Treatise on Counterpoint (Paperback)

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1878 edition. Excerpt: ...the rhythmic variety of the parts enables them to express the harmony more definitely than was possible with former examples, and also to ensure the most favourable conditions for the construction of a perfectly free and independent second part. The counterpoint may consist of either minims or crotchets; in the latter cise the movement should be uninterrupted throughout; but when minims are employed it will contribute greatly to the independence of the counterpoint if semibreves are introduced where the cantus moves principally in minims, and vice versa. M The method of working will be readily understood from the following examples; the counterpoint may be either above or below the cantus firmus: --CP.' The good effect or otherwise of empty fifths or octaves, as at a, b, will always dapend on the progression of the parts being in other respects good and natural. C.f. At a the Fjj would be available instead of FJf; the modulation towards G major is, however, natural and agreeable enough. In three-part counterpoint of this description we may make use of various combinations of parts, according to the compass of the cantus firmus, the most generally convenient arrangement being that of soprano, alto, and tenor. This has been adopted in the following examples: --The general principle that each bar should begin with a new harmony is based upon the natural laws of rhythmic progression and accent, and should certainly be accepted as a rule. For the employment of one and the same harmony for the last beat of one bar and the first of the next following has always the effect of weakening the accent, and often produces an unpleasant check in the rhythm. In the case, however, of such a progression being unavoidable (which sometimes happens), the...