A Treatise on Simple Counterpoint in Forty Lessons Part 7

CANTI FIRMI

[Ill.u.s.tration: Fig. 93.]

LESSON XII

THE SECOND SPECIES

[Ill.u.s.tration: Fig. 94.]

The second species is written in one part and the first in the other two.

All suggestions made for the second species in two-part counterpoint are to be observed, unless otherwise mentioned. Those regarding consecutive perfect intervals are especially to be observed.

The fifth, when in the lowest voice, should be used as in two-part counterpoint, except when used in V4/3 or the cadencing tonic six-four chord.

The V4/3 chord may be used on the weak beat, necessitating the omission of the third. [Fig. 95_a_.]

The third may be omitted (_b_), or doubled (_c_), on the weak beat in this and succeeding species. [Fig. 95.]

[Ill.u.s.tration: Fig. 95.]

The minor or diminished seventh may be approached by a skip in an upward direction on the weak beat in any part. This usually necessitates the omission of some other chord-member on the weak beat.

The major or minor ninth may also be used in the same way, except in the lowest part, provided it is at least a ninth above the root. [Fig. 96.]

[Ill.u.s.tration: Fig. 96.]

The progression from vii_6 to V in root-position or any inversion in the same measure, is good. [Fig. 97.] Use _b_ and _c_ only when using other than first species in two or more parts.

[Ill.u.s.tration: Fig. 97.]

Each measure should usually contain a complete chord. If not complete on the first beat, bring the missing interval in on the second. [Fig. 98.]

[Ill.u.s.tration: Fig. 98.]

The cadences in Fig. 99 are good, and will suggest others. The use of the fourth species is permitted as at _a_. A note may be repeated in the final cadence in all species as at _b_.

[Ill.u.s.tration: Fig. 99.]

EXERCISES

To cantus firmus _a_ write the first species in all parts, as previously directed.

To cantus firmus _b_ write second species in one part. Write three times, changing cantus firmus and counterpoint about so that they will appear in each part in turn.

CANTI FIRMI

[Ill.u.s.tration: Fig. 100.]

LESSON XIII

SECOND SPECIES IN TWO PARTS

[Ill.u.s.tration: Fig. 101.]

The suggestions for second species in both parts, in two-part counterpoint, apply for the two parts having the second species in three-part counterpoint.

Accidental harmonies sometimes appear on the weak beat. All tones in this accidental harmony foreign to the chord on the strong beat must be treated as dissonances. This must be regarded whenever two or more parts have other than the first species. [Fig. 102.]

[Ill.u.s.tration: Fig. 102.]

At Fig. 102_a_, the accidental harmony _f-a-c_ is on the weak beat. The _f_ and _a_, being foreign to the chord _c-e-g_ on the strong beat, are correctly treated as dissonances. At _b_, the _f_ and _a_ are left by skip, which is not permitted.

The second species may be written continuously in all parts; the tones appearing on the weak beat must be harmonically related to one another, and those foreign to the chord on the strong beat must be treated as dissonances. [Fig. 103.]

[Ill.u.s.tration: Fig. 103.]

The first and second species may be mixed, as in Fig. 104.

[Ill.u.s.tration: Fig. 104.]

The cadences in Fig. 105 are good, and will suggest others. Those with first species in all parts may also be used.

[Ill.u.s.tration: Fig. 105.]

EXERCISES

To cantus firmus _a_ write a counterpoint in the second species in one part. Write three settings, as directed in the previous lesson.

Write two eight-measure phrases mixing the first and second species in all parts.

To cantus firmus _b_ write counterpoints in the second species in the other two parts. Write two settings, with the cantus firmus in different parts.

CANTI FIRMI

[Ill.u.s.tration: Fig. 106.]