

cantus

firmiis,

C.

s
W^E^

to

of

the

logical

rest

>5>

T^-

ascending minor scale: Dorian sixth, lead-

is

easily

is

is,

the writing of

and corresponds

ing p*, since g^

The

of the

three notes of the cantus firmus present the famil-

first

ing-tone and octave; that

is

strong ascent

=^

Cpt.

The

on account of the

the two voices happen to pass far apart:

f.

24.

iar portion

if,

17

to the

eP

as a counterpoint

harmony

of the succeed-

only a chromatically altered g^

understood and of excellent

made

(III'"

in

An

effect.

*^Z>'^).

ob-

two voice-parts remaining stationary upon f throughout measure four; the prevailing movement
being in half notes, at least one voice-part should continue the

jection could be

An

same.

to the

interposed chord-tone (the low

/",

the c

between, or indeed, the repetition of the upper

matters; but

begin

its

it

would be even better

return passage.

As

if

f)

Ipng there
would help

the counterpoint should

a matter of

fact,

that

is

practi-

and thereby cause *^c to be

changed into f^ (to which it may be remarked that such a
latent chromatic alteration [a^ becomes a^ without a'^ sounding]
is very common and understood immediately), then d^ is the
next note of the progression, whereby the g in the upper voicepart becomes the natural seventh (YII'') of the tonic, the familiar second species of chords with Dorian sixth.
Everything
else could remain as it is.
Thus, in spite of particular difficulties, we have produced the counterpoint for the second half of
our exercise, and find the problem solved with a satisfactory
melody throughout, having a character of its own:
cable

it

can progress at once to

BiEMANN, Counterpoint.

eP

18

SBIPLE COUNTERPOINT.

I.

most satisfactory when considered as

an upper voice-part. When used as a lower voice-part, the
beginning upon the third weakens it the c in the second measThis cantus firmus

is

ure requires a different hannonization

causes a misconception and

the meaning of a^^, that

-g>

The
of

rest

it:

--^-

The

considerably shattered thereby.

is

contrapuntal

the

come before

to have e^+

is,

i^i

^g^-

unity of key

the leap uj)on c as I

would be preferable to give to

it

voice-part

adapted for inversion

is

against the cantus firmus.

second cantus firmus

27

may

be:

B.

*Sg
Key,

^^

^-

fe

Rhytlun, the second measure

e major.

accented (be-

is

cause only then does the very apparent cadence come upon the

accented measure).

comes

It

evident that the sub-dominant chord

is

second measure, and the super-dominant chord

in the

appears in the third measure;

appears in measures 5

again

and in measure 7 passes

across the super-dominant chord,

it

sider h as the chord of

[e"").

familiar figures
vals,

1"

The long

3 5

6 5
I

5 5'
tlie

is

same (Modulationslelire, p.
changed into the meaning

3 2

5 3

c^"^

%=}=M^
(HI)
1

1
I

(3

1 7")

masked introduction of

^c^^

in

of g^^^ therefore:
ni

28.

7^

1
I

suli-dominant chord

42):

the

inter-

as follows:

is

upon

we now employ

If

which we indicate harmonic

standstill

be necessary to con-

will

best replaced by an interposed and

the
h^

signs by

the sense of the cantus firmus

1

is

and

the tonic

sub-dominant chord

the

since

6,

IV

which

case,

 2.

TWO-PART WRITING: NOTE-AGAINST-NOTE.

The counterpoint

(the cantus firmus

19

being the upper voice-

part) appears:

^^^B^^gE^^^I^I^Pi
3

13

Nothing more

(y)

way

in the

of exposition is

necessary other

than that the succession of four thirds in measures 5

7 should
be discarded, while the third should be the chord-tone to the
f^ in the sixth measure instead of the fifth:
B.
c.

mA

f.

TTZt:

-^

.^x_(5^_.

30.

rH^

-^-Sh

:t=

il

Cpt.

Another good counterpoint

'-^^
of the

-(Z-

-g-t-

same harmonic meaning,

but differently articulated melodically would be:

C.

ft

f.

:_

J^i-

v^

^J

^ 3=^

31.

Cpt.

mm

-4^&-

-42-

-a_G>-

'W.

-5*--^

Consider well the strong motives in fourths and in

fifths

(made prominent by the brackets) replacing the diatonic steps

by seconds
same time,

in

the counterpoint

first

constructed;

and

at the

also take notice, that in spite of repeated leaps, the

melodic demands regarding diatonic progressions in the cadences

are fully satisfied, since the second note constantly joins itself
to the note previously left:

and
-s^-i

32.

:t

The

exercise

is

:^
-^

well adapted for inversion (a shifting of the

voice-parts so that one replaces the other) in spite of the harsh

2*

20

I.

SIMPLE COUNTERPOINT.

diminislied octave k^I

inversion

The
than

wliicli

difficult

is

becomes an augmented

it

counterpoint

first

wliicli

understand j(upon

to

interval):

we invented

is

even smoother

one when inverted:

this

Cpt.
34.

C.

i^ggf

tifiEF^

f.

Surely nobody would consider the progression of the lower

voice-part

{d'^

f^

the task imposed

h)

in

measures 3 to 4 as anything amiss,

had been

this present counterpoint

if

to invent a free counteqjoint against

employed as a cantus firmus.

Since

double counterpoint is not now our principal task it is as a

pastime that we examine our exercises to see if inversion is
possible;

and

so, as

a secondary matter, we anticipate the subject

of double counterpoint in the octave, putting off its real practice

when

until later,

the subject will be treated in the text-book.

UNEQUAL COUNTERPOINT

3.

IN

LONGER NOTES (ONE NOTE

AGAINST TWO OR THREE

by our high conception of principles, we thoroughly
have jiractical knowledge of the true nature
of harmony, figuration and modulation, it is unnecessary to
spend much time upon exercises written note-against-note (the
Since,

understand and

first

order of counterpoint in older methods);

but constantly

keeping in mind those forms of figuration in notes of lesser

value

made

better to

counterpoint.

by our studies in figuration, it is

and master the various kinds of unequal

familiar to us

pass on

First of

all,

an

entii-ely

new

possibility

must be

UNEQUAL COUNTERPOINT

3.

understood, namely,

LONGER NOTES.

IN

21

writing of a counterpoint in longer in-

tlie

stead of shorter notes [one note against two or three)^ or in-

vention of a contrapuntal voice in time units of the next higher

value.

If,

in connection

new manner

with this

of writing,

we

examine the two model examples in the previous paragraphs,

that

evident,

it is

number

the

if

be reduced, there

and cadences, when

tions

of notes in the counterpoint

be a decrease of chord substitu-

will likewise

this

compared

of writing is

species

with the exercises written note-against-note.

The counterpoint

to the first cantus

showed three ca-

dences

as finally written,

firmus,

6>
'c

C f'" C

'c

Y^:"

^ci=:

but now only two are possible:

Problem

Two-part writing, one note against two.

2:

A.
C.

S^grj

f.

(Oc [e+?] c^^vii

36.

m^

Cpt.

Although by
not clear

how

^c

i;

itself,

much

lently, there is

^,

--^

insufficient

Oc)

^E^bg=^ ^=Z|=|

the counterpoint here progresses excel-

to be

In the

censured.

at the beginning

and the succeeding

"c

being

a passing-note.

maining
longing

is

it is

2;

is

to

g, c* is unsatisfactory

by

yjjv,

It is better to consider
a),

so

the

that the

c?Mn

The only unpleasant

accented measure beginning

harmony

the bass also

feature then re-

the syncofated effect caused by the

to the

place,

substitution for ^c

as a passing-note (as in No. 22 at

remains throughout measures 1

first

of the cantus firmus,

does not correspond to our principles.

(jf

t.-

be understood: as a substitution for c

and

^(2L

upon

harmony

the

be-

unaccented

measure, and thus hindering the intelligibihty of the progression.

Nothing prevents our understanding a'^ as a suspension of 6*
before g the 5, and therefore, the chord at the beginning has
the meaning of c''; the effect of an empty fifth, as a chordsubstitution, disappears

when

disguised as a suspension: c

a^.

22

SIMPLE COUNTERPOINT.

I.

therefore,

a dissonance in the cloak of a consonance. But

c, because it appears in place of

is

as seventh to the prime

c?%

the stationary

c,

may be

overlooked; and as a proof of

this,

consider the passage as written in three parts:

R=|:
i^zl

36.

Perhaps
chord,

it is

in that

preferable to conceive of a^ g as sub-dominant

being a suspension of the

the a^

way we

VI

before VII, and

obtain a six-four chord for the second

measure

--^-

i^z
37.

A'li

-^
The

passing-note g^ which appears in the fifth measure on

the accented beat, has an excellent effect as a dissonance in
the cloak of a consonance,
tions

for

c'

by means of

Las
-^

third)

in the

Perhaps the substitu-

measure next to the

last,

is

questionable, although the harshness of the sound of the ninth

is

made

milder, since the cantus firmus with

its

l)^,

in

union

with the counterpoint, only appears as an exchange of voices,

thus

38.

PEggE|:
It

may be

disregarded, because in practical composition

tlie

completive voice-parts will often be of assistance in overcoming

just such difficulties.
j)oint in

longer notes

The value and

is

necessity of writing counter-

self-evident;

it

is

not only the natui'al

preparatory school for the writing, later on, of a counterpoint

to a

theme and

its

augmentation, but also

it

is

indispensable

 3.

UNEQUAL COUNTERPOINT

IN

LONGER NOTES.

23

which the bass

voice,

as also certain middle voices (as the horns in symphonic

movewould

in the ordinary polyplionic composition in

ments), which readily progress in notes of longer value,

have a disagreeable

effect

unless well thought out by counter-

point.

To

write

a counterpoint in whole notes against the second

cantus firmus (B)

is

easy, since the half notes

on the up-beats

are mostly harmonic chord-tones and passing-notes:

C.

f.

39.

NB.

<;

-s>

gtfi^

Cpt

In

spite

of the

:*^

empty

fifths,

perhaps, in the next to the

measure, h would be preferable to a\ and at the close,

last

might be better to go to
free composition

voice (the theme)

instead of g^.

If

it

we were considering

and not an exercise, an alteration in the upper

would cause a more excellent progression of

the counterpoint in the cadence:

--1:

m:
^-\zi40.

H
This counterpoint readily inverts;

Cpt

4L

C.f.

afa^ ^

fc

fs
\

x--

g- ^

-^

Problem 3 Two-part writing, one note against three.

For this purpose, an example in triple measure is necessary,
and without explanations we add a counterpoint note-against:

note:


24

SIMPLE COUNTERPOINT.

I.

C.
C.

^-t

f,

ti^

k ^ -i-J-J-^

T^-#-

yvn

aVii

42.

-.-H--^

-^-

Cpt.

;^i^^is^^ii^

counterpoint in

(change the harmonies

C.

e'

dotted

notes would

half

instead of a

Vn,

H:
^-#-

i;:#-

43.

only slightly

in the second measure)

3ES

C.f.

<^

-!

-ffii

9fct

Cpt.

^^^^1

:zt:
i::

Another problem related to this one, and of similar preparatory value for more compHcated contrapuntal work, consists of
Although
writing one note against two in triple (^4) measure.
such a counterpoint, being partly syncopated, "v\all be made more
intelligible by exercises further on, nevertheless an example

may be accomplished in connection with the

may now follow, because our study of
has akeady made us familiar with syncopation:

showing how

it

present cantus firmus

figuration

Problem

4:

One note against two

in triple (Y4)

measure.

C.
C.

^^Sii^^^

f.

44.

'^a

<(

^-0
"e

aVii

r^.

^^^fgE^f^ Mr^
A

Cpt.

-fS'^IT

t:

As

in all syncopations^ so also in this,

the syncopation inserts, wherever possible,

it

may
a

be seen that

consonant tone

upon the unaccented and a dissonant tone upon the accented

part of the measure, as follows:
45.

'^

Ill

^g
,:^-.

=^

VI

m*

:tifc?W
:|^|fe[^E^

THEEE, FOUR AND SIX NOTES AGAINST ONE. 25

TAVO,

4.

The Dorian
point to

false-relation f^

could be written as a counter-

the last measure regardless of the

f^.

counterpoint in double, triple

is,

or quadruple movement,

written in two or three notes of the next smaller value

and

(the second

to

= HI^)

TWO, THREE, FOUR AND SIX NOTES AGAINST ONE.

4.

that

sixth [f^

in the next to

third order of older text-books) does not appear

be different from the invention of a counter-voice in figura-

tion;

we must bear

not predetermined,
there

figurative values increase,

possibilities, just

contrapuntal work with longer notes, the cadential

in the

as

however, that the harmonies are

a gradual increase of cadential

also

is

in mind^

and that as the

and harmony substitutions were reduced in number.

In a counterpoint using shorter note values, a note may be
As these
given two or three harmonic meanings in succession.

possibilities

figurative

values increase,

motives from notes

of

it

becomes more necessary to make

lesser value

writing the melody, for thereby

bilities

(subdivision motives)

when

new

possi-

we gain a number

Consequently, to simply take the counterpoint

the exercises.

already sketched note-against-note, and work

tion,

of

which may be best employed as the principal object of

which would superficially entwine

it

out by a figura-

in the following

it

man-

ner, is insufficient:

Problem

5:

Two-part writing, two notes against one.

A.
C.

f.

;^^^=l^
&.

-t-

-s^-

tr-

Cpt.

46,

l^^
for

-m

-*^

h [^FPP
^^1

26

SIMPLE COUNTERPOINT.

I.

'^

'iS-.

!=t:

fe^^^

6|
An

such a purpose

exercise for

means

--^

=P=

(Su

of varying

is

unnecessary because a

a theme in close bounds formerly practised

("Neue Schule der Melodik"') was made use of in this case.

Our object noiv is to invent a free voice-^part in quarter notes
against another voice-part in half notes.

We

must therefore be fully conscious of the increased flexiprogression and out of this consciousness invent the
new voice, producing at the same time, that contrast which
ensued when we wrote a counterpoint in equal notes and also
bility of

in that in notes twice

rather than

fetters

as long, but with a further removal of

with

After these
problem in better

increased restrictions.

suggestions of richer means,

we

can solve the

style:

A.
C.

tl2i=^

f.

Cpt.

6>

An

47.

^^

EE
Ptt"^'

M-

^^Of

Of

^r^--

\^-

"We have given a structure

this case,

is

easily

understood

to
(in

the
the 1

counterpoint wliich, in

measui'cs an ascent

and a return to f in measures 58). The quarter

note movement is not an arbitrarily vacillating one but the
from f

/',

fundamental motive

i^ can be

clearly followed.

TWO, THREE, FOUR AND SIX NOTES AGAINST ONE. 27

5.

For a second example, we

will

employ the counterpoint written

(see No. 25), and write

note-against-note to cantus firmus

an upper voice

in quarter notes against it:

^^^^

Cpt.

'

t:

/vn

48.

C.

--i^-

ifc^
Ili^^E^^

f.

-f^

fe^i^

^^^^^
Ogvii*

fvn

l-I^

=1:
:t:

glance at the old cantus firmus (No. 19) teaches us that

a newly-invented voice-part and not a mechanical figura-

this is

The

tion.

:=1:

:^

:p:

~SL

f\'U

characteristic motive is:

^
I

and

its

in-

version:

And

also for the first time

we have made use

of

rests,

both at the beginning of the sentence and also at the beginning

of the second section. They represent measure-motives in both
cases.

the

No

many

further explanations are necessary; however, observe

dissonances in the cloak of consonances:

II
IV
V
fi>
49.

ta

tet

3
i^

of

^^

^^

Our second cantus firmus (B) may serve

the method of writing a counterpoint three
Problem

6:

vn>
as

an

illustration

notes against one

Two-part writing, three notes against one.

B.
C.

f.

fi
o^*f

50.

Cpt,

(=a6)

28

SIMPLE COUNTERPOINT.

I.

Wt

-jt:

fAl

I'^i

'^^

-^0-

-^0-

2^

-I

g)-

-^-

67 e+

gft=^EpgE5E^^Ej=|Eg;E^=E|E^^
Here

The

also the counterpoint progresses

principal motive

by a harmonious plan.

and

is:

its

inversion;

the

voice-part begins on a high pitch, descends to the lower octave

if^-A] by means of two-measure imitations and then projects

upward.

itself

In order to write an example of counterpoint with four notes

we select the counterpoint
the strong one from
which was written note-against-note, and let it be
No. 31

against one,

the lower voice-part:

Problem

7:

Two-part writing, four notes against one

a=^^^p^^^

:^*i;ii=

Cpt.

h*!*^0-9

'

51.

C.

f.

'^m

i?-

iEf

__|S.

jH^jSj^

^^^^^^

2z:

ife

 4.

TWO, THREE, FOUR AND SIX NOTES A&AINST ONE. 29

ii=3^

eW;

?-

^^'

**s

pft
Finally,

we

give an example of six notes against one,

will

and the counteqioint

we wrote

in its

to cantus firmus

will serve us as

Problem

8:

improved form (Nos. 39 40], which

in the sentence note-against-note,

a cantus firmus:

Two-part writing, six notes against one.

B.

^i^fe^^i^^^

11^=^
9^

iT^-^^.

-1^tr-

About this there is nothing special to be said; only let it

be remarked that when the cantus firmus is a sequence, the
counterpoint can be written sequentially, but is not recommended
because this manner of treatment is too stereotyped. It could
be sketched so as to have an up-beat before the cantus firmus
begins, thus:
53.

B.

iA

^E

^-^a<

4^-^^k^

-0-^0-

il-i

-^^T^-

30

SIMPLE COUNTERPOINT.

I-

5.

As

SYNCOPATION. COUNTERPOINT USING TRIPLETS,

DUOLETS, QUATOLETS AND QUINTOLETS.

from irregular conThat counterpoint -which in

particular is called syncopated (the fourth order by the older
terminology) places a counterpoint moving in notes of equal
is

syncopation arises

well-knowii,

traction of notes of lesser value.

but with

value

delayed entrance

in antithesis to

lirmus \sTitten in notes of equal value.

a cantus

Since dissonant tones

require diatonic progression (by seconds) only two kinds of

harmonic relationships are possible in syncopated counterpoint
contrappunto alia zoppa, "hobbhng counterpoint"); the note tied
over must either be a dissonance with a diatonic i^rogression

a consonance which can then progress

as

its

l)y

leap to another consonant tone (harmonic chord-tone).

resolution, or

it is

One

wiUingly adheres to a syncopated form of counterpoint for a

time,

and

in short exercises maintains the idea

with strictness and persistency.

The

principle involved being

cases of necessity

to

It

of

available

up the syncopations

these exercises to the cantus firmi

now

therefore,

a rh}i:hmical one,

make use

repetitions than to give

is,

to each cantus firmus in the

add, in similar manner, a large

a mannerism.
it is

better in

syncopated noteentu-ely.

We

join

we have already used; and

Appendix, the student must
of exercises in this fonn

number

of wi'iting as a foundation for his futui-e work.

firmus (A, No. 19),

of syncopation

when a counterpoint

The

first

cantus

written by sjTicopation

^contraction of the unaccented -accented motives through subdivisions of the first degree),

Problem
A.
c.

f.

54.

<

9:

is

added

to

it,

would appear thus:

Two-part writing, syncopated.

NB.

 5.

SYNCOPATION.

COUNTERPOINT USING TRIPLETS,

^--

Is

-^^--^^

Jd2
sSSe^

At

31

&c.

all

:^=f=l=j^

--=1=

the places where dissonance-resolution was impossible

were shortened by means

for the syncopation, the chord-tones

and

of rests,

good

to

upon the natural

because

effect^

places

all

marked*

caesura (motive articulation, partition).

fall

Notice

the dissojiances in the cloak of consonances/

^
The empty

fifth

ni

effect as

note-against-note

,1^ J,
xir' VIII

neither of so

is

when it occurs
or when there

offensive,

nor of

so

in simple contrapuntal wTiting

no syncopation upon the

is

a completion of the harmonic

accented part of the measure;

effect is

^m

lyj as a haimony substitution in synco-

pated forms of writing,

empty an

VI*

always expected upon the unaccented beat:

56.

E^SS
-^

To syncopated forms
also those in

of

counterpoint

belong

apparently

which three notes are written against two notes,

or with two notes written against three notes; the second note
of the triplet always enters before the second note of the duolet

and progresses further

9

^\

after that one enters:

'-~^\

0*

'I

0_

as

The

0'

true meaning of the triplet would be contradicted

if

it

should be conceived as arising fi-om syncopation and the counter-

32

I.

SEVIPLE COUNTERPOINT.

point be treated in a con-esponding manner.

As

sliown in the

book "DjTiamik and Agogik" (p. 122), it is unjustifiable to

measui'e the three members which form the triplet by the two
members of the duolet; or to measure the two members which
form the duolet by the three members of the triplet, understanding the same as rhythmical deviations; but on the contrary,
a retura should be made to the next unit, and with this as a
starting-point, conceive of both as simultaneously existing and
From
equally justifiable didsions into two and three parts.
this
for
this amended definition there results a new conception
form of counterpoint, namely, that the second note of the triplet
need not be so carefully prepared as a dissonance, but for the
sake of a smoother flowing counterj^oint, one places the introduction of passing-notes, dissonant resolutions or harmonic chordtones upon the second beat.
clear.

For a cantus firmus we

our

Avritten to

first

practical

effort

^vill

make

it

will use the counterpoint ;from 47)

cantus firmus (A) two notes against one:

Problem 10: Two-part writing, three notes against two.

A.
Cpt.

57.

C.

f.

85^E

-Ha-5

^-

|a5.^^E3^EH
Since

all

the motives liave masculine endings,

two unaccented (juarter notes of the

most cases the second quarter note
chord-tone

(a)

brought in by the

third one a passing-note

(c)

is

(b'

the
;

in

a passing-note to the

quarter note; sometimes

tliird

both quarter notes are chord-tones

we gain

triplet for the up-beat

and once the

only three tunes

first

note

is

is

the

an accented

SYNCOPATION. COUNTERPOINT USING TRIPLETS,

5.

passing-note, the second one overlaps,

lution
08.

the third one

is

33

&c.

a reso-

(d):

a)

-^-.-+-f-

-H-*-

^^^ 3^P
The

b)

t^

-#-+4

S-f-^

3R

ti2^

Utt

d)66- 7
##-

the writing of a duolet against a triplet

opposite,

is

similar to the counterpoint in longer values written to the above

exercise

(No. 44) in

^'

notes in triple measure,

guished from that by the fact that

This distinction

is

more

seen

clearly

but

distin-

is

not really syncopated.

it is

when we use

the

same

cantus firmus as a foundation for an example:

Problem 11: Two-part writing, two notes against

three.

C.
:^-

C.

:1:
;^-

f.

a^ii

69.

e7

Cpt.

VI

VI

4=*

^^Et

aTii

=t

9i

In
effect,

this

example passing-notes are possible and of excellent

while in that one they had to be avoided, since to remain

stationary would be foreign to their nature;

is

in this one there

a new tone at the beginning of each measure, while in that

one there was a syncopation at the beginning of each second

measure. Although there is little demand in practical writing,
nevertheless for the sake of greater completeness,

exercises in

counterpoint with four notes against three, three notes against

four,

and

five

notes against two,

RiEMANN, Counterpoint.

three or four notes

3

may be

34

I.

We

attempted.

SIMPLE COUNTERPOINT.
model-example the cantus firmi
former exercises, but first

select for our

and the counterpoints,

respectively, of

which belongs

of all the counterpoint of the cantus firmus (A)

to

No.

57, to

be written four notes against three:

Problem 12: Two-part writing, four notes against

A.

'

three.

'

C.

^-

f.

d^

60.

-w

'-T

3E:

f^
:^

=*

^^^^^

fe=i=trF

cp'.

-^

A_t?-

iw=r-

B^Ei

-^

It

would be going too much into

retically

in

-r-^- -I

detail to

each particular instance

4~#

the

^J-^r

make

tonal

clear theo-

combinations

which occur

in all such formations, as for example, the counter-

point in the

first

measure brings

^r

as a passing-note while

r/7

remains stationary as a chord-tone, and the d'^ below, as a chordtone, akeady enters during the duration of the passing-tone g\
it

is

sufficient

that there

be no

doubt concerning the clear

exemphfication of the harmony, and particularly regarding the

entrances of the voices

found
J

jyj

in

and

in

conjunction with the principles

we

our exercises written note-against-note (avoidance of

J

1^1

etc.

upon the entrance

of

new harmonies) we
;

likewise ought to consider each of the two voices as though the

other voice were fixed, that

is,

the exercise written

four notes

against three appears at the same time as though written three


0.

SYNCOPATION. COUNTERPOINT USING TRIPLETS,

notes against one and four notes against one.

the entrance of

new harmonies

being clearly shown), whatever

If eveiything at

rightly arranged (the

is

35

&c.

harmony

produced by the two voices

is

(whether in the form of feminine endings or as up-beats to the

next following)
vidually

Melodik",

is

be considered for the voices indi-

chiefly to

the possibilities developed

(all

such as:

"Neue Schule der

in

plain, accented, leaping, false or deceptive

and

passing-notes, syncopations

Forbidden octaves and

addition to those faulty

anticipations are at one's disposal).

are strictly to be avoided;

fifths

and

in

which are clearly seen, one

hidden 'parallels slip in by means

parallels

must be upon one's guard

lest

of the chord figu?'ation (chord-Hke splitting-up of a melodically

developed voice-part). Formations that are )'eally faulty should
be distinguished from those that might be looked upon as only
doctrinally hyper-formations

for example:

some pedant might

storm against the octave parallels in the last measure of our

last exercise:

That

is

a great mistake; the three against four might be

arranged thus:
62.

w-p^r-ij?
or also in this way:

b^h
63.

3t

b)

>?~x
35^a^^

^5^-r
but however written,

it

^^i

IJ-

always presents the fact that the two

es

belong to different motives

is

a resolution of the suspension upon f

voice appears as

-z^^
-<$-:

in the first case, the

an anticipation

in the

(^

);

under voice

and the upper

second case.

But

since

such a syncopated splitting-up as this does not rightly belong

to the conception of this

form of counterpoint;

it is

3*

settled that

36

I.

SIMPLE COUNTERPOINT.
be understood as a counterpoint of

the under e

is

the upper

as a counterpoint to ^, and,

e'

to

woukl naturally only be conceived

The contrapuntal

c',

and

as a matter of fact,

in this meaning.

writing three notes

against four

may be

attempted upon the basis of the counterpoint (No. 51) belonging to

our second cantus firmus (B) which was invented for the problem
four notes against one:

Problem 13: Two-part writing, three notes against

four.

B.
C.

fi^^diS^^^

f.

64.

Cpt.

^te

-#-H^

V=^

k^

i~

3-

-I

II^^^J^^^E^^^^i
^^
mm
4
-i

0-

fc

L4-

There is notliing of importance to be said except that at

N. B. by means of a suspension of /"^ before g^ (third rf* fx,
as dissonance in the cloak of consonance), the empty effect of
:

the chord substitution

the two insertions,

g^"^

by means of

respectively, of

r**''

taken away.

is

and

b'^

Also

upon the eighth

rests with their

fundamentals in the bass, and the immediately

following

and octaves, are absolutely

fifths

faultless,

because

naturally the fundamental note of a chord represents the chord

the most clearly.

As

a cantus firmus for an exercise

five

notes

COUNTERPOINT USING TRIPLETS,

SYNCOPATION.

o.

&c.

37

against two, we choose the counterpoint (No. 59), which we

wrote for the problem, two notes against three, upon our third
cantus firmus (C):

Problem 14: Two-part writing,

five

notes against two.

Cpt.

C.

f.

65 { i=^Ef:

Cpt.

fete

PrFf-^-f-

I
^

-i^--

5S

-^

s?s

For an

i^^^^i^H

*f=^
^-

0-

(-

feigEpEl^feSfeg?

-bH#-

*E

E|3^i=5=J

:^35=tit^-ijJ.

exercise in five notes

against three

we

will use the

original third cantus firmus (C):

Problem 15: Two-part writing,

five

notes against three.

C.

=1=1:
C.

66.

f
{

-jzq^H=j^_

Cpt,

=1=1:

^-

f,

^-

+-^

g=^^=g=*=4

11^

38

I.

SIMPLE COUNTERPOINT.

^=t-

-^

_g,

-0-^

^^

^'

--^

^.

0-^-

'rAnd
four,

we

finally,

for a countrapimtal exercise five notes against

select the counterpoint developed

upon the

first

cantus

firmus (A) for the exercise (No. 60) four notes against three:

Problem

16: Two-part writing, five notes against foiir.

A.
5

S^

Cpt.

67.

C.

f.

=1-

li

^-0

simile

lt
-#--#-s-#-

-7--M-0-^-^

m^^^^^^^
fer

=:*
d

*-

?Eas3Easfefe^
>^:

ig^^

-*-ti^=

,S^^=EJ^J^i=S:
B

rfiz^zzi^

S^=-H

i^H

;eEH'r==B"""'*

The

6.

RHYTHMICAL FORMS OF COUNTERPOINT.

6.

RHYTH]\nCAL FORMS OF COUNTERPOINT.

various kinds of counterpoint

we have

39

studied hitherto,

place in antithesis to a given voice-part developed in notes of

equal length, another voice-part flowing smoothly either in notes

of equal length, or in notes longer or shorter in value

of the

The mastery

first.

flowing" voices

of the writing

"smoothly

of great j)ractical

but leads to a one-sided development of the powers

significance,

of formation

long as the voices conceived in this manner

so

are almost rhythmically indifferent.

a rhythmical formation.)
full

and

of extraordinary value

is

than those

these

of

{Syncopation, however,

we now

If

is

digress in order to bring to

value in our contrapuntal work those manifold effects induced

by the mixing

of long

and short note values

in which, indeed,
we must distinguish three

the essence of rhythm consists

chief forms for such exercises:

The cantus

a)

firmus

notes

in

of

equal value while the

counterpoint develops rhythmical motives.

The cantus

b)

counterpoint
c)

is

has

firmus

characteristic

Both the cantus firmus and the counterpoint

cally developed but each in a different

The
if

rhythm

first

but

the

in notes of equal value.

combination

the counterpoint

the

is

are rhythmi-

manner.

simplest,

develops a rhythmical

and particularly
motive

of

such

so,

upon each stress-point only, the cantus firmus always

brings a new tone.
According as the motive contains two, three or several tones,

kind, that

form of counterpoint hardly

this

third species (two, three or

differs

more notes
new means

from the second or

of equal length against

one) but the charm in this

of effect shows itself to
be so great, that even the simple note repetition being rhythmical
itself, possesses a liveher interest.
The following are the most
;

important formations adapted for rhythmical development:

A. In duple measure:
1)

Iambic dotted rhythm,

2)

Anapaest
two

(division

parts),

^Ij
I

3)

of the

J.

unaccented quarter note into

SyncojMted rhythm, j J^]^^

40

SEVIPLE COUNTERPOINT.

I.

B. In triple measure:
4)

Iambus (contraction
or resolved into

5)

As

/!'

J J

beats), j

resolved

in

also

J.

j^'
|

J-

Syncopated rhythm, J J ;J_^,^,

or, J

j"^^'

already said, these are only the most important forms;

number

their

,M

rhythm,

form,
6)

an anapaestic form,

dotted

Atiapaestic

and second

of the first

endings

(e.

divisions

is

g.

considerably increased by those having feminine

/J

J j^ or 4

and contractions

(e.

^^ etc.);
g.

4 JT^

or by further sub-

or
J ui

etc.

^-^

thorough examination and practice of the principal forms will

be

sufficient,

stimulate the faculty of imagination

at least, to

for rhythmical possibilities.

In addition to that which

concerns the dotted rhythm in the duple measure

the iambus in the triple measure,

it

is

{j^
\

chiefly
J.),

and

necessary to say, that

comparison with the counterpoint in equal notes written 2:1,

that feminine endings (resolutions of suspensions, accented

in

passing-notes

etc.)

are more difficult to be understood because

they deviate from the fundamental rhythm; unaccented, leaping

and

false

passing-notes,

as also

anticipations,

are

more

easily

understood than the writing in equal notes, because the up-beat

relationsliip of the unaccented note is made clearer by the
lengthened accented note.

Making use

of the counterpoint (No. 31) invented note-against-

note upon our second cantus firmus

(B),

we write an

exercise

exemplifying two rhythms:

Problem 17: Two-part writing, counterpoint with exemplification of

Cpt.a.

68.

Cpt.b.

-tfi

iambic motives.

rt

RHYTHMICAL FORMS OF COUNTERPOINT.

6.

^'

I5=5t=

*:15=:t
#T

5^=5^1^-^

#=

gft^
"We

1^

:[=:

will also test the

41

two anapaestic rhythms

(2

J j

J and

J
J] ^J gi'^iiig ail example in which the counterpoint
(No. 25), which was written note-against-note upon the first
^

cantus firmus (A)

is

used as a foundation:

Problem 18: Two-part writing, counterpoint employing

anapaestic motives.
A.

Cpt.

&

a.

C.
69.

--^

r^-

^^^5

q^--*

--

i=

-^^'

f.

-fS-

ffip

Cptb.

,^

-^^

^^=^

-*

^l-

^
ste ^
S^^S^
S
ai^^:^^.^

^ hJ^_i_*:

as^

i^

* I--N:

te^

i^:=h=t;^

5tei

1=^5^

:^=i

:t=:::

-r

*^

TT'-ti-^

-0^^-0-

^-

^-^^^l-

3^&
I

^-#-

1'

afvjv

42

I.

SIMPLE COUNTERPOINT.

Also an example of syncopated counterpoint having three

and four notes against one may now be given using the counterpoint (Nos. 39

40]

written to the second

cantus firmus (B) as

basis:

Problem 19: Two-part writing, counterpoint

in synco-

pated motives.
B.
Cpt.

70.

^^^m
fee^

Cpt.b.

-^m^^^^^x
'm-

a^EE

Only one thing

:Eff

is

to

be particularly observed, which is, that

is to be adopted by the

diatonic movement, as far as possible,

motive, because then the syncopation unfolds

its

and the individual tone passes from the meaning

whole charm,
of a resolution

into that of a suspension, while the leaps are judiciously divided

between the motives.

figuration of a chord

But, of course, syncopation within the

is

also possible, as all the

rhythms them-

selves which we have examined arc capable of being developed

as mere tone-repetitions of the counterpoint written note-against-

note:
71.

i=|==:u^ir=.

RHYTHIVIICAL FORMS OF COUNTERPOINT.

6.

2^

sound monotonous whenever

(a and
b), there will be more charming formations occasioned whenever
the up-beat shows the next succeeding harmony by anticipation
(c).
One's efforts are amply repaid, if these thoughts being
carefully considered one writes an entii*e example in which
In case such rhythmical

effects

they take the up-heat from the preceding point-of-stress

anticipations

shall occur in the counterpoint;

repeating the same tone,

we add an

instead of thrice

auxiliary note:

Problem 20: Two-part writing, counterpoint with continued employment of anticipations.

A.
Cpt.

.to=^p:r:
S
I ^

-1-^'ii

-0-

^=

K-**|-

72.
C.

f.

=1:

l^^^s^^

S^

T^Fg*-f

\j

-^-A -=^

:trff=t=-

S^

==H3s5=~

W^W-

p&

S=^:

j^j
-^L-d:

w^.

Our
interest

ZSL.

^=S
-A--

IZSt

another

exercises gain

when we do not

appearance

1^1

and an increased

write the rhythm of the counterpoint

opposite each note of the cantus firmus, but in antithesis to

we place a motive

in

notes, respectively,

of the

equal notes, consisting of two

firmus adapted for this

cantus firmus.

it

or three

Of course a cantus
work must be

kind of contrapuntal

44

I.

SBIPLE COUNTERPOINT.

somewhat animated beforehand,

for

it

no longer possible to

is

regard any one note of the same as the point-of-stress of the

motive.

We

choose our third cantus finnus (C) as an example

of a counterpoint with the motive J^

Problem 21

J^

J.

Tvsro-part writing, a counterpoint bringing a

rhythmical motive against each measure-motive of the cantus

firmus.

C.

C.

f.

'i

^'

73.

^-0

Cpt.

#-r-q=^^jMr--Fh^

v=^

^t:=t=Ut

nn

"

-Ji=xi

^E^EE^EEE;iE^EiEEB^iE\,^^^

For another example, we select the counterpoint developed

upon the first cantus firmus (A) in the exercise (No. 48) written
two notes against one, and the rh)i;hm

C.

^'.

^1^
|

q^*=
idEz:

tel=t=-.=i'=ti*

f.

is

74.

Cpt.

^U*^l-t^

EP-.

^0 ^

- -T*

^r^

53:

^j

Hr-*'^

>-*"

^^^^^^^^^^^^
_^^^^
i^^^"^^j^
i^g

izizz:

 7.

RHYTHMICAL FORMS OF THE CANTUS FIRMUS.

7.

RHYTHMICAL FORMS OF THE CANTUS FIRMUS.

We

now

reverse our problem,

and

to a cantus firmiis

45

which

we write a counter-voice in notes

such a manner that the counterpoint brings

contains a positive rhythm

of equal value,

in

a new note upon the point-of-stress of each motive of the cantus

firmus.
For this purpose new cantus firmi are required.

Problem 22: Two-part writing. Counterpoint in notes of

equal value placed in antithesis to each, motive of the cantus firmus written in rhythmical form.
D.

Cpt
76.

C.

f.

,;

aiggggggp
After solving the preceding problems, these new ones possess

no

difficulties

counterpoint,

for the

correct

writing

whether with two,

of

three

smoothly

flowing

or four notes against

each motive of a cantus firmus rhythmically constructed:

Problem 23; Two-part writing. Counterpoint in notes of

equal value; two, three or four notes against each motive
of the cantus firmus, which is rhythmically constructed.
D.

'^-

C.

f.

77.

^-^

-f"-^-

46

I.

SBIPLE COUNTERPOrN'T.

E.

i+n-2-- -

78.

C.

f.

f.

^"1-

<

i^^^-^gpi^jggpg^g^D.

C.

^^

Cpt.

^z:^z:U=5t=
^-*

-#--

:p=l:p
-^

3^J-t

79.

=]=

Cpt.

^=S^
lp5E^
^3:pff>=?^ fp=^^

S^itS^

S^

Cpt.
80.

C.

f.

fl*i^^^

r^ES^^g^
SifeE^-BEeEfE^
Throughout these exercises there is nothing to be explained
is much that must be practised.
The natural musical
instinct can here display its whole faculty in the avoidance of
faulty parallels and ugly tonal effects.
but there

8.

CANTUS FIRMUS AND COUNTERPOINT DEVELOPED

RHYTHMICALLY THROUGHOUT.

Before we can give the most unconstrained rh)i,hmical forms

to the counterpoint,

are stereotyped

and

we must busy
similar to

ourselves with those which

those in our previous practice,

namely, the development of a pregnant rhythm in both the

cantus firmus and the counterpoint.
cal pairs thus

The most

amalgamated are complemental

of the rhythmi-

in character, that

>

8.

CANTUS FIRMUS AND COUNTERPOINT

&c.

47

they usually supplement one another in such a manner that

is,

their union

produces a smooth,

lesser value.

continuous motion in notes of

simplest complemental rhythms * of this kind

The

are

J
4

J
\

J-

* *

&c.

'

&c

lull

4-

hi

M * * '

^L-U

&c.

Our

fourth

cantus firmus (D)

could

have a counterpoint

written with a complemental form of rhythm as follows:

Problem 24: Two-part writing.

counterpoint developing

a complemental rhythm throughout:

^
te
&=*

D.
C.

f.

81.

cpt.

^
z:

-^-i-*-

si"5^^3:

?-^
^^--^

i=^:

t.-

or without rests:

S=*g^EEE|^gEjE^|ElE3EE^|

48

SIMPLE COUNTERPOINT.

I.

m
^-

The

fifth

in triple

I-

|^=J5z=):

cantus firmus (E)

{fj

is

t^

*- q*

also adapted for similar treatment

measure:

Cpt.

83.

C.

f.

fl^fa

iil

-*--

X~

-^--

9.

FLORID COUNTERPOINT.

If we now strip off the burdensome fetter of a monotonous

and perfunctory development of a fixed rhj-thmical form and

give the greatest possible freedom of rhythmical development to

the counterpoint, which

may now be

written in notes of equal

value or partly in notes of longer or shorter value, while also

introducing the most manifold

scattered here and there,

forms of rhythm,

rests

haustible fullness of tonal effect to the cantus firmus.

the

counterpoints

written

the counterpoint to our

idea of this:

being

such a counterpoint grants an inexnote-against-note

first

(No. 25)

cantus firmus (A)

may

Some

of

against
give

an


9.

FLORID COUNTERPOINT.

Problem 25: Two-part writing.

49

florid counterpoint in

antithesis to a cantus firmus in equal note values.

a)

b)

Cpt.

Allegro moderato.

Adagio.

P^- J

rs

9-

r*i

J 7 f T *
FFi= -#?^

'
I

dim.

85. i
C.

f.

m$EE

:6
!^

&

;te

r -J-4-

is-r^-

5#

ea--;^ '^
*-

:i-'

:#b#-

sf
dim.

g
;^r|y-f

tt^

RiEMANN, Counterpoint.

-.HiSL.

-l-^r-l-t


50

I.

SIMPLE COUNTERPOINT.

Sr=3=
A.

c)

Vivace.

6^i=

Cpt.

m^g3g^;tTgj^3^^g
-

86.

C.

JsS

f.

|fi

-#

7^^~

:i=2t

^^i^^^^^

-m0.
y-*
H-#1

1-

-fs'

A.

s>-

d)

Scherzando.

&-^^
112=4

Cpt.

-^

^-^ =3=3=

-^

=i=^=

87. {

C.

f.

jh|^
--Hi^^

iE^^

^3^g3^i^

-#-

-*- -J2^

EE
l^f^

f^S^:
a^^^^r

E^^ JUJ^EEJ
i=t^=l=^

-i-=j=3

Also the counterpoint,

of cantus firmus

examples:

B,

will

=1=

-s^-

Avritten one note against two notes

answer for other contrapuntal model-

 9.

B.

^gjT-

f.

^^EEj:

WH=j=^^j=)=3
f^^

^
C.

-^

i.

i^.
4

-A

-^^

B.

89.

-^

^^ ^^

^
{

i.

^^^SE^^^

Cpt.

51

Moderate.

Wf^ni

Cpt.

C.

e)

FLORID COUNTEEPOINT.

i\

Scherzando.

/V f ^ #-#H^
I=it=4:
SBiE^

'^Wl

'

XX

.^

^Jte

f.

iA
Hse:^

-i=?=

Se^^^

^^
B.

Cpt.

ff)

tt

Cantabile.
---r=^

a-^

T-0 m P

90. <

-(5^
C.

f.

4*

52

THE &HEATEST FREEDOM OF INVENTION.

10.

is

sketched, that the position of the accented measure

fixed upon;

and

infallibly

may be

only then that the musical fancy can work

is

it

53

join a counterpoint to a cantus firmus in a

homo-

geneous manner.

CANTUS FIR 10. THE GREATEST FREEDOM OF INVENTION.

MUS INTRODUCING A LARGE NUMBER OF MOTTV^S, AND THE
COUNTERPOINT DEVELOPED WITHOUT RESTRICTION.
Something that strongly reminded us of the school-room clung
the continuous motion in notes of
equal length, as also the persistent maintenance of a single

to the preceding exercises;

rhythm, are always restrictions, even though they are of com-

mon

occurrence in free composition and do not alone belong

For

to school-tasks.

instance,

consider the last

the "Eroica" s}Tnphony in wliich the counterpoint,

movement of
now flowing

smoothly in notes of equal value, or again developing a persistently

maintained rhythm,

simple theme, the

first

is

written

quarter of wliich

in
is

antithesis
in notes

to

the

of equal

Everywhere there are such compositions [e. g. the last

of the fourth symphony by Brahms) "worked" in such
a manner, that if the laity takes no particular interest in the
"making" (facture), it is equally certain that the technically-

length.

movement

trained musician does not; consequently,

we are again reminded

of the school-room!

At

last

we have reached

be stripped
ally

the point where the last fetter can

and pass onward

off,

to a cantus firmus rhjihmic-

formed with the greatest freedom, and therefore to

counterpoint.

note, a warning

dependent

when

If

form

writing

regarding
of

counterpoint

contrary

writing was

motion as

necessary,

it

florid

note-against-

the most inmust now be

said emphatically as a warning to the student that the counterjwiiit

must not

degenerate into a simple^ 7'hythmical^ complement-

ed voice against the cantus

firmus.

The counterpoint should

be independent of the cantus firmus and go its own way within

the imposed harmonic and melodic conditions induced by the
cantus firmus; on the one hand, not joining the melodic and

rhythmical motion of the cantus firmus, nor, on the other hand,

anxiously fearing to

the cantus firmus.

move

It

is

in melodic

and rhythmical union with

assured that the counterpoint need not

54

SBIPLE COUNTEEPOINT.

I.

be syncopated when the cantus firmus is syncopated, nor need

it be silent when the cantus j&rmus pauses, or, in other words,
gasps; because the proper use of these opportunities strongly
develops the counter

we proceed

the exercises,

to

voices,

and causes them

to

stand

out

In order to give the greatest pedagogical value

independently.

to

work upon the

basis

of the

previous cantus firmus.

For

this

purpose, counterpoint c from page 50

as the cantus firmus.

the

first

phrase,

made

perceptible,

express the

first

selected

could not be omitted without increasing the

it

of intelligibihty;

difficulty

is

Since a rest appears at the beginning of

and so

as a matter of course,
it is

it

must be

the duty of the counterpoint to

measure:

Problem 26: Two-part writing.

free rhythmical

form

for both voice-parts.

--^

-^
91.

S^jEEEEg^^EaEj^^^^E^^^SE^
f
IP^

-F #ii=

tE
-<r

I&
ga^
teE

f=^-^^^^^-

^mm

>

:&=t

Perhaps the second phrase could be improved; the counterpoint revolves strikingly about a^*.
wliich the

In

free

composition,

in

cantus finuns need not be kept inviolate, a slight

change would make the work simpler,

viz.

a lengthening of

f'^:

10.

THE GEEATEST FREEDOM OF INVENTION.

55

:f=P=i
92.

-#-

a^
b#-

It ought to be emphatically said that there

a possibility

is

by which the theme can be improved in order that as a result

The counterpoint, by
the counterpoint may seem to be freer.
retaining the note values

of

can also

the cantus firmus,

be

improved
93.

which

SEE

n^

calls for the observation that

of this phrase

*-

then the rhythmical motive

[^\ J.) agrees with that of the last one, and

This counter-

the counterpoint gains in unity as a consequence.

point,

which we have now invented,

is

adapted for inversion

(shifting of the higher voice to the lower octave

Cpt.
94.

C.

f.

|g^^^

^^^

fer
IS

:-iz

-A-

3#^

-V

tffe

-h-J^

---

--^

=t^

:tJ=ti=:|;^b^

S5=^=E3

--^

V-

=5^

^^-

aS'

vice versa)

i^^

T^

--#-

-^p-#w=-^

f-

and

56

I.

SiarPLE COUNTERPOINT.

"We now make use of counterpoint

g^

page 51, developed to

cantus fimius B, as the basis of a second exercise:

B.

-0

^-#-

Cpt.

Xr3^^

1(7")

This counterpoint

rather

is

weak but nevertheless

the character (cantabile) of the cantus firnius.

it

preserves

In three places,

two voices happen to make susjiensions simultaneously; they

are more intelligible because one voice resolves upon the second
eighth note.
This counterpoint is adapted for inversion in the
octave
B.
C.

f.

^""^^

te^

--=-r--

-"
*

-^*

^t-#-t-j-+-

96.

Cpt.

i=^

S3^E?=35

'^^m

J^^=*i-
=ir.

These exercises are

to be

^-^r

^^

:=}=
--^-*

reckoned among the most import-

ant ones, but lack of room causes us to forego the working-out

of

further exercises

in

this

manner:

however, we

advise

the

11.

THEEE-PART COUNTERPOrNT.

57

student to remain at this point for a long time, and to utilize

as cantus firmi all the manifold counterpoints invented according
to the directions given in the preceding paragraphs.

11.

THREE-PABT COUNTERPOINT.

Quickness in the invention of rhythmically independent voices,

shall unfold themselves well melodically, can only be

which

acquired by long-continued jiractice in the tvriting of tivo contra-puntal parts

wliich means that one voice must be written
^

and

after its completion the second voice

is

to be added.

Of

course one reserves for one's self the privilege of maldng such
alte7'ations in the fwst voice-part as tcill favor the better developthe second voice-part.
To the two-part exercises already written, we add a third voice and thus construct three-

ment of

part counterpoint;

we begin by adding a new contrapuntal

written note-against-note,

to the two-part exercises which

p^vrt

were

also written note-against-note:

Problem 27
and add

note,

To write

it

third voice-part, note-against-

to our first exercise

in two-part writing,

note-against-note
A.

97.
C.

1.

f.

Cpt.

2. Cpt.

A
NB.)

slight alteration [b in jjlace of d^)^ in the counterpoint (at

in the thii-d

measure from the end, would enhance the

of the whole exercise.

The new

the two others but nevertheless

98.

effect

part has not the naturalness of

is

practicable as an upper voice

58

I.

SBIPLE COUNTERPOINT.

The tied note f^ (measures 6 7), -wliich would have been

avoided in two-part writing note-against-note is of no conse,

quence; counterpoint, however, does not desire these

were fundamental in harmony, but

tries to

to give life to the individual voices.

We

second cantus firmus and

C.

2.

now make use

of the

counterpoint:

B.

99.

1.

its

which

ties,

avoid them in order

f.

wm

Cpt.

ISt

2^

S^

2L:^=t

-^

j^Es^^ap

Cpt.

Criticism

is

needless;

the parts are adapted for inversion;

B.

100.

,-G-Sr
2.

Cpt.

-tet^g
C.

1.

f.

Cpt.

^^^Sl

iifee

Another inversion:
101.

B.

1.

Cpt

2.

Cpt.

:fo;
'-1IS7

C.

f.

gg^pp^^^i

To the exercises written one

may add another part in longer

-,5'

note against two or

notes:

S^

tir=t=tliree,

i
we

 11.

THEEE-PAET COUNTERPOrNT.

Problem 28: To write

59

a third contrapuntal part to the

exercises written note-against-note belonging to problem 2.

C.

p
^^

yi^

^-

f.

Cpt.<

2.

(compare Nos

A.

102.

35 37).

~^J-

^^

is=:A

r-t:

_^_-_-^=-^t^^=^J?^^^-

,-^-

1-Cpt.(^g^

_^

a:.

^^

Or, with inversion of the voice-parts:

A.

103.

Cpt.
C. f.
2. Cpt.

1.

The

mis^

^t

^-fzr^e^

*s^

three voices cross one another several times, which

is

not recommended because the individuahty of the voices becomes

This manner of writing

obscured.

difference of tone-color,

e.

g.

faultless

is

when two

when

there

is

clarinets play the contra-

puntal parts and the cantus firmus

is played by an oboe or a
There could be a greater distance between the parts, viz.
the cantus firmus and the second counterpoint an octave deeper:

vioHn.

104.

Cpt.

2.

A.

'^-

:^^

\rc

(^

C.

1^

f.

Cpt.

1.

t9-

i^

:g=^ ^-

i^^

The third voice-part, when added in long notes to our

major model-example, would appear thus:
105.
1.

2.

Cpt.

Cpt,

uB.

t
Sfc^

is:

1
'-^

mm

3:

s>-

:d

C.

f.

g^ftEpE^^JEg^

-^i

Efef

60

I.

SIMPLE COUNTERPOINT.

with inversion of the voices:

B.

106.

C.
1.

.:*i_^_J_=L
f.

Cpt

^jgjgpjgg

:s2:

2. Cpt."-

The second counterpoint,

note-against-note,

i
to

our

third

cantus firmus (C) could be written thus:

107.
C.

2. Cpt.<

1.

f.

Cpt.

=1=:

-P

-p

0-

t-t-x-

:t=::=):

The two upper

-n

0-

3=q:

-^

P^:

=t=t

-\=t~

f-

-^

3=3J

t=t=:

voices

cannot be

the parallel fourths in measures 2

inverted,

become

because
parallel

then
fifths.

Several other inversions are practicable:

108.
C.

1.

2.

5^ W^
-

f.

Cpt.
Cpt.

ii

::|=T
#-

ii

II

-|i

f^^^

I
I

11.

THKEE-PART COUNTERPOINT.

m
Z

61

^'

r-

t-

L_|~
r-^r
1

Witli one note against three in two voice-parts

No. 43)

(to

Protolem 29: To write a third voice-part as a counterpoint,

note-against-note, to the exercises under problem 3.
109.

C.

^e^^

-0-^

-br-*-

It

2.

Opt.

1.

Opt.

-J

ElE

r-Ji

^--

--^

S
s>-'

inverted:
110.

C.

1.

Cpt.

2.

Cpt.

J^S
s^

f.

Also the exercise in

f=?He=

2/4

5i;

.^fcf^iS-.
C.

-^^^.A&
ii^

-J-

Efefe

notes in

=^=i=d=P

-hs^-

measure can be written

2/4

similarly with a second contrapuntal part in J.

Problem 30: To write a third voice-part in

notes.
2/4

notes to

the exercises belonging to problem 4.

111.
2.

Cpt.

C.

1.

C.

-^

-G>

t=-\=.

t-y

f.

Cpt.

*=^LtfE

rr^'

fc^Ft^=*

;ii

62

SEVIPLE COUNTERPOINT.

I.

To

the exercises in two parts, written two notes against one

(p. 26),

we may add a

third voice written, as far as possible, in

quarter notes by s}Ticopation

Problem 31

To write a

third voice-part

problem

to the exercises belonging to

112.

Cpt.

2.

C.

by syncopation

5.

f.

W^
II
<^

*--^ tr-

:t3p:

m
^ Iz^
ter=^'

-^'-

NB.

1.

Cpt.

^3^

i=^!^S^^i^^

^
Ia

~P

5?-

-i^

\&--

:!ia;

3#-r7~rEEfi
At NB.

can

point, because e^

take

1.

Cpt.

2.

Cpt.

d=4=^

the place of

somewhat

is

the second counterpoint.

113.

H"

The

^il

^5^^

r-^-

in the first counter-

e^

following

is

a practical inversion

M^.

4-4-

i=^

'T-r

li-

of a false-relation against e of

^'l^.S^=^^^^
mk^=^=^=^=^-

m
m

-#-

T^if

-rr

-o-

-^
-J

i^zi:

(ii-

^-


11.

THREE-PART COUNTERPOINT.

Also our second exercise

(p.

27)

may be made

-&^m^^^^.

Cpt,

three-voiced:

^*

114.
1.

63

-A^

tr-

Pi

^^~^

-#?2. Cpt.<

NB.

.IS
ifttp

i
'-(2-

C.

f.

Sifefc

[^^^

tut

-*

-A#-

-i^zzzlziM:

^=s^=^-=^

NB

is
as
15^
ffip

first

fourth measure
ness,

counterpoint
a' in

inversion

is

obtained by having

e'

instead of

would be:

A.

115.

"&
1.

altered two notes: in the

place of c^\ in order to gain more natural-

while in the next to the last measure,

cadence

C.

-ri-

we have

L-^- r:^.

-4-

a more effective

c' .

ff^ff^^^^r^

Cpt.

5-^5^

te
Ia

^^

es=U
I

2.

practical

'^

f.

Cpt.

s^-

-A4-

-s*-

It:

In the

-f

-p-

^^^^^

I.

64

SBIPLE COUNTERPOINT.

voice-part
In similar manner, we write a third contrapuntal

against one:
to the exercise (No. 49) three notes

Problem 32: To write a third voice by syncopation as

problem 6.
a counterpoint to the exercises under
B.

116.

2.Cpt.

C.

1.

^^5^^

0F

:t^

'-^'5>-

f.

Cpt

m^^^^^^^^^.
P^^i

=it

fe:

p=^
M=t=:

li;

z^

-5*-

.te^El^^i^^tf^^
and

its

practical inversion:
B.

117.

A^y.
-#-^-#-

1#

i=^

^EB
:

t^-

^1

qJ

^1

ff^^'^"
feft

To

^^g^^^^^^^

four notes against one,

the exercise (No. 51.) written with
against one:
third voice-part having two notes

we add a

THREE-PAET COUNTERPOINT.

11.

65

Problem 33: To write a third voice-part as a counterpoint to the exercises belonging to problem 7, two notes
against one and four:
B.

118.

kk

Cpt.

2.

l.Cpt.<

C.

:E5

^^gf^^^^n
1ft

f.

fi

j^

-<22-

.(Z-

V7
J

r=t=HC=E=^

ii

Trili

^T>

r^^
I

Si

-:fr

i^

m^^

3^

^^F^p^^

lA

..(S-

it

a practical inversion:
B.

119.

1.

Cpt.

2.

Cpt.

C.

f.

;^~

^=

r-

^#

EiEMANNj Counterpoint.

ti:d

_^^


66

I.

-(-+

SEVIPLE COUNTERPOINT.

^-^
r

#r

-|S2-

ZSiZ

i4l

fc

ta-t
-*^-#

M.

i^=^

P|ft

^33
The

exercise (from No. 52), written with 6 notes against one,

grants a third voice as

written four notes against

its associate,

one.

Problem 34: To write a third voice-part with 4 notes

1 and 6, to the exercises belonging to problem 8:

against

B.

120.

:^^^
g-#Hi.cpt.(^^^=^5
^^
:Ui

2.

Cpt.

C.

f.

-f-r ^r
g*^

0-i

#-

=g=:f^
TPI-^*-^-

#^"

mm

^m

-*-

:s

3S!
* s * r^
"^"

THREE-PART COUNTERPOINT.

11.

The same with

2.

C.

1.

\^^1

Cpt.

-^

,^,

67

inversion of the voices:

"^

B.

121.

-i-i-~4-^

0^^^*

f.

^^^^^^^

Cpt.

-p-#-^-=]!*l-

BES~3^^E2^

^^^.^J^l

rri

-^0

3=

t^Ez

We

now add a floridly written third voice-part, that is, a

counterpoint with enlivened, unrestricted rhythm, admitting rests
also,

and

similar to the relationships

combinations.

In

this

way we are

we found

in our two-part

able not only to bestow an

increased interest to our exercises, but also to prevent any decrease of agreeable development, in case increased complications

occuring in the exercises

part.

We

make

proceed to the

impossibilities for the third voice-

example in syncopated counterpoint:

Problem 35: To add a florid third voice-part

problem 9.

to the exer-

cises belonging to
A.

122.
C.

1.

-^-

f.

Cpt.-

2. Cpt.

SK?=fe

ifei

-^ti

-p-#
li^ti:

^=F=S=

~^m

5*

68

I.

SBIPLE COUNTERPOINT.

=i-

fc^s

3=--=te
Ha:

^^^^m

ute!

^ppp^^^^iE^^ffe--Cfa^z

#s=
s

wpEE

p=i=;=i=
g-

^-

.^___

^i
n

fe^^E|^^gEE-f^^gEEE5^1^E^
Also the inversion:
A.

123.
2.

Cpt.

1.

Cpt.

C.

f.

ter

^^J-^

-I

iii^
gB^

fe=
ES^

I-

*=J

jI^^^^I^^eS^^

_^_H3=^

-4=^
#-

-^

^^^^^^f^^
g^i^E^=--N

:*2:

fc

^
11.

We

THREE-PART COUNTERPOINT.

have no intention of increasing the

69

difficulties

of the

quatolets and
duolets
counterpoint by making use of triplets
quintolets, or other complications (such as 5 notes against 2
,

and 3, 4 notes against 3 and 5, etc.), but it is our purpose, by

means of the third voice-part, to mark effectively the higher
rhythmical units, in whose meaning the sub-divisions of various
kinds are to be understood:

Problem 36: To write a third voice in longer notes to

the exercises under problems 10 16.

A.

124.
2. Cpt.

-^^
SEE

--^F

V-

t-~

simile

C.

f.

-^=t
-1^-

ifeif

1. Cpt.

ifesEJ:^

-r

fL

i^^i^

-i\

;te
:-=te?=^-f-

l^iii

^^^^
m
^^'^
m^

:t=q=

-^fe
^

^o^^=t--H*

fes=

J3i5i

::=^

JPH

^=^-

70

I.

SBIPLE COUNTERPOINT.

125.
-<5^-

2.

Cpt.

C.

1.

f.

Cpt.

It

-^

ffjr-f-^^pi=^]-^p ^

E
is

t-2:

'^^m

'

H-

3 (No. 60) of our /'minor exercise:

[8

126.

2.

Cpt.

C.

1.

^11

matter to write a voice-part in half-notes to

difficult

the elaboration 4

ipfcs

fc=J:

f.

Cpt.

:?:=--te

^-

aEl3^
s?

-#-l

:f:n^:=rt=t:

--

fcf^^tet^
& :E^
^t:

t^ =t

-t
.3

^ #
:t=t=

J-

-l?._

t^trfz-tif

r4i
3S=

'^f-

^g^

THREE-PART COUNTERPOINT.

11.

compression of the voice-parts as occurs in measure 5

127.

=3j=>=i
r

F^

would only be practical when there are

the following inversion
A.

128.
2.

Cpt.

1.

Cpt.

C.

different tone

e-ri7-fa

^g

[8v

-^0

^-0

H^F^^
IB^E
te^

^ # -

:?=f:^

-0^0-

-d*-

it

^ f-ta:t!lfei
I

^Itit

-0

-s?i

i2^^=^g:=t==l
^Mt
d=f=i^
i:^:

il^P^^c

-^^

-^

4-#-

mM
m

*"=-

"-^-y

inversion of the upper voice-part against

call

because parallel

for

fifths

an alteration

in

the

occured in measure

first

the middle
counterpoint,

No. 64

2.

thus in three parts:

B.

129.

C.

f.

pm

tt

Cpt.

i
t-^i-^
^-*

^=5

-0-^-

"!

0-

?-

#
1.

Cpt.

it=it

voice would

2.

*-

-0

#-#-

i^te

The

colors;

preferable:
.

is

S^Et

f.

71

^EElEfE^^EEtE^;

5^

is

vrritten

72

I.

SIMPLE COUNTERPOINT.

This exercise can be inverted with

The examples 5

the same third voice-part, which

33)

(p.

130.

1.

the parts as one

we wrote

C.

J.

we

::=^:

Cpt.

^0-r-^
simile

2.

wish.

give the example

^A<-

f.

Cpt.

may

for the exercise 2

to increase interest in these inversions

C.

all

notes against 2, and 5 against 3 could retain

yziir.

4*

J-

^Wff^^^^
(Also
like

it is

figures

the

same with the counterpoint |No. 69] in turnNo. 66 is developed thus:

it).

placed beneath

THREE-PART COUNTERPOINT.

11.

NB.

131.
1.

Cpt.

2.

Cpt.

C.

IP

73

-Wj-#^-ibq=ii^^-J-iH-T- az|=a(grrq

pEEf^^EES^EE^^Ed^E^

f.

--^-

^i^t^r:

g^

^E^.
The harsh combination

f^ e^ could be set aside by subwould also be better to change the first

notes in measures 2 and 4 to f^ and e^.
Our exercise 5 4 (No. 67) permits the addition of the third
voice which we wrote for the exercise 3 4 (No. 128], but
requires a change in the second counterpoint in the next to
stituting b^ for e^\

g"^

it

the last measure:

132.
1.

Cpt.

2.

Cpt.

C.

tB

fe*

1-^
11

--^^.^

Jtjr

g=fiizstfdt
^==:f.zz^(^)==i^

f.

I
I

I.

I
I

-#-^-^^

te^

it:==zi=:^E

^ ^

...f:f:te

'

SIMPLE COUNTERPOrNT.

I.

f&f-=.

m^

Here there are

several compressions of the voice-parts,

when the second counterpoint

they are faultless

is

but

sung,

or

played by a wind instrument, while stringed instruments play

the two other voices.

We have

now come

examples where the

to

first

counterpoint

rhythmical throughout; the thi*ee-part exercise becomes most

is

and presents a new

characteristic,

task,

if

the third voice-part

performs a persistent rhythm.

Problem 37: To write a contrapuntal third voice-part,

rhythmically developed throughout, to the exercises belonging to problems 17 20.

B.

133.

2.

Cpt.

l.Cpt.

mM

jcii;

i-Jtsi

\^

-i

'

J.

'

'

d-^#i

r i

=-' ^.

(SC.

f.

^sfe

:zt:

m
tert

^^-h

N-

i=?

4, in

^'

Tr^^*'

/P=t:
J

-^

^JE^EEEJ
In measure

1^5=^
^ ^

^-^-0^--=-

:|=:

the

first

counterpoint, h^

Because our second countei*point

is

is

better than

e^.

not adapted for counter-

THREE-PART COUNTERPOINT.

11.

75

point b of the

same example, a second working-out, which

harmonizes with

it,

follow:

B.

134.

2.

may

Cpt.
-^-

1.

Opt.

0.

f.

0-(^-

-Xr-

'mm^^

'

^SEEl

-25H-^-#

-f^

5)-

^^^^E^E^

te ^

:j==i=3:

^j*
We

7S

i^:^

-7g^

1^

3t:t=:t

ii

-!*-!g-

(5^-

--i

-.<5'

-2=^

have reached the anapaestic rhythms, against which we

write a complemental second counterpoint:

135,

-^

fe;*=^=T=i
U
i

2 Cpt.

1.

j~ -J

^^
fe

Cpt.

C.

:iit=ti

^if

:tit

Fi

tt^:

f.

^^i^es
^

5--=

^n&^=^

^-44==p^

^-^
+f-^-

n^-T-^
i

=rfc-_.=4fef=ti&
:titzt
:t^^h=!

^i"!
,

-B-0-^P-

-(22-

-^

76

I.

'.trt

r=^
d^
&:

SIMPLE COUNTERPOINT.

"^y^iE^^E^fcte

i^^
iit

t^E^^EE^.

-lilt:

rfp^

ll^f

|fe^^^i^ ig^^^^
2.

Cpt.

1.

Opt.

^^^^^^^^^^^
?-^3?l
C.

.-?^-

-.r-

<&'

f.

#-

-^^#- ^^'

l2;^^i^t=^=^^=p:

-n

z^^=g=
^

S^^

:|!vii:

MEEEEEE^^i

1^^

?^-

j^^-fF^ggE^I^E^E^EJEEE^p

ife^

^fe

P-

-^

0-

ir

THREE-PART COUNTERPOINT.

11.

^^^^^^^.

77

mm

^
IIP
il^itzit::

;fc^^

I&3i

"^

=3F=*

6^3?

To the syncopated counterpoints we add another

make clear the syncopation:

to

137.

l.Cpt.

2.

-^r~

Cpt.

C.

voice-part

B.

ttl

0-b

^^-

l=3tZ
*-

*I

'k

5=-2=:t

?-f

'

^
\J.

\-J

f-=^=i-

f.

E^

f -M.

if

-A

K--

1-

r=&TSii-:V

^?-*-

*-

-=^^=?=

:t-5-

-#-^

^to^EEE^p
and:
138.

*^1.

2.

-K-*1^ fe-zh; *
^

Cpt.

Cpt.<

13

fc=E

=^

-T-
C.

f.

-V-

s-#r

rt

\-m

^i;;^

78

I.

SIMPLE COUNTEEPOINT.

r^^^^iij
|s?ft

^=^
f-T^-i.

0-

>-

-I

.ti==ti=t:

-,

i^-

mm

-^i-

l^:

We may change the

exercise (No. 72), having anticipating tone-

repetitions, into a three-part exercise,

by the addition of a third

voice-part written in notes of the same value as those of the

cantus firmus:
A.

139.

2. Cpt.

c-

^=^t

Cpt.

1.

v-:

f-

Tzat
-iffii.

fg^^3F^"-=if==^
M-^a

S^a3^=

aizzfv-

:?5r:

=^^^^^^^=^=^

SESfi1^**: ^ftfcS
f

^S?^E

~-d;

i^

:-ESE

^^m^^E^^^^
'&
gg^^=^

^=

-g

12.

INCREASE OF VOICE-PARTS BY MEANS OF PARALLEL

THIRDS.

convenient means, but one that must not be used

too

by which the voice-parts may be readily increased is

accomphshed by adcUng parallel thirds to the cantus firmus,
often,

to

the

counterpoint,

or

to

both

simultaneously.

We

have

12.

made

INCREASE OF VOICE-PARTS;

a point until

it

now

to avoid

more

&c.

tlian

tliree

79
thirds in

succession in two-part writing, and have also held fast to the

same

but at this time we

motion must, from neces-

restriction in our three-part exercises;

call attention to the fact that parallel

be of assistance in three-part wTiting, while persistent con-

sity,

trary motion belongs to that in two parts.

It

is

a favorite

and effective form of three and four-part writing to strengthen

by means of parallel thirds the two antithetically written voices,
whose motives are composed of material of particular value or
of that already used; this,

three

however,

not,

is

strictly

speaking,

or four-part writing, but only a strengthened smiting in

two iMvts.

But

since the effect in this

manner

due

of writing is largely

to this persistent parallel form of motion, from the very

first,

the two voice-parts must be so constructed that parallel octaves

and

may

fifths

but that

is

not arise from the addition of the parallel thirds

only

possible

when

thirds

parallel

and

sixths

are

scrupulously avoided.

The

appears somewhat

exercise from No. 73, for example,

when adapted

as follows

for the addition of the parallel thirds,

the parallel thirds and sixths having been removed from the
original
140.

-^'"~

C.

i-A^-

C.f.

y^^X

#H^
:^

Cpt.

.--J-

:P

H^#-

u-

i.

---

:i5i*

d:

5*3=r=i*?

and when transformed

into

three-part

writing

by the added

thirds appears thus:

141.
2.

^^

c.

Cpt.

C.

f.

-I

^-

:*

KB.
1.

Cpt.

te

Si:

S^f^

~0

80

SIMPLE COUNTEEPOINT.

I.

5E^

i
m

S:

The

^p=t#==j^

tr-

disagreeable tonal effects (at

doubhng

rules (the

minor at

NB.

b)

and the

violation of the

of the third in the sub-dominant chord in

are characteristic of this whole species of contra-

a)

puntal writing; mechanical addition of parallel voices involunThey prove that the rules, as usually
tarily brings this result.

made, are
strict

insufficient

to

prevent these

part writing the substitutions

chord,

and

in the

in

In

two-

sub -dominant minor

major super-dominant chord, should be used

but the diminished seventh chord

(in

the

Their

irregularities.

enforcement would hinder the musical fancy.

the latter there

is

two or three seconds).

must

be

absolutely

avoided

produced the wretched tonal effect of

The old method of teaching, although

produced a poorer two-part writing through the use of the

fifths, occasionally produced better three
and four-part writing; but it must be acknowledged that not
The more artificial
all the forms it developed were practicable.

it

unison and empty

double counterpoints will bring us

periences

many such unpleasant

ex-

mechanical manipulations are to be available

if

a part of the sovereign domination over harmonic forms will

be conceded.

It

is

evident also that other harmonies than those

intended or expressed in the two-part writing can arise from

the inverted thirds.

we must avoid

The lower

for the

third of the triad 1^

and

sub-dominant minor and super-dominant

major, because they cause bad third-doublings; and the upper

must be avoided, because the

harmony becomes disturbed and disordered:
third, at least in the tonic chord,

142

12.

We

INCREASE OF VOICE-PARTS,

attempt, by means

&c.

81

sharply defined rules,

of

prove the above two-part exercise, which

is

to

adapted

well

im
fo-

the purpose of being accompanied by over thirds

2.

Opt.

1.

Cpt.

i -f-f

/n

i:

^
:-#-

m-

There

4-

:|=

much even

is

here that

-s

SE&E

is

we must

not gratifying;

not overlook the fact that g, in the next to the last measure
in the second counterpoint, is a real difficulty, but we are unable

to

overcome

without

this

changing the

cantus

firmus.

Other exercises bring easier work; especially is this true, if,

the future accompaniment in
over-thirds is considered.
We shall be obhged to return to
this form of three and four-part writing; but at present, having
while writing the cantus firmus,

knowledge of
not fear to

its

let

we

nature,

third

extract the advantage that

voice-part

in parallels without binding one^s

motion.

We

will

now

write a

occasionally
self to

go

we need
a stretch

a persistent parallel

third voice-part in thirds

and

sixths, respectively, to the cantus firmus, or also to the counter-

point.

and

Our

last exercise

may

again serve us for this purpose,

in its unaltered form.

Problem 38 To write a third voice-part to the exercises

belonging to problem 21, which shall join the cantus firmus
:

RiEMANN, Counterpoint.

w
'^

I.

SIMPLE COUNTERPOINT.

and counterpoint, respectively, in parallel thirds and parallel

sixths.
143 a.
C.

C.

f.

2.

Cpt.<

^^^

1.

Cpt.

EEitS>r^-m-

-^^

-^^-^^

-0^

#f-

iE=Si?=*:

:^S

INCEEASE OF VOICE-PARTS,

12.

J^
*
2^#=f=

^^
I
^g

83

i0-

I*
ij

&c.

-0^
^-

This example was conceived in parallel thirds, the counterpoint

cantus firmus, canonically in the octave and these

imitates the

inversions are possible:

1*^

'4=i=--^

3^a-:

-a=i=#

145.

a^^
sri.

"^

~+-

-1^

i^E^

:^

^.

^r

,,

-i-

^ iiJ-

:M-i:
-0

^ i^5fkr-t

ff

^-

rz)

If^a

or:

146.

h-^

r^.

j|=^|=zz^
-^

^N.

^-

r-,

Sh0 P-

a-E
l-P

#^#

^
F -

if^.

==*^

i-0-

i^M^^^^^i

-S>-0^-

35

It is self-evident that instead of thirds only, the original parallel

voice-part can be written with an inter-mixture of thirds

sixths
6*

and

84

SDIPLE COUNTERPOINT.

I.

147.

An

X - #_*-

t-

inversion:

-#-^

148.

.^^

?E^

Will

:(=

T=p:

-I

Pfe^
=t==l=^=t

13.

'^

--

THREE AND FOUR-PART COUNTERPOINT WITH A FREER

USE OF PARALLEL THIRDS AND SIXTHS.

We

proceed to the addition of a

tliird

voice-part to our

and not only with lessened fear before parallel

leadings in connection with the cantus iirmus and first counterpoint, but we may also skip about more freely in parallel thirds
practice exercises,

and sixths, or develop our third voice-part independently

any such way as may be preferable.

Problem 39: To add

tliird

and fourth voice-parts

in

to the

exercises belonging to problems 21

24, granting parallel
predominating
degree
to the first two
sixths
in a
thirds and
voice-parts.

^fi-'-^^^^J^

2.Cpt.

C.

1.

A^

149.

f.

Cpt.

<

g^

--.

^
H:

rZ^^EE^EEEE?^
-^
I

^^^^^^^^^^^^^

Wi%^^

THREE AND FOUR-PART COUNTERPOINT,

13.

fel=E=E^?

&c.

85

;:ii=zt==:

*=t=

iiS:

m^^^M^^^

-*^-0-

H^l
*-^bd-

^
1-;

?^^f^

--fe?Ei

-ib*-

The
parts,

exercise will invert.

even though the

It

first

ii=f

may he transformed

into

four

counterpoint thereby becomes a

secondary voice using the same rhythm and progressing predominatingly in thirds
150.
2.

C.

and

sixths:

A.

^i^

Opt.

^'=i

f.

l.Cpt.
3.

Opt.

IS^-

afeE^

*=F=F

86

SIMPLE COUNTERPOINT.

I.

I*'

\t

More than

I'M?.

parallels

to

rhj^hm

one another

and usually are not

make a musical

-+-'^

voice-parts

thi-ee

independent

having
rare,

^f

for longer
to

any time, and

in

parts,

now

nouncing
is

or

be striven

*^-

(without

shorter
for,

writing

distances)

in

are

because they easily

Only a
be thus added to at
two-part wiiting, only when such a voice-part

may

fi^eely

itself to

when

in shorter ones.

associate with

itself

The

one of three

one and now that one, when it does not, reown independence, become a mere completive-part

this

its

filhng the gaps in the harmony.

latter

sentence turbulent and over-ladened.

in longer note-values, but not

fourth voice-part

-P-g-T

developed independently, and

and melody

smoothly-flowing voice-part allows

is

^^-^

the

more

usual,

but

In practical composition the

requires no model-

natui-ally

example, because four-part harmony exercises, note-against-note,

have made this idea sufficiently clear.

The model-example from 7 we now construct in three
voice-parts,

exercise
will to

151.

and afterwards transform

it

into

four-voiced

by the addition of a fourth voice-part joining

one of the three other voices:

itself at

THEEE AND FOUR-PAET COUNTERPOINT,

13.

&c.

S^-

SP3S;

sk

S-zEEE

--

Jl-

PE
The same

-i^

as a four-voiced exercise (the one in three parts

inverted)

3.Cpt.

Opt,

1.

D.

152.

2.Cpt.

^^^^^S^^l^
l^i^l

gr^l^^

?EES
-i^s^

C.

ig=S^I*i

f.

i^

:pi2:

ESg#

^
-n0

P^=

-^-1

:f=^:>

5_
I

-*-

ii_

t^^^

^
88

SIMPLE COUNTERPOINT.

I.

Model-example 76 might be written thus:

E.

153.
2.

Opt.

1.

Cpt.

C.

-^^^^
i^g^^g
-^--

H^

The same

four-voiced (the three voices inverted):

E.

154.

C.

^^S^iS^

l^fel

f.

*^m

f.

im^^

-^- j

ij-3i:|=jz=jiiz=^

^^^^

2.

Cpt.

1.

Cpt.

3.

Cpt.

py=3=^

ijEiE

-#^-

-#

1^

^-0-^

:**
}^z^E=^Sj=::

m
m
p^z=j

^^gg

=g-ji

i?=i?-

:t=i^:
>-

13.

THREE AND FOUR-PAET COUNTERPOINT,

The remaining two-part

these cantus firmi (Nos. 77
of three

also

and four-voiced contrapuntal writing

D.

155.

-.*

l.Cpt.

C.

7 upon
promise a new species

belonging to

exercises

80),

89

&c.

* P

f.

2.Cpt.

!-

P=^=t=:

:=t

SS^-^^S^=Eli^F='f^-

:t=

^^>J^

^^
1

*1

Eb

r-'^
1J^?EE3E

'tp=^

gs

9i#
-^
The same
D.

156.

2.Cpt.

3.

C.

f.

^0-

^^^^m

|?q=r=FF^ifS*-f~T

^^^^^^^

Opt.

l.Cpt.

four-voiced with the voice-parts inverted:

:^=p:

rf^fe

*^

P#J
---

=tr:

---

fe

i^^

:|=t

90

I.

SIMPLE COUNTERPOINT.

^^fEg^
:.b^55^

:(!*

IB?

m^k=^-.
167.

1.

E.

:y=j3.

NB.

->-

^^

fe? --#

Cpt.

f.

2.

Cpt.

3?

In measure
counterpoint

4,

we must change the

into

g!^

because

example of four-voiced writing,

E.

158.

3.

Cpt.

1.

Cpt.

2.

Cpt.

i^=^3

iJ '^^u^

rj.
C.

3t=i

?^

rq-',

-#1

__,
Ml

,"^~1

f+-'-^SZi ^! ".'^

i
-ts^

it
it

is

c|f

the

(6 in e^) in

too

j&rst

As an

obscui-e.

appears:
P"^^

.--'i
!
I

r?n

^ F-^-f*^F4--P-.^'^^rH

'

or likewise inverted
159.

3.

Cpt.

C.

f.

2.

Cpt.

l.Cpt.

iT^'

ra^

C^ Pn

r5^'

13.

THREE AND FOUR-PART COUNTERPOINT,

&c.

91

No. 79 would appear:

D
,fe=3=i^

160.

1^

2.Cpt.

p-v4.
1.

Opt.

53:

-!-

f=^-F^^^^=f=^^F=f=F

^Efe^yal^
4.

f
-

llj

-#

l.Cpt.

C.
3.

-^m

f.

t:

J.

a.

III
^f^^0

- -i

PS

-^

-[r-

Cpt.

iij

=Jlj
-# -=

2.Cpt.

four-voiced with inversion of the three voice-parts

D.

161.

-Hrr

The same

^
-

92
finally

SIMPLE COUNTERPOINT.

I.

and

model- example No. 80:

162.

2.Cpt.
l.Cpt.

C.

f.

H--^/

|^BibBd

rffe

T-*

-0

r-*^

Four-voiced with inversion of the voices

163.
C.

f.

3.Cpt.

E.
J.-

i.

_^

t^j

i_^ ^ :^^
J.

J.

;-
0.

L^ rjj

l.Cpt.
2.Cpt.

^.

^^_*

tH j?S JS
f?|t^:^ a:
-*

-!-#-

.!?

-^i.

11^

 13.

We
and

As

in

THREE AND FOUR-PART COUNTERPOINT,

&c.

93

come to the exercises from 8 (complemental rhythms),

Hke manner we give them three and four-voiced settings.

auxihary to these, the student

may

write a third voice-part

developed in longer notes (therefore in half notes for the following example); no explanation

is

necessary.

the writing in four voice-parts:

:ttl:

--

-=1=

p'

+-

-^-

-?-

We

go directly to

94

I.

and

SIMPLE COUNTERPOINT.

(83):

166.
2.

Opt.

l.Cpt.

C.
3.

f.

Cpt.

AT

r-

If

Zf'

In the three and four-voiced working-out of the exercises

under 9 (counterpoint invented freely throughout), we again
restrict the parallel forms of writing and place a voice-part,
florid thi'oughout, in antithesis to

cede

to

a cantus firmus; only we con-

the added fourth voice-part the

upon any one

of

the three,

privilege

of

or alternating between

leaning

them ad

libitum

Problem 40 To write a florid voice-part to the exercises

belonging to problem 25 the fourth voice-part leaning upon
any of the three others as necessity requires.
:

167.

2.

Cpt.

l.Cpt.^

C.

f.

A.

^1^1
X^feEii

ii0^=

^^-aS

'-?-^

-K-f-

--=\-

*-* ltL

'^^^n^

m^mm
3

13.

THREE AND FOUR-PART COUNTERPOINT,

W'

^-

&c.

95

--fy

^^i^^EE^EJii::Jt^=i=^^5st:
rfZ^if-ff-i
^^^^f^

teEI^^^-^E^"^^^
-ara-i

'^-

iS:

^^r^^^'-'^^^^^^

I^^Hg^t^^^^^^
-(^-,-

SE
jg^

1^=.-

g^^S^^J
1

#-^
-F-j-af

Pi^^^p
j3p^j

=t:

i^

96

I.

The same
168.

SIMPLE COUNTERPOINT.

four-voiced and inverted:

A.

nm^^^^m^
-fLfe

?t;*-f:

^ ^

i?r,^=

r^M>jt
I

>

13.

THREE AND FOUR-PAET COUNTERPOINT,

97

&c.

pSiL^d^
tL^
m^E^^^^^^^
EiJgil

il^E
SB'
Lack

of

room causes us

elaborations

voiced

same cantus

the

of

to

forego the

three

other

and from cantus firmus

firmus;

and four-

three

counterpoints

to

the

we produce

only one example, the others being left to the zealous, ambitious student to develop
B.

169.
2.

Opt.

1.

Cpt.

fPp-

^35

--^=:^

i=-#i
0^

~f-

H^#

-*?-^=^

-#W-

CS=::

n-0-

>-^
C.

f.

^=^-

ffiEl

Wm i^^t
MeSe

gfei

RiEMANN, Counterpoint.

-(-#-

ijv-iiv:

^.=

--N-

:H:

0:=^

=#^

?^

98

I.

SIMPLE COUNTERPOINT.
:fe=;==4:

-^

i=f^e^yE^^|i^
^

_^i.

-<^^

:t:

The same

p^=g

C.

f.

1.

Cpt.

2.Cpt.

3.

four-voiced with inversion of the voices

170.

Cpt.

-jj--

ff^^r=rr=i^-^^gsg^^^
t^
si^^^^s^
^fe^
feii=^

fc&

,-^

;<si

-^--

5il^l=f

#-#
J=3:rJ

^
H

i^Egg^g^iS-^Sgl

tt

as^^^^^^^^^^[
gEH

uZf!-

:fe.|^

tt=^?E


13.

At

last

move

parts

we add,

THEEE AND FOUR-PART COUNTERPOINT,

we come

to those problems

in a rhythmically free

by which

manner

( 10);

all

99

the voice-

and

rhythmically-enlivened

as far as possible,

&c.

to

third

them
and

fourth voice-parts:
A. (Compare Nos. 9193.)

171.

2.

Cpt.

C.f.

1.

Cpt.

\^-^-

XX

--jpt-

i^pj^

s^srt
i^^s

t^^

^m

-(--

:1si=:d

I5=js=:?u

^
-s^s^-

^^^^^^^^m
i^^^^^^=^^^^
gg^^^
^.

100

I.

SIRIPLE COUNTERPOINT.

The same four-voiced with

A.

172.
C.

inversion of the voice-parts:

py=?=4==i

f.

3.

Cpt.

2.

Cpt.

1.

Cpt.

-f

"^

^=i=gE^

f-f--

=]--

3^

-^-

-i^

^g^

BgEgglg
I?V

-#-

imsE^m
Ct

^^S

k^^^^'^

^
=]

-Ifi-it^-th

ss

Stp3t'_^I-

srife"^

-(#-

;^

-?^^-tt

'^=t-

#E3:

N,

-I

:5=t

^2=t=
-^-i

1^^^5=4^
>

-jl

-f^r^ -*-

iS^^^fejEfeg

gffi^j

.t^

|S^^gEE;^=

-i-

-*-

-^-4^

^^
=i=*=J^-^^J3^ II

i^^=^^^i^=2E^^^^
iss^s

ic

3E

^=^

13.

THREE AND FOUR-PAET COUNTERPOINT,

In conclusion,
out of our

let

us

make

101

&c.

three and four-voiced workings-

major example (No.

95):

173.
0-

2.

Cpt.

1.

Cpt.

i==iii:f=r=#=3==r!=z:U==5=p==U:

i^^

C.f.

.iA_j6.

-m

-icr-

t?

tt|^3^

-k*

p^

-^-:S3r:

ii

lEEi:

hb

*Ei

^.

^^^^^^^E^m
ti::

and four-voiced
174.

witli inversion of the voice-parts:

B.

C.f.

l.Cpt.

2.

Cpt.

m^^^

3.

Cpt.

^SS3zl=|=^2^

^K-=:

i^Ht

102

II.

DOUBLE COUNTERPOINT.

]l^=:^^^^^E^^

^^

m
t^

#--

-^

^^^

^i
CHAPTER

n.

DOUBLE COUNTERPOINT.
14.

When

DOUBLE COUNTERPOINT IN THE OCTAVE.

an exercise

is

sketched so that the voice -parts

may

exchange positions with one another, the relationsliip of above

and below being reversed, the ui)per voice becoming under voice

and

(other permutations also

vice-versa

being jjossible in the

exercises in three -part writing), without there occuring errors

of composition or unpleasant tonal effects, then such an exercise is said to

AVe

be written by "double counterpoint".

repeatedly

tested

our

preceding

exercises

and

quently discovered that they were capable of inversion;

it

fi-e-

was

accomplished by that species called double counterpoint in the

octave, which

is

the translocation

of one voice -part

an octave

higher or lower, respectively, while the other remains stationary

under problem 29, where

upon inversion the cantus firmus was removed downward an
(as

for example,

in the first exercise

octave, while the second counterpoint retained

its

position) or

 14.

DOUBLE COUNTERPOINT

THE

IN

OCTA^TE.

103

by removing the one voice-part an octave higher and the other

an octave lower (as in most of our exercises). We now systematically investigate the conditions under which an exercise
can be written so that inversions are available not only in the
octave, but in other intervals as well.
stated, that of the various species

may be

It

of double

emphatically

cou7iterpoitit,

the

one

has the highest value for the technic of composition.

any rate, we will examine the other possibilities, and write

the octave

ill

At

no harm as they force

Double counter-

several exercises, which at least can do

one's genius to conquer the greatest difficulties.

point in the octave

by the fact

distinguished froDi the other species chiefly

is

inversion does not bring a

tliat

new

tone to the counte)'-

point, but only the octave position of the written note is changed.

Octave inversions, therefore, do not alter the original meaning

of the

harmony

effects

result with

Often enough some bad tonal

which one must contend unless occasional

substitutions.

These are:

surprises are to be experienced.

1)

Parallel fifths, which always result

when before

inversion

there were parallel fourths.

2)

Faulty progressions in

the bass.,

which often

a serviceable upper or middle voice-part becomes

3)

of

Compression of

good

when

effect

the tofies,

which are only

la) Parallel foui-ths are possible

e.

and

of

good

effect in simple

It

n-

-r

the exercise

counterpoint, as

is

is

s
'55'

3
I

but of no value in double

by the inversion of the upper

faultless,

shown

(at b)

voice-part into the lower octave.

Parallels are

common

in thi'ee

and four-voiced counterpoint:

176.

and

b)

At a

intelligible

g.

a}
1

when

the bass.

the intervals are sufficiently wide.

two-part counterpoint,
175.

arise

d)

c)
I

NB. NB. NB.

i fif
*i

-I-

wffTn
r

n.

104

DOUBLE COUNTERPOINT.

Faulty parallel fifths would result at a, if the upper voice

were placed below the middle voice, or the middle voice were
placed above the upper voice; but also the inversion of the
under voice into the higher octave (176d) produces a wholly
unsatisfactory result, viz:
2a) Several

six- four chords (by

thorough-bass terminology)

a rfminor chord with a as bass-note, an rtminor

in succession;

chord with

e as bass-note,

bass-note.

Even though

they seem

to

be

and a </major chord with d as the

two minor chords are not what
/"" and c",
so that the bass-notes

the

(rather

are the thirds of the chords), the succession of such questionable forms as these three

chords

is

poor

of

Consider

effect.

the rules for bass progressions detailed in the book,

"Harmo-

and construct the voice -parts with due regard for

these rules.
Likewise, in more than two-part wi'iting, the bass
often takes no share in the inversion; but if a theme is connielehre",

structed to be developed through

all

bass-part must be so written that

it

the voice -parts, then the

may

and uncertainty in the whole exercise.

in embryo should be regarded as a bass
voice-parts in order to test

its

prevent unsteadiness

fugue theme while

to

two or more other

practicability for this unavoidable

Finally, the third point,

role.

3 a) treats of suspensions, and foremost, of those formations

in

which a chord-tone appears close to

representative in the

its

chord; therefore of ninth chords, suspensions of foui'ths before

the third, etc.
177.

b)

a)

d)

c)
,

e)

.,

f)

-gyg

^^zd

Wliile
certain

the

chords

circumstances,

at ,

are

even

li

/?3

and

are

of

faultless

renj effective

from inversion, as at 6, d and

Meanwhile
it here concerns itself

arising

=f:

/",

about certain faults in

tite

under
chords

are imjxjssible.

less

about the avoidance

certain voice -part progressions in the original

exerciser than

the

form of

im^'sions

not

the possible inversions in four-j)art wTiting are practicable,

the
all

and

one or another permutation even in three-part writing must be

DOUBLE COUNTERPOINT

14.

But that

renounced.
as

many

is

THE OCTAVE.

105

not to be regretted, because three-part

5 peiinidations

ivriting permits

IN

and four-part writing

cdloivs

as 23 permuiations :

6 possible positions of the voices.

333333
112244
241412
424121

24 possible positions of the

Seeing there

permutation

is

such a fulness of

is

readily

There

is

voices.

possibilities,

for

sacrificed,

one or another

example:

6 cases

the

In two-part

where voice 2 becomes the under-voice.

there are only two peo'mutatimis :
1

444444
112233
231312
323121

ivriting

2 possible positions of the voices.

a real difference in the musical

and

effect,

also for

contrapuntal technic, whether the two positions of the voices arise

We

through inversion from only one, or from both voice-parts.

shall make a separate use of the two cases. In this second chapter,

that a

new charm may be added

to the exercises,

themes as the foundation of our work, and

two strophes of the chorale, "Ein'

178.

feste

first

Burg

of
ist

we use new

all,

the

first

unser Gott":

F.

^m^^3rn=^3^ff,Sfl^^f^,-h^-l
As
chorale

known, the two

is
is

sung;

strophes

are

repeated

when the

consider then that a changed musical effect

from inversion may be reckoned upon for this reprise.

The position of the cantus firmus must not be changed, but
the second voice, and, later on, the thii'd and fourth voices,
arising

must change

their positions relative to the cantus fii'mus.

From

this instruction, there particularly results the forbidden crossing

of the voices; that

addition

of

is

first of all,

one voice -part,

we only have

in

mind the
we

therefore two-part writing

n.

106
not

will

let

DOUBLE COUNTERPOINT.

the counterpoint cross the

cantus firmus because

inversion produces only a slightly different

must provide that a crossing of

inversion,

ichich

far from

is

cantus

the

the

case

ftrmus.

voices

when
But

tonal

"NVe

effect.

does not occur through

counterpoint goes

the

far

^'too

fi'om^''

too

only a

is

According as one places the voice-part intended

relative term.

for inversion oiie &r two octaves higher or lower, is one or two
octaves the

maximum

distance opart of the voice-parts,

an over-

We

stepping of ichich pi-oduces the faulty a-ossing of the parts.

will

make use

and

free

of each individually;

the counterpoint

Problem

41.

Two-part writing; the counterpoint

,

F.

Cpt.

f.

11^

^^^^^

Cpt.

s^^^i
NB.

^&^

^=^

^^

to

be

the cantus firmus to

remain stationary.

C.

florid

from restraint:

written so as to invert in the octave

179.

is

14.

DOUBLE COUNTERPOINT

mS^F^

^^ztzjittzi:

-^^-ui^
u^--

-p-

IN

THE OCTAVE.

107

^E^^Eg^^
^-

mE=^^^^^^^^^^^m
^^^^

i-#-

i^

ilE^^

-*-#-

iffi

Tii--

Two
3 and

^P^^^^JE^

places must be corrected, namely, at

4; in both cases the counterpoint

the one sketched

first)

(if

NB.

in measui-es

the upper one was

exceeds the distance of an octave from

the cantus firmus, and runs through the octave, producing the

disagreeable effect of seconds resolving upon the unison,

inverted
180.

p^^

2*-l

Efl^S^^
The passages
181.

are easily changed:

p=R ^2=

TT1=i
jJEg^^3EgE|=^Qj =| g3EJ

tSit?

^^-^^^
#-f

"^f^f-^
Hi

:^=

when


108

II.

We

DOUBLE COUNTERPOINT.

proceed to the working-out of a third voice-part for

this exercise,

which, in antithesis to the counterpoint

first in-

may be

sketched as an

Problem 42: To write a third voice-part

under problem 41.

to the exercise

vented,

will

permit of inversion.

It

upper voice-part:

F.

182.

2.

Cpt.

C.

1.

f.

m^B

Cpt.

^=^

:p^cii=4
^^^=p=#=
^t^=^^

f^3=i
*

i-^H

H ^

zliz

|5E?

Sl^^i^^g^^

m^^EEE^^^^^^^^^te

ZL.

^^l^l^g^Src^^^

 14.

DOUBLE COUNTERPOINT IN THE OCTAVE.

109

m^m^^^^^^

^^'

^^-

w^^
^^==^5^=^^^^:^:

The

first

and second counterpoints hardly require correction

in order to be a representative two-part

which

may be

exercise without the

that an exercise to
which a cantus firmus
be it a choral, or some other famihar
melody
is to be added later on, should be sketched so that
this combination is worked-out and afterwards the voice-parts,

cantus firmus;

to

it

said,

whose faculty of combining has been tested, should enter alone;

but not so that later on force must be used to weld the principal

voice -part to the

other voices.

Sharply distinguish the

chief voice-part, while keeping within the path of the successive

composition of several
the theme itself

is

contrapuntal parts.

In simple

fugues

naturally the leading voice-part, and strikes

the key-note of the entire movement;

the counterpoint, which

need not be tnore significant
perhaps it would even be false to make it so. In a double
fugue it is different, especially if the second theme is not independently developed before the themes are combined; fi'om
necessity, the second subject is more significant than the first
when an imposing climax is to be attained.
Wliich is the same as saying, that we reserve the principal

is

afterwards

to be

added to

it,

effect, and in advance work out a particularly

good counterpoint as a first subject.
Let us see how the inversion of our three -part exercise
appears: the under voice -part we place an octave higher, and
the upper voice-part an octave lower, so that, in fact, the two
voice -parts are inverted about two octaves.
This is readily
seen, when by means of the inversion of only one of the two

thoughts for this

parts while the other remains stationary, one attempts to attain

which the two voice -parts occupy after

the same position,

version

DOUBLE COUNTERPOINT.

n.

110

in-

^
183.

-#-(-

W=

-5:r
d)

\4-9--- 4g

1^
At and

c,

we

so compressed the

-F-C

see that the inversion by only one octave

tAvo

voice -parts

repeatedly to cross one another,

that they were compelled

while the inversion

by two
to be
noticed how both voice-parts (because each voice-part is an
octave removed from the cantus fimius) suffice for the deteroctaves

(b

and

d)

brought the proper relationships.

It

is

mining of the greatest interval for the inversion of about two

octaves (viz: two octaves), and also how they approach one
another in the interval of a second. Therefore the exercise is
sketched as an example of double counterpoint adapted for inversion in the interval of two octaves:
184.

1.

C.

2.

F.

^E^^^

Cpt.

f.

ffiH=^

Cpt.

filfc

1^^

S^^j

DOUBLE COUNTERPOINT IN THE OCTAVE.

14.

-1
I

#-#-F-#-h-

&=i

m=^

HI

"^t^.:?^

i^^^^^5
JlE^
9i

Nzizi^^T
^^^3E|E3E!3
#

But even
with

all

--I

-ti'^

after the exercise has been sketched in conformity

it would be possible to assume

had been written to one or the other of
and not to the cantus firmus. The cantus firmus,
can be inverted an octave against each of the two

the given requirements,

that the counterpoint

the

voices

therefore,

voices without the parts crossing one another; thereby the two

counterpoints enter together and produce an essentially different

tonal effect:
F.

185.
C.

f.

1.

Cpt.

2.

Cpt.

1=^

t:

t^^^yi^^^^^si
jite^

S3^

333^


II.

112

DOUBLE COUNTERPOINT.

'^=F-

M^ ^^ S^

#_r_J-

'-l\l=^

^ _

--^

ii==t: ^^^^i^r-iYrP^^^iS^i^:^

--^-

t^zd

?^^^
P"

-IT

^=^5^ 2=t=

#-

W*

and:
F.

186.

2.

Cpt.

1.

Opt.

C.

f.

^^g

flBEE^

3; El

-0

-^^^-Tj

e^
1*

P-*-a

'-#-

F?r^

^
t

14.

DOUBLE COUNTERPOINT IN THE OCTAVE.

113

SEE^S^g^^^^g

m-

it^tQ

*f5tt

ii^
!^

S^E^

<5-

-P

P^^EEEE^^E^^E^^^:^^Ei
i-r-nrqE^.==t=h=i=^

'

^^pf^^-^^^^^:$=^

iifci

For another
theme,

practice exercise,

an one

such

movement
187.

as

in a string quartette

^^

G.

we choose a

would be

secular cantahile

suitable

an

for

adagio

yff#=f^^^^^g^^^^^f^^
V7
0(1

C*

3SS

gyu

tf

i^

:^5!^

^=i):
/"^

(P

0(1

&H

^vii

di

0(1

(1+

^^

g^^^

0(1

RiEMANN, Counterpoint.

a"!

DOUBLE COUNTERPOINT.

II.

114

The counterpoint

sketched so that the two voices can ex-

is

change places; an inversion in the double octave is also posIn that case, the counterpoint would be distant two
sible.
octaves from the cantus firmus:

Problem 43:

To write a counterpoint which

will invert

in the double octave.

188.

Cpt.

J5- isq

C.

S^SI

33K^EEj^t?

f.

aut

i*^t^

N5

2t

V^^^=^f=fi^-

4*

'^

-<g-H-

=i
If

we

PSi
invert

the

-A* -'-*'

cantus firmus an octave higher, and the

counterpoint an octave
189.

lower,

there ensues the tonal effect:

G.

cMfe
Cpt.

^^^^^
^^%-

iE

^,p^i^j^^^^=^
--i^

-^-

V^^^.

ZD

^
-1

-"^

iii^^^^^^p^iie

DOUBLE COUNTERPOINT IN THE OCTAVE.

14.

As

far as possible,

we

will write

115

the third voice -part as a

middle part, adapted for inversion either an octave higher or

lower, thereby becoming upper or lower voice-part. "We seek to
avoid the exceeding of the interval of an octave from each of

two other voice -parts, in order that the inversion may

not produce crossings of the parts, and unpleasant compressions

the

Problem 44 To write a third voice-part to the exercise

under problem 43 capable of inversion an octave higher
or lower against the other two voices.
:

G.

190.

f.

-*
C.

5E

t=

-ti-

2.0pt.<

=t^
if^te

1^
ES

t^-^

=:M

-0n- ^
ti

^-

^!

0-

^-fuj:

lrf=

-^p>-0
if P

-"^

ii-

--

rqs^

:t==:

-Jt^^nz^z

-^v-

8*


n.

116

DOUBLE COUNTERPOINT.

One of the possible inversions follows, namely, that one in

which the new voice-part becomes the bass, and the other two
voice-paiirS exchange positions:
191.

Ci.

-?5-#-

l.Cpt.

C.

f.

2.Cpt.

-+~^

^
m

3=4:

m^'

Ti-"-*

5^

T=t:-#-

-1^Hi-

^ ^
"

i.^^^'
^^e
i
i s:

^=4^:

i^=

p'

is

5ctq=

i:^-

ii

t=^
i^^ W^
N-

S=^

'^^

^-

:^

^ *^^^
S^ 1^^3-5

jst

new

m^5*

^^^

"We now add a fourth voice-part

order that the

hu

fflXl-C=::J

:^=te

SeS
^e^E^^^

:t^=j

:^Ca:

P
i=a
gE3S3E^#
^^
u*^^^w

part

may be

:?.

to the three-part exercise; in

capable of inversion (the task

not new, but identical with problem

40), it

must be sketched

so as to appear closely united to the other three voices, either

 14.

as upper

DOUBLE COUNTERPOINT

or middle voice,

and

THE OCTAVE.

IN

so that

117

the inversion produces

crossings of the parts as httle as possible.

To write a fourth, voice-part

Problem 45
under problems 42 and 44.
:

to the exer-

cises
192.

C.

F.

f.

l.Cpt.

-*-=r-^g2.Cpt.

te=^^^^

3.Cpt.

iii=i;

H^

-#H-

&

E^^EEEE:

3^^

0-S-^0^\

^:

5
--^

^^^EE^^1^^^^T^^
35 ^k
::1^

^-

^2-

^^

-ttt^-^vr^i^

^Ie3^^
^--^

^=5=^

n.

118

DOUBLE COUNTERPOINT.

^
^^M^.

^^^^^^^
t^ :

fa

111

->

-*-

i^:

N-

-'=*=t=i^

the fourth measure

there

are

accent- octaves

between

the soprano and the bass:

^-TT
P

^-

8va

These are permissible, because the lower voice chooses

major second close de etc. instead of the minor second
close fe.
The new voice is distant two octaves from the tenor,
but is adapted for inversion, for example:
the

193.
3.

Cpt.

2.

Cpt.

C.

1.

^^Ij

If

^^E^^^^
^

:eq?=^

^^
-#-H

^^^

f.

Cpt.

i^==fe^^^^^^

 14

DOUBLE C0UNTEIIP0INTD?^HE0CTAVR_J19

^
n.

120

DOUBLE COUNTERPOINT.

k9

=itt

j=s^^^=t^^

^^^

N-

-1^

S3E :^

i^^^^^^^^^
although

We

crosses two of the voice-parts.

it

proceed to add a fourth voice -jiart, caijable of inver-

sion, to

our second exercise in three

jDarts,

written by double

counterpoint in the octave:

G.

194.

C.

1.

r=?=

f.

Cpt.

2.Cpt.

*
ifd^t^^ _,

v^-

Cpt.

-VU-^

i#:
|^_^zz23^== =^=i
-t7

^-^

L^F=^^

V^H*5i

--^
:H--^-

3.

.^

5z=?=t?

S
^,

tf-fa"

I
^.^

SE

DOUBLE COUNTERPOINT IN THE OCTAVE.

14.

-^=^-

SE

f^
^!f==P: ^

121

^z^^^=

-0^-

S^=^
|S^

(*

Se

|3^S^=r^
P-Sf

m^^EE^^i
The

close of

all

the voices upon g could easily be altered

obtain a full- toned chord; this ending upon g is

caused, as can be seen, by the changing about of the single
in order

to

voice -parts.

We
195.

only one

of the possible inversions:

G.

3.

Opt.

2.

Cpt.

1.

Cpt.

C.

give

f.

9_^iM=*:
^

t*

|!^|^E5E^E^^

g^gzCzTz^^g:

^
DOUBLE COUNTERPOINT.

n.

122

fc=t

-0

r^^rs^-

_;._,=;z:irv:

-^

3=^

=|=?

^Sg^^

fffi

3t:^i?:
^

:r

Eooercises tvhich have four or more contrapimtaUy indepeiident voice-'parhi easily become ovei'kiden; it therefore happens,

not so

much from

fear of doing

difficult

work, but rather in

and increased intelligibihty,

that even composers generally prefer a manner of writing in
three or four parts, which could be correctly called two-part
writing with one or two other parts added for completeness of
the interest of better tonal

effect.

The bass

is

effect

often supplementary, but not so

the sense of a completive as a supporting voice; that

to be

considered

in

much
is,

the sense of a real bass, which,

it

as

in
is

we

learned in plain four-part writing, males clear the harmonic

.structure,

purely
tliis

and

tiielodic

ichich cannot be omitted

nor be replaced by any

(contrapuntal) voice-part.

Again we emphasize

frequent renunciation of practice in favor of practicability

of inversion of the bass

and particularly Avarn the amateui' com-

poser against the writing of exercises with too

many independent

voice-parts (three or four contrapuntal voices will almost always

permit the rhythm as a whole to degenerate into a succession of

short notes of equal value, and therefore rob the individual
rhythms of much of their energy) and we also strongly emphasize
the high educatioiml value of these tasks, which, at any rate
;

are occasionally of the greatest value in practice, and especially

in

development sections,

tion of the single

where

it

concerns less

the

perfec-

thoughts, than the artificial entwinings and

measurings of strength of

motives

witli

other

motives.

We

 14.

now

DOUBLE COUNTERPOINT

IN

THE OCTAVE.

123

turn our attention more to those peculiar j^air-like pro-

on which in simple counterpoint

thought for the three and
While we keep in mind the difficulties which

gressions of the voice -parts,

we

already bestowed

four-part writing.

we met

particular

in the increase of

successive voice- parts to single

the

notes of the cantus firmus or of the counterpoint,

ment

we recog-

necessary for a beneficial furtherance of the develop-

nize as
of

our exercises,

voice-parts, or

the

simultaneous invention

because that

is

a difficult task

of

several

the in-

vention of voice -parts with regard for those afterwards to be

added. There appears as the simplest form, the accompaniment

by means of thirds or sixths, although not necessarily continued
throughout in the same manner (as advocated in Cherubini's
text-book upon counterpoint), that is, always with the accompaniment of upper thirds
whereby an unnecessary fetter
would be placed upon the musical fancy, and also many cantus
firmi would be impracticable for this method of writing
but alternating, ad hbitum, between parallel thirds and sixths,
Avhich scrupulously avoid any crossings of voice-parts and particularly those which are the most closely united.
We now
transform our example O into a four -part exercise by means
of parallel pairs of voices, which by the rules of double counterpoint may be inverted in the octave then for example
we
similarly invent two pairs of voices, that is, we make it fivevoiced in such a manner that four voices, which will invert,
moving freely, may group themselves about the cantus firmus:

Problem 46
cantus firmus,
thesis,

Association of a parallel voice-part with the

and the writing of a counterpoint in

which likewise has a

parallel voice-part.

196.
C.
1.

f.

Cpt.

2.

Cpt.

3.

Cpt.

rt-

g^^fpif^^

SiSit

anti-

n.

124

DOUBLE COUNTERPOINT.

^^^^^^^^m0
p

sfc=^=feFg
r-

mm:

B^=

--

fci^
'=^

iii^iii^|PI^^^=
i^^i^^i^rp

i=::zL
-t-

NB.
Inversion

^^

G.

197.
C.

kd^

f.

2.

Cpt.

1.

Cpt.

-^

# f=5^

9t5^

3. Cpt.

=P=?^

=5=S

f}
t^_A^

^ ^^=F
^

-^.

#-^

.As^
^*'"

LT^f
^ilci

tj'

l-J

'

DOUBLE COUNTERPOINT IN THE OCTAVE.

14.

^^:r5=

=1

125

^-

iiIt

NB.

i_^.
E

^-3=^

Another inversion:
198.
3.

Opt.

2.

Cpt.

^^M^^^feN^^

1.

Cpt.

p.T

C.

r-'

**

gH

!*

-ti^

=t=g

f.

i^:

m ^

C&-

Tl-'-'^

9SEfc#

E^

t^*
1*

Sfe^

S
^^^^^
^k
^^;
We
with

come

=i

g!

to our i^-major example,

parallel voices

in antithesis

to

-ir^

P"=^
J

and write a counterpoint

the cantus firmus; and

then afterwards we add the second counterpoint with

voices

w-^

its

parallel

n.

126

DOUBLE COUNTERPOINT.

The writing of one, and then a second

Problem 47
counterpoint, accompanied by thirds and sixths in antithesis
:

to a cantus firmus.

----*

C.

f.

3. Opt.

4.Cpt.

m^-

1^

*- :^H
>-g-ST

l-d

s^

._^..

=#-4

9i

x: ^-J

e?^

1-=

3:r

.gl-^
i^
^^5^^
5^

P>-

33Ei^EESESE^a3Ee^553Sf
n^

^-

p=^

g M

^s-g-g

Jli^E^^EEE^

^^

:^:

I3E

*^

'-^

P-

H*=5=

e^

:??:


DOUBLE COUNTERPOINT

14.

IN

THE OCTAVE.

127

we let the under voices exchange places with the upper

and also at the same time invert each pair of voices,

If
\roices,

we obtain

the following tonal effect:

200.

Cpt.

4.

Cpt.

C.

^-

3.

f.

^.

(^
I

.
"

""

Ss5
*-+-\^

iSfc

l.Cpt.
2.

Cpt.

! -^-p
f^ ,^
I

^
^;ir-"-fe=
'

^^

<

'

'

-J

^H =^
F
1

1
t

m-

r^>
a-#-^-#-al
1

r^
^
1

<^i
1

ffi^

te

^^1

ii-^t:

s-

^-

-I

>

^?^-

*a""u^!E3"

I^tei^
m

r1

^^-

t?
2

5-b

0-

'

n.

128

DOUBLE COUNTERPOINT.

Although four and

five-voiced exercises written thus always

have a certain punctiliousness and

stiffness

peculiar to

they are of value in polj'phonic composition.

as employed by

An

them,

easier style,

Haydn, Mozart, Beethoven and modem com-

posers, prefers to restrict itself mostly to

of inversion, while the others

when

the

voice,

melodiously

harmony

changes,

conceived,

two real voices capable

are supplemental and completive

or

they

while

write

only a

single

the others are composed

harmony, progressing
continously in long notes, but variously interrupted by rests,
and sometimes rhythmically enlivened. Also this fi'eer treatment of the voices can be so sketched, that they may be
inverted, that is, any of the voices can exchange roles and

harmonically,

retain the
this

])ut

not like exercises

character

manner

of

of writing

in

accompanjing parts. An exercise in

upon cantus firmus G forms the con-

clusion of this section:

Problem 48: To write a four-voiced exercise capable of

free inversion, and enlivened by rests in one or all voices,
ad libitum.

H
^^
r


DOUBLE COUNTERPOINT

14.

THE OCTAVE.

IN

129

Inversion with the melody in the tenor:

202.

2.

Opt.

C.
3.

^m

I^ m^
G.

l.Cpt.

*
>

^=^

f-

^-^U^

J^.

^>

:aj3

f.

^^s^^
frrw^^^

Opt.

^i=^=k=.

1*=?^

-# -0-f-

3S ^^feSi

=^

TH^

^^^

i=^

^^

ijl^
r

Inversion with the melody in the bass

and

transposition

also

latter often being the cause

the

of the inversion):

i*^

203.

practical composition,

{i?i

modulation attend such inversions,

G.

2.Cpt.

-H*

i
*=i*=^^=S

S.Cpt.

rTTL

j~

i~i

l.Cpt.
C.

f.

<

-,

r^i

-J-

<-

1-2-1

*.

:,#

Si
iwf

!^!

-J-

-f

kJH-l

?-v-wh

li
#-c;^

^Fg
EiEMAKN, Countei-point.

n.

130
It

upon
of

DOUBLE COUNTERPOINT.

necessary to point

is

this

kind of work

school

out

the student,

to

who

that not until after the

enters

completion

freedom of musical
full
will he attain
be impossible for him to produce anything
without a mastery of the preceding exercises in

studies,

fancy; and

it will

noteworthy

the increase of voice-parts.

He must

place a high value upon

freedom before he can make the right use of

it.
The various practised forms of contrapuntal wi-iting will
appear important and desirable according to kind and occasion,
Even the driest, most
and must not be lightly esteemed.

his

artistic

schematic combination, as a logical result, as a means

fo?'

the

can he of great imparta?ice, while

the mathematically calculated and unemotional, as a foil for
that which springs fi'om the soul and in which are propagated
the most beautiful flowers for musical composition, can be of
increase of tliematic icork,

direct service in the arousing of the highest intensity of musical

expression.

DOUBLE COUNTERPOINT IN THE TENTH.

16.

As

already shown in detail, the octave inversion

is

the only

one which does not change the meaning of the harmony

six- four chord as
the

octave

double counterpoint in

the only species

of double countopoint

therefore

is

[the

possible exception);

more than two-part

There are exercises,

written in three or more
as we shall see directly
however
voices by the rules of double counterpoint in the tenth or
twelfth, but they only contain two voice -parts which can be
ichich permits

inverted in the tenth or twelfth

they are

in

the octave,

that

icriting.

if

is,

double counterpoint in the octave.

there are further inversions,

we have before us simply

The terms triple and quad-

ruple counterpoint have been used by others, but because they

are

we shall do nothing to presence them they

make contrapuntal teachings more complicated

superfluous

only serve

to

they really are.

"We do not speak of double, triple
and quadruple counterpoint in the octave, but of three four
and five-part icriting in which two, three, or all the voices can
be inverted; and at last we come to the form of writing in
which two voices can be inverted in the interval of a tcntli.

than

DOUBLE COUNTERPOINT IN THE TENTH.

15.

the exercises being sketched by the rules

point

Three

the tenth.

in

more

or

in that

counterpoint

voiced

of double counter-

invert a

cannot

voices

ad lihitum, therefore, there does not

tenth

131

exist a three or four-

but only a two -voiced

interval,

writing in which the additional parts invert by an entirely different

principle.

The

of

inversion

a voice a tenth upwards

downwards

or

a widening of the interval by a third which the voice

signifies

forms to the cantus firmus, therefore the third becomes a fifth

and the sixth becomes an octave; it is evident then that a

adapted

counterpoint

thirds

and

brings

parallel

But

inversion

for

sixths

tvith

fifths

parallel

inversion

error possible.

impossible to win parallel thirds (tenths) and parallel

it is

sixths for the inversion because

tabooed for the

unisons

parallel

(octaves) are

but parallel fourths, which are only

original;

The

occasional, are practicable.

clear

in

because

worst

the

octaves,

the

while

tenth,

cantus firmits^

the

and

the

in

never progress

can

remains fixed,

firmus

cantus

made

results of inversion are

by the following:
10

204.

L
jyg^jyg
'^

i
o

.^

rj

^ - -

iy

g g"g

/>

^'

"I

'7^
10

Because parallel
before or after

sible

fourths

and

and sevenths are neither posinversion (they are changed into parallel

ninths),

seconds

are excluded in

these parallels

double

counterpoint in the tenth, and are only available for oblique

But

and contrary motion.

ative

we

if

our experiences

recall

third ( 12),
of double

we

are

in

a position to acknowledge the

can be inverted a tenth higher or

is

the

upper voice a tenth

and

careful in the oblique

contrary motions to exclude the parallels.

we proceed

a greater

we

will

so

schematically

On

the harmonies

or lesser extent against our wish.

direct attention

(according

utility

counterpoint in the tenth, because, the lower voice

lower ad libitum, providing one

if

rel-

the changing of the harmony by the addition of a

to

to

inversion)

anew
of

to

the

the

the contrary,

change to
In other words,
will

henceforth

construction

counterpoint

to

be
9*

directly

132

II.

represented

l)y

DOUBLE COUNTERPOINT.

the sketch;

same manner

in just the

counterpoints

the

in

we must

sketch the double counter-

as also the three and four-voiced writing,

point in the tenth,

as

we

conceived the double

directly

with

octave

parallel

and

thirds

sixths

as four-voiced, but with this difference, that the intended two-

voiced

and

use

exclude

the

the

schematic

strict

intennixing

of

inversion

and

tliirds

sixths.

by a tenth
Because the

tenth becomes unison and the unison a tenth, to prevent crossof the parts

ings

the cantus firmus and the

ujjon inversion,

counterpoint ought not to exceed a tenth apart

firmus remains fixed) or a seventeenth

(if

(if

the cantus

the cantus firmus

is

to

be inverted an octave in the opposite direction). We give our

cantus firmus F^ accompanied throughout by over and underthirds (a cantus firmus which does not admit of at least one of

these forms being impracticable for

double counterpoint in the

tenth:]
205. r.

WEB

=5=^

with over-thirds.

'^^^^M

^I2i =^=s:

r-4-4^

with under-thirds.

these

we

^^
=?^-

iE3

-t-^

To

:=t

-^

write a counterpoint running in thirds thi'ough-

out, for example, to the cantus firmus with over-thirds:

Problem 49

(Double counterpoint in the tenth).

tion of a double counterpoint, with

firmus, with
206.
C.

added

added

Inven-

thirds, to a cantus

thirds.

F.

f.

IW.

id

with over-thirds.

Opt.

g^^^^


DOUBLE COUNTERPOINT IN THE TENTH.

15.

I^

EE|

133

-,_-5-_Izg_

^^
'# g

::

fi-s

Thereby we obtain the following two-voiced exercise, which

by the principles of this kind of double

inverts in the tenth

counterpoint.

Cpt.

C.

F.

207.

f.

-l-

J5-I

te

^k=z=j:g^^ib^^fL|^

^ [~j

|E

k-#

* -^^

- 1-

-^#

f^=^
-^

atrd

lira:

|r^o^^j=T3z
fc=iL=3

^^

:^

:::=::t

This counterpoint insufficiently meets the

requirements of

our aesthetic experience regarding clearness of harmony sub-


U.

134
stitutions

and

DOUBLE COUNTERPOINT.

not conform to these

will

sake of interesting

claims,

make proper

combinations we

Ijut for

the

concessions

and dispense with the harmony substitutions indicated by the

The first inversion is a tenth downwards, and this inverted counterpoint becomes the under voice-part:
figures.

208.
C.

F.
f.

Cpt.

HE

is

S>

'

^^jz^^^^m

ffi

^^

t^ #-a-#-#-

E^g

^3#-^

^eS

m.

a^F=g=^=^=g
The second

inversion

upwards, so that
209.
C.

Cpt.

is

is

now

that of the

cantus firmus a tenth

the upper voice-part:

^^^^^^^^m
i

f.

it

J.

l_-il

^^^^^^^^

15.

DOUBLE COUNTERPOINT

Cr

Just as

duced

tlie first

this exercise in

exercise sketched in four-part writing pro-

two

exercises are produced

if

voices, so several three

we combine the

ciples of double counterpoint in the tenth, but

0.

few examples

will

F.
f.

Cpt.

IW

and fourth

third

could no longer be inverted by the prin-

terpoint in the octave.

210.

and four-voiced

original cantus firmus

The

and counterpoint with the inverted forms.

voices, respectively,

135

-0-^

'^

THE TENTH.

IN

^_

by double coun-

make

this clear:

1^

-0^

^aEj^^^^^igj^g^
1

SE

-(2.

^^VM
K--

m ss
T=t

g-SJJ Ls ^
l

h-p

I3E
==

^m
211.

F.

Cpt.

C.

f,

fe^
9ij

^^

^feSg
3^g^P^
-^-0-

n.

186

-^0-

DOUBLE COUNTERPOINT.

g^^igEapSE|E3^^JEfeg^
1=^

^=g
r=^=

^^j33=:3=j5^^^|
1:^=
i^
&

and

'^

four-voiced, the original sketch being inverted:

F.
^-

-^

1^^

f==r

rr

212.

^=t^

fr

-#

m ^ m *

CIlJ

*-=-

i^
^

l^^^g
vr

^,=l^

rr

--

rtr

iifnt

H-#-

TU^"

i -#-

-*-f-

r*-^

lLU Cff-

15.

If,

in

DOUBLE COUNTERPOINT

the

one

sketcli,

firmus, the counterpoint

under- voice, that

is,

is

THE TENTH.

adds under- thii'ds to

must

first of all

137
cantus

the

be considered as the

cantus firmus

occasionally the

not a tenth higher but a tenth lower

writing

IN

therefore,

if

is

brought

the four-part

to appear:

^^^Ei^^^^fe=^
witli under-thirds.

^^?-^^^g^"^^^^
z]z=z^
fffi

:d=

:s^

^m

t=t-ig:
-^i

fi-

zsttr.
-5-#-

^^^
tr-^

tfr

3=1:

-5^

*(l)*-^

ttE
r-

the sketch should be written in this manner

F.

214.
C.

f.

m^-

^^

^-F

Cpt.

A^f

li

:t:-

^E^^^^^^^^^^l
^==^
^
ffb:

^
=Er

138

II.

fe=^

DOUBLE COUXTERPOINT.

-(S^

-0

rn-

iS^fe? s=;^=:^EiE3^-ri^.-|j^^Eg=|
and

inverted:

215.

Cpt.

C.

f.

fe=

|^^FF^^^>
llEt

-#-^
::Ut

gE=g?=gg
I^^
E:
-

 15.

DOUBLE COUNTERPOINT IN THE TENTH.

139

I^S^^-^^eIe^^P^^
tfe3
and

iS

finally three-voiced

and four-voiced:

iifflipiili
217.

9t*

m-i

t=^

1^^

The student must

not

^sfet

be afraid

f~-

-f-#-

J
# ^^

^^EE^

i=i=Pf^

-(

-^0

of

a few

unsuccessful

attempts at wresting benefit from double counterpoint in the

tenth.
do not need to give examples of double counter-

We

point

of this

species with

an

independent bass -part

does not invert), or with completive middle voices.

remarked that there

no reason for retaining voices not inthe same can be modified at any time,

ad libitum, so that they may help

from inversion.

The

to conceal weaknesses arising

DOUBLE COUNTERPOINT IN THE TWELFTH.

relationships

are

wholly

different

in

this

counterpoint; the inversion in the twelfth implies

of a

fifth,

or what

the same

the twelfth

species

of

the addition

thing, two thirds to the interand the counterpoint. Double counterchanges the wider-third into an over-third^

is

vals of the cantus firmus

point in

(which

may be

is

tended for inversion;

16.

It

DOUBLE COUNTERPOINT.

n.

140

mid

an under- third;

the over- third into

parallel thirds

parallel thirds; consequently, parallel motion

it

was in double

counterpoint

progressions

parallel

over-seventh), as

the

in

All the other

tenth.

(under- sixth

impracticable

are

becomes

shown by the following:

12

11

.^

P^

^ L
^

7'

218.

i^
-^

i.

-J2S1
7

10

11

12

remain

not excluded as

is

That an inversion by two

than by one third

meaning

harmony more

thirds changes the

the tenth)

(in

self-evident;

is

to

certain

whole composition is changed by

the inversion, so that the composer's fancy is entirely disregarded, because it is impossible, as in double counterpoint
degree,

in the

the

tenth,

of the

to represent simultaneously the original

inverted writing.

useful suggestion

is

and the

the pointing out of

the identity of the harmonic meaning of the third-change chwds,

may be

as

seen

when

voice to be inverted
(e.

g.

d f a

verted

c),

as

as possible

and the uppermost pair

downwards.

To

prevent

greatest distance apart that

We

much

one gives to the

upwards the lower pair of the four tones

is

employ cantus firmus

to the

crossings

allowable

F as

is

of

voice to be in-

the

parts,

the

a twelfth.

the basis of our work.

Problem 50 (Double counterpoint in the twelfth.) The invention of a counterpoint, which inverts a twelfth higher
:

without the cantus firmus being changed.

F.

219.
C.

f.

Cpt.

vs:

13fc=t

NfSF=feq

^Tzn^

p^

f^^^^^^
LLD


DOUBLE COUNTERPOINT IN THE TWELFTH.

16.

141

^^^
t^-^Twir^

fm

First inversion:

the placing of the

counterpoint a twelfth

above the cantus firmus:

F.

220.

C.

f.

,^
*-#^

Opt.

-^

:|=

Tti:

J-

-^

i^

NB.

11

rr

-r~t>^

r
NB. Upon
accidentals

(H,

inversion one employs or ignores, ad Hbitum, the

t^,

desired track.

i;|,

&c.)

Other

which bring the modulation into the

liberties,

such as the choice of a step of

a third in place of a fourth, or similar steps, are permissible

for these

exercises.

Second inversion: placing

of the cantus firmus a twelfth be-

low the counterpoint:

Opt.
C.

F.

221.

^*

91

f.

1T

4^-

1-4^

^^^ ^-i-^-n^
.

\^

r-

r^'

r
I

'r!

^T*>^
-^-#

^-f

^^^^^
-rS^

n.

142

DOUBLE COUNTERPOINT.

We disregard the insufficiences

(ending in the

fifth)

and particularly

of the

two cadential formations

because apphcation of double counterpoint,

in the tenth

and

in the twelfth, occur constantly

only as thematic work in the middle of compositions, and voluntarily retui*n to simpler formations.

more satisfactory cadence

obtained when the counterpoint

If then, the inversions shall

intervals (thirds), these are easily

yield

is

being sketched (here, where the

countei-point progresses after d instead of after

Double coun-

f).

terpoint in the twelfth, as already said, cannot be written in

more than two

(the

voices

will

after

but

voices,

free

inversion);

may be added
may be modified at

voice -parts

thus added as supplementary

or also parallel

thirds,

voices in

which

may remain fixed or inverted one or two octaves (but not a

twelfth).
As we have already had occasion several times to
make distinction, the addition of a voice developed in parallel
thirds

excludes parallel thirds between the cantus firmus and

the counterpoint, because, from necessity, there arise parallel

fifths

and octaves

tenth

with parallel voices, that

Like double counterpoint

the

in

demands contrary or

voices absolutely

manner the

(unisons).

oblique motion.

parallel voices are to be written is

in the

with parallel

hcelfth

In what

self-e\-ident

if

one considers that they must form thirds both before and after
that

inversion,

is,

if

the voice intended for inversion in the

moved upwards the

the original voice and

must fonn over-

twelfth be

parallel voice

thirds to

under-tliirds to the part to be

inverted [that octave inversion causes the thirds

may

be ignored).

If

of cantus firmus

F for third-doublings,

have associated

itself in

point,

to

become sixths

we had intended the above development

the parallel voice should

over- thirds with the original counter-

which upon inversion would then have become under-

thirds to the parallel voice:

F.

222.

NB.

-,

* p^

l^^^^^^^gte
rfT^^^=n^
I

^^^
NB.

DOUBLE COUNTERPOINT IN THE TWELFTH.

16.

143

FaiQty parallels appear in the third measure in both cases.

"We correct the counterpoint so that it meets the requirements,
that is, we sketch the exercise in four voices with under -thirds
to the cantus firmus and over-thirds to the counterpoint:

Problem 51

(Double counterpoint in the twelfth.) Sketch,

as an under-voice to a cantus

of a counterpoint in thirds

firmus accompanied by under-thirds.

F.

223.
C.

f.

a.

C.

f.

b.

Cpt. b.

Opt.

a.

mifif
Ji
tt

-0~

&.

^m

^
NB.

0=^

mB

-#^

J^

"We can disregard the unpracticable

such an ending would have to be

make

its

debut in two voices:

224.
C.

f.

a.

Cpt.

a.

^m

close; in concrete cases

rectified.

^
^

This exercise would

144

II.

ii

-r^H;^
=ij

^^
The

DOUBLE COUNTERPOINT.

first

jS

^^-p=|EEh==p:f^

-'

J=4
^-#

==^=tj
^=^i=:-*==e

the

inversion (the counterpoint in

over- twelfth)

would appear:
225.

F.

Cpt.

c.

C-

a.

f.

^3=^rMJ5.-4M
^|^r-f-r

-^^

^^^^^^^jEEEJ^^-^^
r

and the second inversion

(the

cantus

r
firmus

in

the

under-

twelfth) appears thus:

226.

F.

r*,

p^^

C.

f.

^^

c.

^tfc=^

^.

=:==:^_^_^_.

rr=r

r-

3^^^3^^^S3 ^^;

=P=f
I

^^

;pp^^^^^^,=h3Sip^|
rr

s^
I

 16.

An

DOUBLE COUNTERPOINT

IN

THE TWELFTH.

145

example (we change the under-thirds of the counterpoint

into over- sixths to prevent crossings of the parts

inve^'sion is

always

g^^^S

227.

an

octave

possible) of three-part writing:

F.

Opt. b.

Cpt.

c.

C.

a.

f.

:p=5:

f=^

Sffi

0^

--#I

iSi
iii>

-td F-

b-

^-

F-

F-l

#-i-

t-K

:tz=:

t-l

=&

ff^

II

i=^
t=^^=3
ta^

p-

---

i^

5:

te
Four-part writing (the cantus firnius a inverts in the
under -twelfth, while the other voices, in part, make octave inversions)

228.

Cpt.

a.

Cpt. b.

-(2-

C.

f.

c.

C.

f.

b.

:&:

S:

-^

-#--

9ti

---1

EiEMANN, Counterpoint.

:&

^^

^S(^ff
-^^m
10

n.

146

m^-

DOUBLE COUNTERPOINT.

:-J:

-^

jt^J

17.

There

DOUBLE COUNTERPOINT IN THE SIXTH AND

THE ELEVENTH.
can be

interest

little

writing

the

in

a double

of

counterpoint which inverts in the seventh or ninth; these two

intervals are in every

way

so

much

the absolute negation of the

harmonic meaning of the prime, that such a combination would

appear forced unless particular means were employed. Nothing
need be said about these forms, either of the original or
of

the

in

the

inversion,

as

in

the

case

tenth (consider Hauptmann's

double

of

counterpoint
of dissonance,

definition

The

"a melodic succession conceived of as a chord").

in the sixth

is

unfi'uitful,

inversion

because the fourth becomes a third,

and neither the third nor the fourth preserves good harmony
substitutions;

reciprocal

the

octaves and the sixths

is

compensation

insufficient,

unisons or

the

of

even though the exercises

are not directly impracticable:

229.

F.

^^

tz

m^

X-

^:

-#*-#-'
-#^

JStL

ldr=&f

vr

r^
'

?^^;
f

^:
f

^g^^^:

'^'^

0-

 17.

DOUBLE COUNTERPOINT IN THE

Inversion
sixth

and

of

(translocation

the

of

the

SIXTH,

counterpoint

147

&c.

the over-

to

cantus firmus to the under- octave to

avoid

crossings of the voice-parts):

F.

230.

Opt.

*s?3
C.

f.

; .*

-^

f=s^

<s^

:t:=t:=

i^^=

-25^-

Double counterpoint
in the twelfth, in as

"We

verted.

much

This species

is

attention,

similar to that

as the third remains a third

understand

will

more

in the eleventh requires

because the sixth remains a sixth.

it

more

readily,

if

when

we

in-

write a

counterpoint, which repeatedly forms sixths to the cantus firmus.

Examine the following

for the other intervals:

ja

*.

-^^=^-=%--

31:

that

10

231.

10

is,

practical

^
_
-S/5>

r::

g^-

7
9

value

could

relationships of the fourth

and

be drawn

from the inversion

octave.
10*

DOUBLE COUNTERPOINT.

n.

148

Problem 52: Double counterpoint

2^^-

^-

^ T~^

J
i

^^S
p^=f=e-fT^c^f=r=FS^=^r
I

C.

in the eleventh.

FTT.

f.

Cpt.

^^

11=:=^

l-gi^
The

inversion:
F.

233.

C.

f.

LZIz=ra=EE:ZZ

E^=a-

^ T m

-(

r;

J=;f5
iti:zji.
i^

=^iii=

:i^=

^ ^^
^

the

translocations

there

is

is

only

from one octave

the voices

of

position to another are alone significant;

unimpassioned

=i^

the profit to be gotten from this species

all,

moderate;

j44

=w

--

After

^bg-^j

indeed,

one can say

hardly to be found a single movement

quartette or symphony
and translocations do not occur

in sonata,

in

which

octave

inversions

double counteipoint in the

indispensable to the composer!

Double counterpoint

octave

is

in the

tenth or twelfth, as also that in the eleventh or sixth,

particular

requires
in

an

en\ironment

binations,

work, that
awakens interest

preparatory
that

as in variations,

for instance,

appear fluent double counterpoint

work and the

like.

is,

in

is

not

only necessary

that

the

cantus

will

or some canonic

to acquire a taste

in order

for two-part writing similar to our last form of

it

must appear
com-

artificial

which there

in

in the octave,

For example,

it

work (problem

finiius

as

52),

such be

PLAIN CANON IN THE UNISON AND THE OCTAVE. 149

18.

thoroughly understood from previous practice in counterpoint,

but also that a certain blunting of interest in the cantus firmtis
itself

already been

has

developed, so that the

and

centres in the counterpoint

chief interest

its inrei'sions.

Although perhaps the pleasure which such combinations may

possess for the not wholly technically schooled listener
little,

is

it

certain

that the master musician will

contrapuntal forms with enthusiasm

a high artistic joy,

if,

may be

adopt these

the composer himself finds

in spite of the greatest

restrictions, his

fancy i^roduces the beautiful.

CHAPTER

in.

IMITATIVE COUNTERPOINT (CANON).

18.

PLAIN CANON IN THE UNISON AND THE OCTAVE.

The

particular interest attached to

counterpoints

consists in the

position of the voices

in relation to one

tone-region by which each species

is

all

the various double

fact that in spite of the altered

is

another,

or changed

represented, their identity

understood and the same musical thoughts appear in another

Only one change of tone-color is granted to double

light.

counterpoint in the octave, because the harmonic meaning of

the combinations (with a few unimportant exceptions)

remains

the same; but in the other species harmonic complications take

place and therein exists the increased charm of the same in
antithesis

possess

to that in the

little intrinsic

octave, although in themselves

merit.

fact, no longer the same

composer
is able to succeed
melody. Therefore, only when a
in keeping the meaning of the cantus firmus intact in all the

the

same harmonic meaning

they

melody, which no longer has

inversions

at

least in the

is,

in

main

is

a high value to be attrib-

uted to double counterpoint in the tenth, twelfth or eleventh.

The same joy of

points

is

recognition offered by the double counter-

also peculiar to canonic

counterpoints, that

is,

those

IMITATIVE COUNTERPOINT (CANON).

in.

150

counterpoint

the

in -wliich

cantus

the

imitates

firmus

in

cases where the cantus firmus in long notes is entwined by an

enlivened counterpoint
or those in which the second (third

or fourth) counterpoint imitates the

former

of imitative

tivation

the 14*^

was

century

16*''

counterpoint.

first

devoted

particular

cul-

Netherland School

the

counterpoint;

the

to

centuries, developed the art

in

imitation into a

of

wonderful variety; now, although the special advantage, or the

exclusive cultivation of such

Kvely interest
introduction
the

is still

artifices,

is

out-of-date, a

long

preserved for the occasional and momentary

same, and it is therefore necessary that

composer acquire their mastery. The so-called

of the

youthful

free imitation^ the occasional imitation of the melodic contours

by the accompanying voices,

movements
the unconstrained devel-

of the prominent parts of themes

or also

opment
makes

in polyphonic

of

melodic -rhythmic

especial

claim

unschooled listener in

but after
strict

to

through

several voices,

upon the interest of the theoretically

a similar manner as upon the musician;
only a substitute for the genuinely

all it is perhaj)s

imitation

motives

which

seems

it

analagous.

If

student

should begin his work in imitative counterpoint with free imitation^

the fuUness of possibilities^ both here and elsewhere,
would not mean a liberty, but something inexpedient and imte)iable; first he must have practised all, or a great number of
the forms of strict imitation before he can think of deriving
The
at will now this and now that for his flight of fancy.
strict imitations, aside from the fact that they are adapted for
the awakening of high aesthetic interest, possess this particular value in that they make familiar more comphcated combinations of tone-representation than otherwise would be pre-

sented to the fancy.

We
at

begin with the simplest forms, the imitation of a melody

the same pitch and

only the

from the

later
first,

in

entrance

of

notes of the same length, so that

the

second voice

therefore with canon

The Nethcrlanders delighted

in

in writing

tions represented by a single voice-part,

less enigmatical directions,

the

distinguishes

it

There

is

octave.

entire polyphonic composi-

and they indicated

the entry of the second,

third,

by more or

or even

more

PLAIN CANON IN THE UNISON AND THE OCTAVE. 151

18.

or no pedagogical value in giving a student a fragment

little

two measures to be developed by imitation in some

This would be unworthy of a student
who has solved the previous problems. But on the other hand,
it would be expecting too much if we demanded that a pupil
immediately develop a canon in two voices upon a fixed
Therefore, we enter upon a way, which perhaps
cantus firmus.
is not generally used, but nevertheless one that certainly should
of one or

casual or hap-hazard way.

be recommended, when we give the exercises a kind of variationform, and the formation of the voices being wholly free in
detail,

we

require the

corresponditig

Examples

to the

will

make

student to produce a canonic writing

thematic content of a definite cantus firmus.

this clearer:

Problem 53: Plain two-voiced canon

in the unison to be

written as a variation to the exercise under problem

234.

1.

A.

^
ffe^gjg^m^SSiP
>

>

This
its

little

canon, however insignificant

it

may

seem,

fulfills

task and reflects the principal contents of cantus firmus

(and the original foiTU under problem

time a

real

single voice

canon in the unison.

and then the

It

1),

being at the same

could

be written as a

sign shows the entrance

place of

the second voice:

which had to be puzzled out from the one voice-part. These

were called canon; but the strict form of imitation, or canon
as we caU it, they called fuga (flight or pursuit of the voices), consequenxa
and other names.

voices,

directions


IMITATIVE COUNTERPOINT (CANONS

ni.

152
A.

235.

J=*3:?=q
*z=?==^

-^^rep. ad lib.

In canon in the unison, voice-crossings are unavoidable unthe direction in which the voices go remains fixed from
the beginning to the end (compare the second half of our canon

less

and

prototype, cantus firmus A).

its

the danger of

another

the voices

may be prevented by

to

If,

sounding

alike

a certain

when

care in the development

voice which goes before (compare No. 234, measures 3

this
is

danger

is

preferred

the very best reason

to

fewer crossings

advantage

if

that

in

the

of the voices.

why

unison,

degree,

crossing

one

of the

and

4),

imitation in the octave

inasmuch as

Our canon appears

it

causes

to

better

the second voice follows the antecedent into the

higher or lower octave (no parallel octaves occur) and therefore an

inversion in the octave

is

practicable:

NB.

A.

236.

r^
-^-0-

&
wm15

^HE^^^S^

3Bi

3EE35

mi

^m^^^^^
3-^^

Coda.

"^

 18.

PLAIN CANON IN THE UNISON AND THE OCTAVE. 153

or inverted:
A.

237.

k
w
I

^Tt^

-(#-

#=t^^^
Coda.

gjg=qj4^

as

In regard to the phrasing of a canon,

a rule, the beginning voice retaiiis

and

the

symmetrical construction

it

may be

said that,

lead

tkroughout

the

is controlled

by

there are

it;

however, where the imitating voice interrupts this lead,

cases,

especially if it imitates the first voice after two measures. We

must now explain the technic of the production of such a canon
more particularly, and what we say is apphcable in the main

to all imitative counterpoints.

Of course the

first

beginning and the entrance points for

the imitating voice are wholly free

canon may be developed most

*.

easily

when

the imitating voice

enters after several measures, because then the preceding voice has had

the time and the opportunity to bring logical harmonic progressions to the

Our manner of writing canons, which take a pre-determin'ed course

whole.

of development (corresponding to the cantus firmus), makes

it

advisable to

choose close succession for entrance of the voices. It may be I'emarked

respecting phrasing, that in a canon like this where there is compression
in the entrance of the voices, or displaced measure-motives, the diversity of
tone-quality

canon

over-balances

the

equality of the voices.

If the

nature of

with equulity in
succession, then this will be the distinguishing element in such cases where
is

chiefly the diversify in the blending (counterpoint)

the positions of the motives

it

is

not perceived, that

is,

as a matter of fact,

strengthens considerably the canons bringing other motives.

m. IMITATIVE COUNTERPOINT

154

(CANON).

"We decide, for instance, that the consequent shall enter

upon the thiixl quarter note of the first measure, which for a
beginning

may be

indulged:
238.

thus, first of

all,

it

must be borne

in

mind that

all

that which

the voice (the dux, proposta, antecedent, leader) which takes the

lead has brought as far as the entrance of the imitating voice

(comes, consequent, companion),
voice in the interval determined

must be imitated by the latter

upon at its entrance, that is,

therefore, the comes, or companion, appears

tation of the first piece of the

and the dux makes

239.

own counterpoint

its

Cpt.?

a)

now with

the imi-

dux or leader or cantus firmus,

thereto

[a):

b)

E^^^^p^Sli^^S
c.

Occasionally,

our

first

canon

it

is

possible

(see b);

of cantus firmus,

piece

employment

f.

to

have the dux proceed as in

but thereby we have

which precludes the

gained
further

new

correct

of our first canonic voice:

240. a)

^^m
?

-^r^
C.

f.

Therefore, for the third measui*e, instead of conformity to

our

first

theme
work

(c.

canon, we
f.

will strive for a firmer union with the

A) which must constantly hover before us in oui*

*S^iE^E3:

ggg^-^i^

 18.

PLAIN CANON IN THE UNISON AND THE OCTAVE.

165

^:m

bE

=U\

$^^^^^^m^^
or as canon in the octave:
242.

K^^r-^'
-J

:=5<=:^^;

h-

#gh

J-Ji

^^^

^=^

g^|^^^Spg

igpg^gE|E^

^ 1^^
&ttl:
P^^^fel^^^^^lj
^^f
-M
-.^-EE^g?5
^E^3E^W:r|:=|::

or inverted by double counterpoint in the octave:

243.

'0^^^:

1^--^

itnr:

^i^^e=^tp=^

:^=:1:

#1?:^:=^:

^g^^l^=E^^E=^^^

^^^^^p^^^^^B^gE|

BnTATIVE COUNTERPOINT (CANON

ni.

156

Our cantus
voice

firmus

a distance

at

in the

intervals

two measures

of

original

must have recourse

adapted for an entry of the second

is

are wholly

because

to accented auxiliary

harmony
we

the

Naturally,

different.

and passing-notes

to

give the voices double meaning:

Cpt.r

tliat is,

d'^

g^ f^

1" 6

is

discriminate

that

it

c is

chiefly 1*

and

{a^'')

(e+),

and

3 4

in the imitation

in the imitation 3 2 (e+);

we

(6"),

now

will

so

according to the possibility of our counterpoint,

may make

possible the preservation of the turning, c^'

of the theme:

"c**

Cpt.?
245.

p^=*z=pi^ig=i

-P

J T

t=Ui

-#-^

r f #

n^#

that

and

is,

c* h first as 2 1 [b') shall afterwards serve as

h a, first as 5 4

(e+)

shall

become II

in

(*^c*),

8 7

[c^']

but the new

counterpoint must comply with the cadence-turning, a^ IP e^:

246.
-|^*>

Cpt.

T^

^^^^^

^'

"

"^^^ iP

f=f=E !^=^r'=fr^
'^ ^
a"

at length,
247.

/>'

e"*

we reach

the end with

its

inevitable appendix or coda

NB.

^&^^^^^^^%^-

18.

PLAIN CANON IN THE UNISON AND THE OCTAVE. 157

=1=1^

Instead of a halting coda to the comes,

it is the custom to
comes ends immediately with the

make a

direct close, while the

dux

NB.), eventually with a freely chosen note,

let

(at

we

or else

the dux assist the comes with a free coda even to the end:

^r0

\rf
Instead, a free coda
Coda.

249.

We

place

our

#-*-

rX

appended

is

to

both voices:

second

canon (an

octave

apart)

in

anti-

thesis to its cantus firmus for comparison:

--to-:

-^-51

250

^^^

rt-

:^!^\=^i=lt -f s'-#-f-[-#-#-==l
-^-^

.^*tj-

if^S

-n
1

1H-

tit ^-^
jHEi

iit

ii
^seL^MMI^r-T^^#
^0
Mti=^^
m
F-^<^-

5t

^H

J-

H*

^-^#-

BUTATIVE COUNTERPOINT

ni.

158

19.

(CANON).

PLAIN CANON IN THE UNDER-SECOND (OVER-SEVENTH).

While imitation

in the unison, or octave, incurs the

danger

same harmony, because the motives

return again upon the same degree, the imitation in the under
or over-second, or over or under-seventh, changes the harmonic
sense of the motive wholly and completely, because the degrees
lying close to one another never belong to the same harmony.
But this alteration of the harmony can of course be paralyzed
by the introduction of dissonances (suspensions, auxihary-notes,
passing-notes) for the cases where the alteration hinders the
development of the theme intended for variation. "We again
lay hold of our theme A] the dux could begin:
of remaining

fixed in the

251.

S
and the comes

-0-f-

X^

will enter after half a

r-

progression

::l^

measure:

252.

The next

Sg3

ss
easy,

is

'I

u^0zj

hs

because the cantus firmus,

note-against-note, can be understood in the sense of another

harmony
253.

=l2^=li^
f>c

We

>s>-H
c'^

'^c

3^

f\u

f'c

g1-^

'

c~

^c

proceed:

Problem 54: Plain canon

in the

under-second and over-

seventh, respectively.
264.

A.

^.

^mw^^^^S'^
f

19.

PLAIN CANON IN THE UNDER-SECOND.

159

^^jgig^g^^^^^S
"t^^
^U-4-J-

With octave-widening (canon

255.

in the under-ninth)

A.

^^^^E^h^E^E^^^^

S^^^

See^
^S

gfe^

:i=tlt

i35:

^^^im
#

gp^^=^#^^
isS
With

-(g-

inversion of the voices (canon in the over-seventh);

A.

256.

&
^^^Pil^^^=
a#^fe^^=l^gg
fer

^^^H^^H"-

nvnxATivE counterpoint (Canon).

in.

160

mK^

I^

SS^^-^fefEEE^
Nothing further need be remarked than that the harmonic
meanings are not so easily intelhgible, but anyhow are sufficiently intelhgible
point,

It is neve/r desirable
necessity^ ive

t?

20.

must

to

comprehend

tlieni

after several hearings.

after the obscure^

to strive

but in cases of

be satisfied.

PLAIN CANON IN THE OVER-SECOND (UNDER-SEVENTH).

Naturally, the conditions

that

not trained in counter-

so that the hstener,

would be able

is,

analogous

are

to

the preceding,

every returning motive will readily change

meaning.

As a

its

harmonic

work we use cantus firmus

basis for our first

C,

which we alter to meet requirements, striving to preserve the

original thought:

Problem 55

Plain

canon in the

over-second

(under-

seventh).

^^^i^^^

267.

C.

P^

'

_
'^j

n*

=}=t

f;

:t=

PLAIN CANON IN THE OVER-SECOND.

20.

We

161

to show how one can

work by means of ornaments (figuration), without changing its real nature; and from
this point, deductions and appHcations for the previous exercises,
particularly for double counterpoints in the tenth, twelfth and
eleventh may be made.
Every counterpoint, ivritten note-

unassuming exercise

use this

interestingly construct a contrapuntal

can akvays be regarded as a kind of rough sketch

be worked out later on. Without expenditure of new labor,
our example, only somewhat adorned, is formed (for the sake
against-note

to

and greater flexibihty in the motion of the

we increase the distance by an octave between the two

of readier survey
voices,

voice-parts) as follows:

258.

=#-^<

-^-r

-i-#-

'^-

fl^^

gfc*

t=^^

'ut

-t.>

-t.

-#--

i=t

^f--rttf
I frr
I

h-^l

I-

Ei^feiSEE^i^^^i
ita-

|^^^^&^.rf
lf-.

jF^-Efeg

ji.

-f^-

.tt

Inversion (canon in the under-seventh)

269.

C.

E3
^
4-g^^-^
H

I-

gLfzi^Si-*;:g

9f=#
RiEMANN, Counterpoint.

::t:

#-

^gg^

-#

- ^#-

11

in.

162

IMITATIVE COUNTERPOINT (CANON)

f^^^^^wM
\-

-I

.,

<-

z^

i^A_*
Another ornamentation
260.

of the

same

"^

C.

^*
21.

PLAIN CANON IN THE UNDER-THIRD (OVER-SIXTH;.

The

imitations in

of interval between

the third

the voices,

and
that

sixth favor

the

such a choice

motives

(or

shghtly

AVe call to mind

the double counterpoints in the octave, tenth and twelfth, in
which, in many cases, the harmonic meaning was unchanged when
over or under-thirds were added. If we work upon the basis of
our cantus firmus A, the comes enters at the distance of a
measure, because at that interval the same harmonies return:
modified)

retain

their

harmonic

Problem 66: Plain canon

261.

A.

meaning.

in the under-third (over-sixth).

PLAIN CANON IN THE UNDER-THIRD.

21.

K^^=^-

^-f-

-^g_tz

163

f ^

+-^f

Placed an octave further apart:

262.

A.

>^

^
eEEbEtfe

i-gi

^fEEEEEE^:

i=^t=E^*=gEi^Jt*:=ittg^
,=^SL-,^:*-^r^t-

fel

r&T

^6^^

:i?=irr

-h

*-^-W-

_^_tc

^f^f^ i?^

^
PS
zKEE^ES
-

Inversion (canon in the over-sixth):

A.

263.

te

-N-rj-r

--H

*-*

gg

p^^^gf^
11*

h-

in.

164

BnTATIVE COUNTERPOINT

(CANON).

-^-'.

JE^^^-JHi^fe
L- ^
fi=f=[J:SzM?--e^-^TT-^^=

^^

-X^

m^^^^^^:
p^^ -^^
^

NB.

:^=f^^

The

last

EE^

motive, not being imitated,

is

written an octave

lower to prevent the crossing of the voices.

22.'

PLAIN CANON

|IN

THE OVER-THIRD OVER-TENTH) AND

UNDER-SIXTH.

The

relationships are the

same as

in the

preceding.

We

take our e major cantus firmus (B), or rather the counterpoint

to

it,

note-against-note (problem

Plain canon
Problem 57
and in the under-sixth.
:

1):

in

the over-third (over-tenth)

m?i3=p
B.

264.

B.

f2f5^

i;

W^^^

-k^o.J^i

'*^

^^^

22.

PLAIN CANON IN THE OYER-THIRD.

165

s*-

^^fr^'

k%

E^=
. P

-^

.^
1

i^i

J^^p-

Inversion of the two voices:

266.

B.

,^

^0-

^^^

^i=

3iEE^*
#-

*-^ f
fe

^r"f

IMITATIVE COUNTERPOINT CANON).

in.

166

There are harmonies here which disturb the original coninstead of the
[c^'' in the sixth measure
fifth measure); hut nevertheless the sense of the whole is preception of the theme

served and clearly perceived throughout.

23.

PLAIN CANON IN THE UNDER-FOURTH (OVER-FIFTH).

most popidar canonic forms, bemeaning and can be understood, as may be required, in the sense of the same or of
harmonies related through their fifths; thus the canons in the
over and under-fourth, or over and under-fifth, unite the
pecuharities of those in the over and under-second and seventh
(change of harmony), and of those in the over and under-third
and sixth (harmonies unchanged). "We again use our cantus
firmus i?, and in its original form.
This

is

rightly one of the

cause the fourth

(fifth)

is

of double

Problem 58: Plain canon in the under-fourth

(over-fifth).

B.

?=
266.

rd:

-fip-

B.

'm

i^

23.

PLAIN CANON IN THE UNDER-FOURTH.

167

^m
m.^f
KB.

^^^mm
The signs over the
formed in free style.
accented measures show that cadential confirmations disturb the
The

close

is

symmetrical construction
1

+1 (+

i)

5 instead of

We
267.

4.

invert the exercise:

B.

^^

^==i=fc

m^m

T-

m
w

-^ -(-

wi

24.

U:

-,

-(=

-i-M^Et^^E?E3E^

1^;:

f=t

--fv

^-'-^'

:t=Ut:

^ =!^:
Tpl -

^0

i-

PLAIN CANON IN THE UNDER-FIFTH (OVER-FOURTH).

We

The relationships are similar.

again use cantus firmus B^
which, perchance, makes canonic treatment possible at a distance
of one measure,

and almost without any change:

m. IMITATIVE COUNTERPOINT

168

Problem 59: Plain canon

268.

CANON).

in the under-fifth (over-fourth).

NB.

B.

Only the next to the last measure is free. From this rough
number of elaborated (ornamented, figured] formations

sketch a

are possible, for example:

269.

B.

:;!==tibi:

^^=itf

-1^

1-

V
'U-

-^^
p^^^=t=i=^

nfe

:t^?:a:

:t=

#J^

Inverted (canon in the over-fourth)

270.

B.

Sl^

'

-#-B-#-^

ES^^g

Pfc*

-^r ^

tt^

 24.

PLAIN CANON IN THE UNDER-FIFTH.

169

^Ae^^

mm
25.

^-^

^-fzMi

77^-

SIMULTANEOUS ENTRY OF THE THEME IN DIRECT AND

CONTRARY MOTION (ALSO WITH THIRD-DOUBLINGS).

particularly interesting form of imitation

is

the reversion^

Like imitation
or imitation of the theme in contrary motion.
in direct motion, the same may be developed in all the intervals

(as

well in relation

to

the

degrees of

the

the period of entry) of the comes from the dux;

scale,

as in

indeed,

occa-

under certain cu'cumstances, to have the

dux and comes enter simultaneously., for example:
sionally

271.

possible,

it is

l$_

major:

minor:
- a J
i

I-

'-V
I

'^^^

'

(third of the tonic

third of the tonic.

or also:
272.

minor:

m
rtrtiT

-^

^ -jd

'

'tonic-fundamental

T^-^z^J-|_j!i^i:

*mfrri

tonic-third.)

'^'

m. IMITATIVE COUNTERPOINT

170

:CANON).

major:

-=-^*

rarer

minor:

273.

^MllJjf

'HII

(fundamental
still

8va

fundamental.)

rarer:

274.

(minor-prime remains minor-prime,

The
275.

first

form with outer

a.

J
-g

-(

joarallel thirds:

,1

^^^

is:

The second form with

(major-fifth remains major-fifth).

inner parallel thirds:

276.

f :^iS3i

J->-;

I-

=i:
:??#?

i^jJi^l^riEl^^-^

9t=J
The

third
277.

and fourth forms with inner and outer thirds

SIMULTANEOUS ENTRY OF THE THEME

25.

171

&c.

and:

two intervals of a third

that of the

so

of

the

tonic

chord

(i) 3 and Yi III), either one is unchanged (forms the angle-point)

or the two exchange places with one another.
By inversion

the thirds could be transformed into sixths:

279.

SEfceg:
--^
t

=fc

Here there

little

is

:t=r:
but one should make
any passing opportunity

to be practised;

clear respecting the possibility, in case

presents itself for the use of the introduction of a theme with

doublings in contrary motion, or with parallel thirds to both

forms,

to

be in a position to avail ones self thereof.

CANON IN CONTRARY MOTION.

26.

wholly rational to make a distinction between canonic

imitations in contrary motion and the simultaneous progression
It

is

of the canonic voices in contrary motion according to the de-

grees of the scale, as to what remains fixed, or the exchanges

may be effected; for error results if the canon is defined

named by the interval of the begiiming tones of the dux

that
or

and comes, because wholly

identical

guished from

and those

one

another,

combinations
entirely

are distin-

different

are

grouped together.

number

shall serve as

of examples may follow without comment, which

models for the student:

Problem 60

Canon

motion (counter canon)

in contrary

retaining the third of the tonic.

^^-

J
-

Scheme

^''i_j
^

(b)

I
!

rT-=^

(b)

(i^)
.

:p:t

(W

(b)

^ii


ni.

172

IMITATIVE COUNTERPOINT (CANON).

(7)

The

tonic chord

again appears as such in the comes, and

the diminished- seventh chord

dominants exchange

11

also remains the same;

the two

roles.

A.

281.

^:

i^\t:

(Dux an octave higher ad

jc

_,_^_^

-S-0

libitum).

^_B_|^_^_^-^:

^-=
EE!P^P^^'i
Inversion of the voices:
A.

282.

s?:^:

j-

#-

^g=lEiEE^S^=^El3=
#-#^

--'-l

#i

^Ws-#-^

i-''^-'

i^
1
--^

#-#=

k^^^^^^^B^^.
-^sSJ-

^^
^

mi^
l^3^=E^E^Ei3=S^

CANON IN CONTRARY MOTION.

26.

Canon in

Problem 61:

173

motion retaining the

contrary

second of the key.

Scheme

283.

(?)

'^)

(t^)

(1^)

(P)

(b)

(h
(b)

B.

284.

(b)

(b)

(compare problem

4).

Hg^^iEfe^Ef^g^l

f=1-^-^

K-

:t^t^=:t=

^flElE^EEEi
-##

::f=tc:t:

!==

^ii*-

^li

--it^-.

^^^^ :t=t=r:^i=U=H:^r-t-^

=l=::.t:t:.

^^^-

^^-^

\j

* - -

'g-

('

9#:
P
Only the interval

and

of the

under -third of the tonic

chord,

of the diminished triad remain.

Inverted:
285.

B.

IS

rjrrf:

:ts=t=

ti^'

51=^^

\0^

:^:

-]-Tfr

-^0

'^^^^1

:t==f-r-

EgESjE?

in.

174

IMITATIVE COUNTERPOINT (CANON'

M,
SE!^H^3=S3^=g^?g^^?EEig

m^
(

pJ'=P=f-^^imr-==:p=g^

i^-^-

I^H

^kh^^^^-^

:t=C::

Canon in contrary motion retaining

Problem 62
fundamental tone of the key.

the

286.

Scheme
'

J (W

(b)

(b)

(b)

*^n^

^Tji

(b)

The super-dominant harmony remains

dominant exchange roles.
287.

fr^^i i^b)
(b)

A.

-iz

f'^^~?rf''

Ses

g^
Sl^

i^i

itit

%x=^
|2*

1:

^-

and sub-

'^^m

-f^

^-f^S=-

-<-?-f

;52^ffi

-y^

fixed; tonic

-f^-

t^
:^

26.

CANON

IN

CONTRARY MOTION.

175

Inverted
288.

-^1

:t=^

-V-

^=^^\

-^-

-fS--

^m-

^^^m^^^j^^m^
Problem 63

Canon

in contrary motion retaining the fifth

of the key.
Scheme:
289.

.u.

..

,K,

,.,

h^.
-0'

^P

^rrrr

(f)
(b)

^'''^

^"^

The sub-dominant remains

fixed;

tonic

(b)

and super-dominant

roles.

A.

'?=f=l
ii^ig=^^3

.^^=

,1,,

^g
,

(b)

(^)

chords exchange

h~
^

^m^P.

290.

(I,,

-=*=ib=J;:3=|:

=^rf^=^^^i^te=5=fcf^
^k

^^

-s^

sig^^i^E^^g

'i^i=^r=
H'-r^

ra. IIVOTATIVE

176

COUNTERPOINT CANON),

^^^^^^m
ii^^g^-^l^fe
Inverted
291.

A.

5E^^i^^^^
(Dux 8va lower ad

libitum.)

=i^=^

^^Jl^-

r-b^-=T5
l2^=i^=^

^-_^i,_^

=^-=t?'
-V-i

t}--^'-

l^^^^^plj^^^
*^
i^-f

--^^

S:

-W-?-

^fz:

-^-#-

Ttfrt

a^ifcpE:^^g.EgE|gp=r:=^
Problem 64: Canon

in contrary

motion retaining the fourth

of the key.
292.

(b)

,ui

Sch eme:
S^eme:

^
j

'7

j
J

A
The harmonies
tones of the tonic

(b)

(b)

(b)
,

,
,

.
^

[^
^^

I
!

l_j

(b)"~(b)
(b)

(b)

retain their meaning when the fundamental

and super-dominant are avoided.

CANON IN CONTRAEY MOTION.

26.

177

B.

293.

mk i^-^f^S

^^i^fi^ S^^^^p=^^^i^

p-^

s.'

fc!#.

p-f^

ii^E

B3^ ^

#^

.*

#-

--#-

:ti==tr

Sj^^^^^^
tt&r

The

-0

f^#=^=t
^

' y
i^

ii

voices inverted:

B.

294.

^^p

Itp5
f-^*-r-^^#^=l=g=#

B -

f:=3t

ng

iite?^ ^

---^

^ 'i

-T-} ^

^55

^=4:
#--^ H*

-T^
-p

Problem 65

Canon

-#-f^-#-

:t

0--

-^-0-

in contrary

!-

:&
^^^

i33

1^ j^
.

motion retaining the

sixth of the key.

295.

(b).
(I,)

Scheme
j

(h

(b)

EiEMANN, Counterpoint.

(^1
I

i>)

i>)

,^'

(b)

gnj-j-j ,1*

^^

fifi-C

?^

-^-^

(t^)

(b)
(b)

12

IMITATIVE COUNTEEPOINT 'CANON).

ni.

178

The sub -dominant retains its meaning;

dominant chords exchange roles.

and super-

tonic

A.

296.

k^

=t

iH^*-irt ^5j=:t-

1^

^^ '

mm.

J
g

-J

^H
The

tM-^

Senses

-i-V-

-rr^-#-

^t;^

S#

I
I

-^

M Jr^

^-g
^
t ^ 4,-H^-#-J-#
I

-I-,

hE

IT
T

^^^IgE^feg^

voices inverted:

297.

#-F

g^^^^-^ a^
1

h-"-*-i-^

f^-4

fi^^p^^^^^ii^
-

-"4-,

Problem 66:

rb#-7'-p-#-^

ii^^^^i3=

Canon in contrary motion retaining the

seventh of the key.

298.

Scheme:

(7)

/
-^

t^)

(t^)
!

(P)

(t')

(t^)

-^ -^

-^

 26.

CANON IN CONTRARY MOTION.

Only the super- dominant remains fixed

dominant chords exchange roles.

179

tonic

and sub-

B.

299.

im

33

3=S^

^- -^*-

-+

-^-

'

=fetN?=q

:^=:|i

:t=^;

r-

Inversion of the voices:

B.

300.

_(

a
3ia^3E

27.

-^

:<S-

=t:

1^#-

:t=-

CANON BY AUGMENTATION AND DIMINUTION.

Not only
is

;E^

-* ^-

fy^?=t

0.

^-l-U-l -r:

is

an imitation recognizable as such when the melody

inverted, but also this

is

true

when

it is

stretched into notes

and when the notes are twice as

Canon by augmentation or by diminucontrary motion^ and similar to those

of double, or greater length,

quick
tion

or even quicker.

may be

examined

in

in direct

(yr

paragraphs 18

25,

can be in direct motion in the

12*

m. IMITATIVE COUNTERPOINT

(CANON).

tmison, second, third, fourth, &c. entering either above or hdow,

and like those in contrary motion (counter-canons) perceived

paragraph 26, can also retain any particular degree of the key,
and invert. We give a few examples of canons by augmentation
in direct and contrary motion, respectively, and also some canons

in

by diminution in both direct and contrary motion.

may add others to these.

The student

Problem 67: Canon by augmentation in the under-sixth

(over-third).
301.

A.

ZJZ^
^SlE3^g3^g^
^^_^^^J^
*
:t^fe=l:p

t^^=^^-_ li-*

^ \}^fi

r^f

Inversion of the same

302.

(in

^ ^
P^^r^^Hr^^'^
'

|>J

LJ-j

'

the over-tenth):

A.

ga^

P1-*

#
H-##Itit

&

-^

g^

-m^

tefe

*-^1Hl

?-^gJ=s^fCrTtm

p^5Ei^Ff?

The comes and dux begin simultaneously, which is recommended for canons belonging to this category because the toneIf one
dux too little controls the comes.
comes to begin sooner than the dux (which is
noyiseimcal, because in that case the co?nes kads), canon by

material

of

permits

the

the

diminution results

(p.

183).

CANON BY AUGMENTATION AND DBIINUTION.

27.

Problem 68

Canon by augmentation

in the

181

under-second

(over-seventh.)
B.

303.

-^^

&

>5

=F^-f

^^^^
Inversion of the voices

-^

B.

304.

the over-seventh):

(in

-i_^_ri=^_^

^^
tt-

-IS.

_.

H#-

m-

P-

&EEeiE

t--

r\~

Here the dux and comes do not begin at the same time.
In model -example No. 303 the voices cross one another; the
tonal -effects thus produced are taken into account and are
well-considered, a possibility to which particular attention must
be directed. Inversion in such cases produces a special charm
because the more the voices unexpectedly loose themselves from
antithetical

entanglement,

from one another.

the parts are
conception),
control

ings

the

may

the freer they separate

inverted (therefore

more or

less

when

outside of the

are rarely good; for which reason, one should so

intervals

between

the

voices,

that

these

cross-

not occur; but on the other hand, one should be on

one's guard

in

case there

are crossings

original contrapuntal writing,

the voices, that

the employment
realized

themselves

Crossings of the voices which arise

is,

that one

of the

may

parts in the

not then confound

that in spite of the good effect arising from

of the

crossing,

the

crossing

must be

fully

as such and thus enable one to follow the involved

melody threads!


BIITA'nVE COUNTERPOINT (CANON)

in.

182

Problem 69: Canon by augmentation,

in contrary motion,

retaining the third of the tonic.

305.

C.

^^
r

#f

^^

Inversion of the voices:

306.

C.

^ ^^

-^ ^

^p^
^^^^^^^^^^^^
^
E^gggjtt^^ip
3-^-r
-^

fc^

In spite of triple measure, the comes imitates in notes of

duple value, a form of imitation which makes difficult the intelligibihty; but since a triphng of the note values is much

more

difficult

enlivened), this

to
is

develop

(at

least' if

the dux

the more popular combination.

is

rhythmically

Also occasional

deviations from the strict multiplication of the duration values

are granted to canon by augmentation.

Problem 70

Canon by augmentation,

retaining the second of the key.

in contrary motion,

CANON BY AUGMENTATION AND DIMINUTION.

27.

307.

183

A.

fc^=D=J
=^=Mizfo^-:

3f

Mr

'
'

ri

Inversion of the same:

308.

A.

-^-

#r^=^=?-i==Ftl^-''-

\M-^.

ig^^^^^
p

^f
Tafc=:f

^;k=l2pi=:t=i:

ss

#^-#.

^ti:

-i^#-#^f:t

:^=l|^
bb!

Sg^^

-l

=--*
^-H

tt?.

Problem 71: Canon

309.

in the unison

by diminution.

.^

C.

-4^

-4~?- -#

^-

&E^-Ef-=E
r

^ -##-

-p


ra.

184

IMITATIVE COUNTERPOINT (CANON).

^^P
^Ft*^=5^

fr

Another example:
A.

310.

fe^

"B^

1*^

i*1

(2

iifee=J=-U

'

^- i^

t:^

Problem 72
311.

Canon

in the over-third

by diminution

C.

^^m

J s

:S=W=T

-^^

-#

f=t:

-#-=-^

0-

!^
:=f^

Problem 73:

^ 17
*-*-

*i

Canon by diminution

in

contrary motion

retaining the fundamental tone of the key.

312.

^ ^ ^

A.

T^I

3~^^

^ ^

==ttg=

TZS^

^^^^^M
rr

!^fj

IVITRROR

28.

Problem 74

CANON AND OTHER ARTIFICES.

Canon by diminution

in

185

contrary motion

retaining the fifth of the key.

B.

313.

il=i

32:

1=^

-&

-<g

T^i52r

y*
'

>

i)

3^^"?
f

y _

MIRROR CANON, CRAB CANON AND OTHER PECULIAR

% 28.

ARTIFICES.
Certain canonic artifices are not music for the ear hut for
the eye; these are

the 15*^

found among the Netherlander composers of

16*^ centuries,

as cuiiosities

and are

at present imitated sporadically

they are definite transformations of the principal

voice by means of verbal directions, and have no especial

meaning for the ear. Mirror canon is only a species of counterpoint by contrary motion (p. 169), especially in that simple form
which prevents it becoming at once a crab canon. For example,

hold this voice-part before a mirror:

314.

(Mirror canon.)

C.

-X

and the following counterpoint

815.

H-#- #--!

Stf

^-*"f-#

-M

is

t\=&

reflected:

C.

:|l3EBEfEE
tr-

#-

i -

TT#-

t^ ^ i
^'-

canon (canon cancricans] results when a cantus

firmus, read backwards, is used as a counterpoint, for example:
816.

crab

A.

im

(contrapunctus cancricat.)
^-

The counterpoint
317.

A.

i^^
is

=t -frim- - ^-

p:-#-

as follows:

^^^^^^^^mi

m. IMITATIVE COUNTERPOINT

186

(CANON).

combination of mirror and crab canons, respectively,

is

which uses as a counterpoint a cantus firmus read

from an inverted page, for example:
the canon,

318.

C.
3

'^Ej^^^^^.
when
319.

the page

l^^-ii^f

inverted the following

is

the counterpoint:

is

C.
-a

teJi
We

|-T

trifles

that their

-r^

names may be under-

stood;

they are of no practical use, since

be seen

and not

% 29.

-T

l-T

it^-

:|=

only give these

r-T-3T-l

tJiey

are intended to

heard.

TWO-PART CANON WITH INDEPENDENT THIRD AND

FOURTH PARTS.

The

simplest

way

in

which to add a third, or third and

fourth voices, to a two -voiced canon in order to

the harmony,

is

Of

a bass-part.

to

make

the

thii'd

supplement

voice- part a completive,

or

course, the higher the contrapuntally conceived

independent voice stands, the more difficult it is to write, because neither of the two canonic voices can yield aught to its

own advantage.

The student must add

the two-voiced canons in paragraphs 18

and then a fourth

voice,

respectively,

to a great

28,

of the

fii-st

number

of

a third voice,

most independent

character.

Problem

75:

To add a

belonging to problems 53
320.

free third voice to the

74.

exercises

A.

te^
f-=i^--

Cpt.

Comes.

'

fe=

^-

-TC*-

^^^^^^p^

(compare 242.

Dux.

m^^m


29.

TWO-PART CANON WITH INDEPENDENT

fe^^^fa^EE^EEgii
:f:=#

gE

TZL-ZJ

&
pg^^^
^m.
B.

Dux.

fs-

^^^

H-

M
^#^g^^g:5^^^^^
compare

264.)

=}=i^

^^^^^

Comes.

Cpt.

-^

Egte

-V

321.

^-

{p=i=qt=pz:^

33
te^^U^S^

'^^m

-J

p~~-

5^E

i--

*-

T^

^-

^;s

187

&c.

x:=a:

Ie^-s

Ei

-i^T

Nn

fe&te

s
-

m. IMITATIVE COUNTERPOINT

188
322.

(CANON).

A.

|i

Comes.

Cpt.

-<5^

=^

Se

3i^=^^E^Pe
eSE

-Jt

1=

(compare 287.
-i&^

-(22-

iSP

Dux.

teS

=1=

^i3SSEEE?^3^E

fefc=t:J=J
iffip

-i*

at
f

-^v-t

g^QB^^
--*-

-#^5H*

Sftt

11=3:

:l^

:Cit

^^^?^i^E=HEEte

5^

f^

llg^=JEEt^

^
-

=g=cr-^

Comes.

Dux.

srfi

323.

A.

::2^

=11:

ISS

(compare 312.
Cpt.

TO=i =F="^^JL[4li

n^^

 29.

TWO-PAET CANON WITH INDEPENDENT

-i=^F=^=i

fe^=^^^
m^^

Af^

^=t=

&c.

189

IS^

mH=r=^^

^1

Problem 76 To write a free fourth voice to the exercises

belonging to problem 75.
:

324.

1.

A.
Cpt.

M:

:^

P-^
Comes.

^^
(compare

H^#-#

2.

Cpt.

g^^S^
^^^^^S^^^
-^-0-

^^

^07

-kk
^t-T
pH

gjfe

rJp=^ut2=

320.)
---

Dux.

rf=

-#

!^

^^rHt:^^

^:

^
:?=fe=I^

5Q^S33^S

i^

-s^

0-

^
ni.

190

BnTATIVE COUNTERPOINT

#-^#

Dux.

Comes.

Cpt.

1^

35t

ij=3
ft

-ft-0

jslfe
]S-jEt=f=F=^EEE

(compare
1.

(CANON).

B.

325.

2.

Cpt.

-!

<9-

321.)

*^-i

-#
:

U U

t^^^

-9

=t:

mi

}ii=?
H^# #-

fBf^
{

1ME^^E^^S^BE^^^,
L?sfe

-i-H-

v^t

-d-.

i2ii-!t^
-#=

1
913

-b,^5::

^EE^

'^t-

|3#i

iv=z>=t

^P^

]/


29.

326.

TWO-PART CANON WITH INDEPENDENT

191

&c.

A.

Cpt.

Dux.

-T(5'^

h^

Comes.

1.

m^
e#

~^0:u^i=i

-(

=F=S^

:^=I=P=

SEEEEte^

(compare 322.
2.

Cpt.

W=^^=f?^

3^z=:

:=2^

^W>
r^
a-gfetE^iE^
;^^b^br.
^E^3=^

=1=

-!
^--H" ?4^^

#-=-^
=tif

_l_^_

ii?feSE=^5=^J

P
rslifcEE^^^

Wv
fcfc

.ii6g;E

--^

,h

=bw-

^=biz

1^-1

-I

:r==L6f^


m. IMITATIVE COUNTERPOIXT

192
A.

327.

Comes.

i^i^

2. Cpt.

gr

-\r=z

FT-tf-r^iT^Tm^^^^^^r;^

(compare

323.]

Is
SB?

Dux.

1.

(CANON;.

Cpt.
|

^^

g^=J=F-=^^jEJ

PB^gi^^^^
'

1^^^^^^

a$

^-

zpzzt:

1^

-?b-

Se^
B!
30.

F-H *

-5*

?:^E5

i^

TWO-PAUT CANON UPON A CANTUS FIRMUS (CHORAL

THREE AND FOUR-PART CANON AND ALSO DOUBLE

CANON);

CANON.

The

canons, hitherto considered, sought, either in one voice,

or by means of the co-operation of two canonically developed

voices, to hold fast to the thematic content of a cantus finnus,

and accordingly were variations of the same. A more difficult

problem is to write two canonically invented voices to an
unalterably fixed cantus
of possibihties

canon

forms

is

the

fii-mus.

The guide through

then the sense of the cantus.

natural

transition

member

the labyrinth

This kind of
to

composition

TWO-PART CANON UPON A CANTUS PIRMUS,

30.

&c.

I93

We

having three or more canonically developed voice -parts.

use cantus firmus
(choral motive) as a basis, and produce,

therefore, a choral* canon:

Problem 77 Two-voiced canon, in direct motion, in the

over-fourth (or also in another interval) to a choral strophe
as a cantus firmus.
:

E.

328.

-0^

33^E^

Comes.

C.

f.

Dux.

-^-0-

P=

#-#-

5^^

=-#-5-#-

^0

-^

^^E333^

=?2-

:^
H

-5H
i

.r^

^
LjT^-s-

eQfatt-^.=^

1^
PE

33

H^#-

-V

-(2-

gFfe=MPF^f^
*

H^#

^:=^

-^^

?=p:

95

t^f^-

t^E^:

is

r^

Another species of choral canon

is

It:

produced when the choral

is

imitated line by line; exercises which correspond to previous paragraphs.

BiEMANN, Counterpoint.

13

nnTATivE counterpoint

in.

194

Problem 78: Two-part canon

contrary motion

(canon).

of equal value in

in notes

retaining the third of the tonic

with a

choral strophe as a cantus firmus.

329.

F.

Dux.

C.

W^

f.

Comes.

-^-

HE

ii^EEI-IEEEpEj^

^=ctv

^v=d:

^=i=

.&m

-f-#-

itiP

:p^

Ste

^
j^

is

SE^

(i2-:rr__::;:L|j'

f!5=

3^^E|^i

3ip^f=P=i=p:
^-U-U-

l^l^i

Problem 79

^-

version, retaining

Two-part canon by augmentation and inthe seventh of the tonic, with a choral

strophe as a cantus firmus.

Dux.

h-Fi^^^^d^s^t^f^^^^^w^e??r
C.

f.

Comes.

FF

ffEgE^gE^

gg=^|x'EEg^^^^^fe^

TWO-PART CANON UPON A CANTUS FIRMUS,

30.

&c.

195

* J_w

n-^,

IM

Jo,*-

:U

lA

'^-

i^=F^

=3^^

^-*~s)-

>^

rj

-^t
,

Problem 80

njg^

2^

te
T

:^^=t=i:

-:1:

(ffi-

-t:

Two-part canon by diminution and inversion,

and with a choral strophe

retaining the second of the tonic,

as a cantus flrmus.
331.

A.

Comes.

C.

f.

^13=

l^-

<

m^^

eu.

-(2-

-p #-

:t:=t=e^
-^^^

Dux.

iik

i^

-^-

Jip;

s:

:t:==t

-.^,

i^::

-5>

1^
13*

--

m. BHTATIVE COUNTERPOINT

<im

Three-Yoiced canon

is

worked out

(CANON,

in the very

portion of

same manner

the piece which the

two -voiced, that is, that

dux has performed in advance of the entrance of the first
comes is obHgatory for this voice while the dux itself becomes
At the proper moment, the second comes
a counterpoint.
begins and performs the same initial notes, while the first
comes becomes a counterpoint to it with the imitations of the
.counterpoint introduced by the dux, and the dux now forms new ma-

,as

terial.

The

difficulty consists of the

finding of a counterpoint

which can he used in two ways^ that is, as well for the jn-eceding as for the succeeding, and adapts itself to simidtdneous
performanm with the two. Upon the basis of our f minor

example under problem

1,

we attempt

to invent a three -voiced

canon, an eight -measure period in length, in notes of equal

value, direct motion and in the octave; it may be sketched thus:

Problem 81 Plain three -voiced canon in the octave

upon the themes of problem 1.
:

(or

unison)
332.

A.

fcS^^I^

Dux.

1.

Comes.

2.

Comes.

<

fm

3^

-K)-^

s^

:^z=:i^z3^

u ^M

^^

t=t

TiL

By means of figurative embeUishment, a number

may be derived, for example:

3
of interesting

formations
mations
333.

Dux.

1.

Comes.

2.

Comes.

gba_- gj7^^|?:g^-=J^^^S
SE
PE^

-N~r7

^-=T-^-^

 30.

k^=x
-&

-0

THEEE -VOICED CANON;

e^EBs
3tr.^^

;;^^

197

i-^-#

^^^.-^^i-'i^^

4=ziz

iT^

^^^i.

m^v
=k^r^

\f=^r-

-f^P^
^-^^'

^^EpS

te^i^

-~k=-t-

Sg

Since the exercise contains no parallel fourths,

it

can be

inverted by the principles of double counterpoint in the octave,

for example:
3341

A.

0-

-^T

2.

Gomes.

W--

1.

Gomes.

|16

Dux.

"m^^-

3ESE3EJ3

h-tt

1=7=

^
- ^

SS

:^=

:J=?^

-^z^zdzizj:

i=ie:Mi?=i?:

:i^L^

yi^^^^^jjg^

*=*

m. IMITATIVE COUNTERPOINT

198

(CANON).

i=P

^-Jiz^t=^.z
J=il

and under -octave, the imitating

any other desired interval;
and, in the same way, the imitation can occur by inversion (or
one voice by inversion and the other in direct motion), or
by augmentation and diminution. In place of many that are
possible, we only give one example, namely, a three-voiced canon
in which the second voice is by augmentation and contrary moInstead

of

in

could, of

voices

the

over

course,

enter in

motion retaining the second of

by diminution in the over-third:

tion, the first voice in direct

tonic,

and the third

voice

the

Problem 82: Three-voiced counter-canon. The first comes by

augmentation and contrary motion, retaining the second of the
key, the second comes by diminution and in the over-third.
335.
2.

A.

Comes

Dux.

1.

Comes.

<

.fel-=g^=g^S^g^ar^^^E^r=^"^

^u^^
fe^^

K=-^

^^

v=t

---

30.

^gg

THREE-VOICED CANON.

^^^

-:E^

fa ir *

^^^

I^S^=3:

199

Jr=^

k_;

] ^^^f

^=^.^G>-

ilfE^EfeE^;;

Inversion by double counterpoint in the octave, for example:

336.
1.

2.

A.

Comes.

-^
^1
"^^

ii#-^

Comes.

Dux.

fel^^

=]:

*-

;^^

S,#-^--.,

in.

200

IMITATIVE COUNTERPOINT (CANON).

and each voice individually can imitate the dux in any of the
ways we have examined; canon in three, four, and more voices,
can also be develoi^ed upon a cantus firmus, and so forth. We
will consider

one possibihty particularly, namely, double canon,

the simultaneous imitation of two pairs of voices which can be done

in

manifold ways; and, hke the single canon, can imitate in the

or contrary motion, by
example of a double canon
upon our cantus fii'mus
will make this clear.
Its upper
pair of voices performs a parallel canon in the over -second,
and the lower pair of voices performs a counter-canon, retaining
or other intervals,

unison,

in

augmentation or by diminution.

direct

An

the fifth of the key.

It has Httle artistic value;

example may serve as an

337.

1.

1.

2.

2.

F.

Comes.

in

fe=

Di

C.

meanwhile an

illustration:

-t=::rti

Dux.

&E^=U

Comes.

^^

'-^
.

-*--

3t-=:

*=^

mi

f.

3^

g
:|=^

"^

^1=:=^

'^m^:

li

^^ig^j^l^^
U^^E^^fT=^ 'r^V- -^^ I^
\~P'-

SS

:zt=i--

i^

3tt:

 30.

To

DOUBLE CANON UPON A CANTUS FIRMUS.

201

who dehght

in canonic work and would perfect

recommend the second part of
would
themselves
Tonsetzkunst".
I cannot, however,
Anton Andre's "Lehrbuch der
advise anyone to follow his mechanical way of constructing

those

therein,

canons,

nevertheless,

there

much

of

value

in

Andre; and those, who have mastered the foundation by

my

method,

is

practical

not find themselves led astray in their writing, but

will

rather will always have a settled p'ogram for the progression

of

the

canon

whether one varies a theme, or works upon the

and unalterable cantus firmus.

Fugue, which usually is treated of in connection with canon,
does not belong to a preparatory text- book, hut to musical
form. All that can be done in a fugue has been treated of
in counterpoint, and the present volume is no exception.
basis of a fixed

APPENDIX.
CANTUS

FIRI^n

Cantus firmi

A.

FOR CONTRAPUNTAL EXERCISES.

in equal notes (for

problems 1

21).

2.

1.

35:5^

-r^

3=21 izE

fe

-^-^

^:i2

ate

ii

6.

T=f

is

^zp=:

iP

^EEE;;^=e

^5=3=:=:i:

-g^-g^

:^-=:^

;1B?^1

:*!
:iie 33

5
10.

^iB^l3
ig?

iJ

2z;i=2tt:

-^'

L.

:3:

i^

11.

^{^3^
g^fgiSa-T
_13.

APPENDIX.

203

14.

SrS^a^^

iiEfE^^ti3EE3

16.

16.

^^^^^^m
17.

^^:-i5'

t^s^

18.

^^

gg^gjgg=-^^^^|gg
19.

20.

^^^TtTTf^^fej^^^ff^
21.

^3=^
-(S-nS*-

22.

-ST.

-^

==?2:

--V,

-^-^

G>--(^A

^l^_^..J^

M^
23.

:J-

gg'-

Hi2=^

--

25.

24.

;te^^J^ S

aiEHEfe :^
Cantus
2225).
B.

-H-^

-.^^_52

:ijsi:

firini

-(^

h-l

E^^
W

-A

ate

-,-1^

* -w*
anee

221

with persistent or fixed rhythm (for probleras

33"^,^"f=F

3E3^fe

^-

:|^

^-# ^T-i

^^3

*^d

3=t

:1?:

1^
-i
:5/^=zti-

d %0'

^--+j

r-W

^fEl^is^g

-#^-

j*--

-vI

ii^g^^i^g^^

APPENDIX.

204

i^

N^b^=^
^

EEE^
fiF

'r-,

&.

Vi-f-f:

h-

3^ ^^

^^

iggggiy^ig
# ^

P
tz

-^ [Pi

^j^^g-gg

EE^

^s'-

^^^^^^^^^^^^
^\

:-3E

m-

vg

:p=?

:p=Dd

a^-^-fg

-fa=tt=a=-

9.

:f^
#-^-

65

-5-

z=LEE=ii^t=:
10.

'-^.

'J

-#i-

&

-^

;i--^

^-i<-

50=?

-r

^
1_|>

1/

;^-l

--?>'

Jv N

rf-*=

1^

11.

-#<&-

iti^zf

:J^E

2^

^yi

C. Choral-strophes for conti-apuntal exercises (for problems 41

1.

Lobe den Herren.

?1^^

c-f

-^ s>-

.;

2.

Was

Qott

tut,

das

ist

=g=g=P=

-i^:~g-

wohlgetan.

^jz^-:

It :r-ti=it:

Nun danket

St^;

1^=2^

:t=:t:

I==f3=^
3.

ff)

^e^[^^

alle Qott.

X.lT

'^'^
:ti:

i^is^f^i

APPENDIX.
4.

O Haupt

iiE
5.

ffi
6.

und Wunden.
<s>--

5>_

-(S.

Mache

voll Blut

dich,

205

mein Qeist

p- ^
T=Zt

-f^

bereit.
-(S-

Sh-

-tS"

Wer

It

-walten.
1

^:

-<5i_^.

t:

D. Cantus

-^

^==d:

nur den lieben Gott laBt

P:1=^
-^-^

iS^

g'-

hg-g

firmi rhythmically free (for

i-

l^ ^

problems 26

ff)

1.

agg^:g2S ^3^=;^^^j^
-.

p.=^:^j
J--

^^ii^^^^l^^iPPl
3^

-^'^

'^

j/^i

%fe^=^^:J^^:;h-Tn-ii^
-*-*

F^=q=^^f^^^r
-^2

fc^
p

^T^=r"rq?ff^^i^
-T-S-9 f-

3:
!

rff-y?J

i*
=^=

^Hi

=ibFr^-i-fel

H^#-r-.^

r^

f=^E*^

iJ

^^

lintr

^-:?^-#-

:^ii^!z-

^
APPENDIX.

206

^3^^^^^^^^
mpy- ^^'&^s^

4*t=^

7.

r-r

l:-jEE3E5:3^i^p=E^:

-^^ ^

:!=::

^-s-

z:\zr.

-# -

-i^^-^S'

ggE5EE^ gEg^5^P^|^p^
qT^b

10.

;e

5^

-^;

:2i::

0-

4#.

-^^^^^^^11.

;fe^.^S5

Td2-%

--^=$^

V^

-g0-

^^T.Mlf^^

^^

::Il1z75=22=:::

12.

K=?=?=rt5
^^^=1:

*^

r3:

S^lS^r-^^^:i^

1^

ALPHABETICAL INDEX.
(The figures refer to the pages.)

Accidentals in artificial counterpoint

made

freely

Anticipations in counterpoint 43.

Art, understanding of musical 2.

Canon

as imitation

and contrast in

universal

value of canonic

Canon as variation 151.

Canon with rhythmically

by more
voices

122.

Facture 53.

and fourths in two-

Fifths (empty)

12, 31.

9, 10,

Figurative significance of the tones

Harmony meaning
translocat-

ed motives 153.
Chromatic alterations, latent

altered

by

in-

altered

by

su-

version 103, 131.

Harmony meaning
17.

8.

per-imposed thirds 80

Harmony

Completive voices 122.

Completive counterpoint

substitutions,

Hidden chromatic

f.

good

8.

alterations 17.

47.

Completive counterpoint to be avoided 53.

Coimterpoint and cantus firmus in
their relation to one another 4 f.
Crossing of the voices to be avoid-

ed

exercises

contrapuntal

of the cantus firmus 10, 11.

exercises 150.

Clearness

three

part writing

one 150.

Canon,

Encumbering of
than

use of 141.

59, 105, 132, 140.

made charming by

Imitation

the joy

of recognition 149.

Improvement of the
point

in

favor

first

of

the

counter-

second

counterpoint 57.

Improvement of the theme

55.

Crossing of the voices intentionally

Measures, real 52.

employed 181.
Current

Measure units 52.

Melody, forming of

voices 39.

15.

Dissonnace in the cloak of conson-

Motives, forming of 25

ance 10.
Double counterpoint in the octave

Octaves (unisons) in two-part writ-

indispensable 103, 148.

Double counterpoint in the tenth and

twelfth change the harmonic mean-

fifths

8, 12, 13.

Ornamentation in canonic work 161

196.
Ostinato

ing 131.

Empty

ing

and octaves disguised

by syncopation

31.

fi".

4.

Parallels, philosophy of 35, 118.

Purpose of contrapuntal exercises

2.

ALPHABETICAL INDEX.

208

Benunciation of the strictest

ment

of

the

rules

in

fulfill-

artistic

the accented part of the measure

21.

counterpoint 133, 148.

Rests in the counterpoint 31.

Rhythms, the most important 39.

Third-doubling

Sequence

Thirds,

the

invention

with that represented 122, 142.

superimposed, change the

29.

Six-four chord, not intended 104.

Study, course of V,

in

of the counterpoint simultaneous

Vni,

1.

Sub-division motives 25, 40.

Syncopation a mannerism 30. 42.
Syncopated effect of harmonies which
pass
from the unaccented to

meaning of the harmony 80.

no syncopations

Triplets, duolets, &c.

31.

Unequal Counterpoint no figuration

25.

COLLEGIUM MUSICUM
Auswahl

Kammermusikwerke, fiir den praktiscKen Gebrauch

und herausgegeben von Prof. Dr. HUGO RIEMANU.

alterer

bearbeitet

(Jede Streichstimme 60

^, Klavierstimme 3 M.)

No.
1.

Johann Stamitz

(1717/1757-, Op. 1 No. 1 Trio

2.

12

3.

4.

j.l4

5.

>

6.

7.

>

8.

Johann FriedrichFasch

15
>5>3

(1688/1758), Trio

Cdur

(2

>

Vc, Kl).

V.,

Adur
Fdur
Ddur
Bdur
Gdur

(dgl.).
(dgl.).
^dgl.).

(dgl.)-

(dgl.).

Edur.

Dmoll(Kanon: v., Vla.,Vc.,Kl.).

Ddur

(Kanon:Y.,Vla.,Vc.,Kl.).

9.

>

10.

Amoll(2V.,Vc., Kl.).
Fdur (2 v., Vc, Kl.).

Gdur

11.

12.

13.
14.

15.
16.
17.

18.
19.
20.

22.

23.
24.

26.
26.
27.

v.,

Vc,

Kl.;.

Franz Xaver Richter (1709/1789,, Trio Adur (V. [FL], Vc, KL).
Johann Christian Bach (1735/1782), Trio Ddur (V., Vc, Kl.).
Joseph Mysliwczek 1737/1781), Trio
(2 V., Vc, KL).

SERIE.

2.
21.

(2

Q,uatuorDmoll(2V.,Vla.,Vc.).
Georg Philipp Telemann (1681/1767), Trio Esdur (2V., Vc, KL).
Anton Jirdnek (1712/1761), Trio Adur (2 V., Vc, Kl.).
K. Philipp Emanuel Bach (1714/1788), Trio Gdur (2 V., Vc, Kl.).
Anton Filtz (1735/1760), Trio Esdur (2 V., Vc, KL).

Pietro LocateUi (1693/1764), Trio Gdur (2 V. [FL], Vc, KL).

Christoph Forster (1696/1745), Quatuor Gdur (2 V., Via., Vc).
Nicolo Papal (1696/1766), Trio Emoll (2 V., Vc, KL).
(1698/1771), Trio Fdur (Oboe [V.

Johann Gottlieb Graun

>

>

Giovanni Battista Sammartini

G-dur 2 v.,

CmoU

(2

lO],

(1704/1774), Trio Op. 1

No. 3 Esdur

(2 v.,

28.

>

29.

31.
32.

33.

35.

s>

Adur
Bdur

36.

>

Esdur

37.

38.

>

40.

AmoU

Vc, KL).
Giovanni Battista Pergolesi (1710/1736), Trio Gdur (2 V., Vc, Kl.).

>
>

B dur (2 V., Vc, Kl.).

Johann Ludwig Krebs (1713/1780), Trio Ddur (FL [V. lo], V., Vc, Kl.;.
Christoph Wilibald Gluck (1714/1787), Trio Cdur (2 V., Vc, Kl.).

Gmoll
(dgl.).

34.

39.

Vc, KL).

Trio Op. 3 No. 9

(2

30.

V., Vc, Kl.).

Vc, KL).
V., Vc, Kl.).

Franz Asplmayr

(172../1785),
,

Fdur
Edur
Trio Op. 5 No. 1 Fdur
Quatuor Ddur Op. 2 No.
.

>

v.,

(dgl.).
(dgl.),

(dgl.).

(dgL).
(dgl.).

(2

V.,

Vc, KL).

(2 v.. Via.,

KL).

BREITKOPF & HARTEL LEIPZIG.

HUGO RIEMANN
Handbnch der Harmonielehre.

Dritte ganzlicli umgearbeitete Auf-

lage der Skizze einer neuen

Notenbeispielen

Methode der Harmonielehre*. Mit

5.
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geh. Jl

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Traduit sur la S'^me edition Allemande.

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Lehrbnch des einfachen, doppelten nnd iinitierenden Kontrapnnkts
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Mnsikallsche Syntaxis.

4.

Grundris einer harmonischen Satzbildungs-

lehre

Stndien znr Geschichte der Notenschrift

Die Entwickelnng anserer Notenschrift.

trage Nr.

7.

geh.

3.

geh.

9.

(Sammlung musik. Vor1.

28.)

Die Natur der Harmonik.

40.)

1.

Der Ansdmck

50.)

(Sammlung musikal. Vortrage Nr.

in der Mnsik. (Sammlung musik. Vortrage Nr.

Biemann, Hngo, Op. 12. Humoreske. EmoU. Praludium und Fuge.

Hmoll. FUr Pianoforte
Op. 14. Vult und Walt. Jeanpauliana fur Pianoforte. ...

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Q.D.V.

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2.

Walt.

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(Li 1

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Etude.

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2.

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Op. 26.

fiir

Pianoforte

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Romanze.

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....
4.

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2.
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Riemann, Hugo
Text-book of simple and
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imitation of canon