BENNET - Combined Counterpoint

Digitized by the Internet Archive

in 2011 with funding from

University of Toronto

http://www.archive.org/details/combinedcounterpOObenn

m^ nrtIncreased

NOVELLO'SMUSIC PRIMERS AND EDUCATIONAL SERIES.

A DICTIONARYOF

MUSICAL TERMSBY

J. STAINER & W. A. BARRETT.(Compressed from the Imperial 8vo Edition by K. M. ROSS.)

One Shilling; Paper Boards. 1s. 6d.

OPINIONS OF THE PRESS." A careful and judicious abridgment of the larger work, and will be found

useful to those by whom the original is inaccessible."

—

Athenaum.

"A most serviceable abridgment of Stainer and Barrett's well-known

Dictionary. Few, if any, words that the student can wish explained are

absent from this little volume, which should be in every amateur s library."—

Daily Telegraph.

"Of even more general utility is 'Musical Terms.' As a dictionary of

reference this little volume should be on the table or shelf of every

musician."

—

Graphic.

" Most of the special information contained in the large volume has been

reproduced in this shilling pamphlet, the compression having been judiciously

made by Mr. K. M. Ross."

—

Illustrated London News.

" In its condensed form the work contains a mass of information which is

rarely to be met with in books of the class. It is particularly copious in Germanterms, which are now becoming of nearly as much use as the Italian."

—

British

Mail.

" The musical learner will find much useful information on the principles ol

music and on many technicalities of the art only to be found in high-priced

productions."

—

Perthshire Advertiser.

" No individual with any pretensions to a musical taste should be withont

this excellent book of reference."

—

Perth Citizen.

"An important addition is made to Messrs. Novello's series of 'MusicPrimers' in the shape of an abridgment, or rather compression, of Messrs.

Stainer and Barrett's well-known ' Dictionary of Musical Terms.' That workhas ranked as a standard one ever since its publication, and Mr. K. M. Ross,

who has performed the task of reducing it to the slim dimensions of its

primer' form, has executed the business with evident care and intelligence.

For its dimensions, this little book is unquestionably the best dictionary ol

musical terms in our language."

—

The Scotsman.

"The issue of this abridgment of Messrs. Stainer and Barrett's dictionarj

was a decidedly ' happy thought.' Many amateurs cannot well afford the

price of the complete work, while many others find its varied contents, if not

superfluous in themselves, an embarras des richesses as part of a book of

reference for words in common use. The present issue exactly meets the wantsof the many. Its pages are crowded with succinct definitions of musical

terminology, hardly a word being omitted. ... No other work of the kind

conveys so much accurate information within the same compass. The little

book is the best shilling's worth in all musical literature."

—

The Musical Time*

London: NOVELL^ *NP COMPANY, Limited-

0^2^-/^^^--NOVELLO'S

MUSIC PRIMERS AND EDUCATIONAL SERIES.

COMBINED COUNTERPOINTIN THREE PARTS

AND

FLORID AND IMITATIONAL

COUNTERPOINT —IN THREE AND FOUR PARTS

WITH EXAMPLES

BY

GEORGE J. BENNETT.MUS. DOC, CANTAB.; F.R.A.M.; F.R.C.O.

ORGANIST AND CHOIRMASTER OF LINCOLN CATHEDRAL ;

SOMETIME EXAMINER IN MUSIC AT THE UNIVERSITIES OFCAMBRIDGE. DURHAM, LONDON, AND MANCHESTER :

EXAMINER ASSOCIATED BOARD, LONDON.

PRICE THREE, SHILLINGS

London: NOVELL\) XNJ^qMPANY, Limited.

New York: THE H. W. GRA^S&^Sole Agents for the U.S.A.

MADE IN ENGLAND.

FEB 23 1994

CONTENTS.

Preface ... ... ... ... ... .„ ... v

CHAPTER I.

Counterpoint from a melodic point of view ... ... ... 1

CHAPTER II.

Counterpoint from a harmonic point of view ... ... ... 4

CHAPTER III.

Passing-notes in the 2nd Species, in Combined Counterpoint ... 13

CHAPTER IV.

The 2nd and 3rd Species ... ... ... .. ... 23

CHAPTER V.

The 2nd and 4th Species ... ... ... ... ... 37

CHAPTER VI.

The 3rd and 4th Species ... ... ... ... ,... 46

CHAPTER VII.

The 5th Species in Combined Counterpoint ... ... ... 54

CHAPTER VIII.

Florid and Imitational Counterpoint in three and fuur Pari ... 6S

Appendix ... ... ... ... .. ... ... 94

PREFACE.

In the various existing treatises on Counterpoint the greaterpart of the work is necessarily given up to the exposition of

Simple Counterpoint. As Combined and Florid Counterpointform now such an important feature of examination work, it

is thought that there may be room for a book dealing onlywith those particular branches of the subject, and which mightbe used as supplementary to other works.

No new theory is advanced in these pages, which follow

mainly the same lines as the modern works on Counterpointin general use at the present time.

The writer has, both in the text and in the examples,endeavoured to follow the excellent recommendations issued

by the Council of the Union of Graduates ; the only difficulty

being that in the case of some Canti Fermi in the minor key,

it is practically impossible to observe strictly the rule that nomodulation shall be made before the primary key has beenestablished.

No attempt is made to deal with Modal Counterpoint, asfound in the works of the composers of the Polyphonic period,

that subject being, in the writer's opinion, better deferreduntil the student has completed a course of Counterpointfounded on our present tonal system.

A feature of this book is the considerable number of

worked exercises, including every possible combination andarrangement of the parts in Common time, except that the5th Species is the only species treated in combination with itself.

As to its plan, the first three Chapters deal withpreliminary matters, and may not be necessary, wholly or in

part, for the student who has a natural instinct for choosingthe right harmonies and passing-notes.

With reference to Chapter II., the writer is well awarethat he lays himself open to the charge of regarding the subjecttoo much from the harmonic point of view, but he was inducedto include this Chapter by observing the feeble harmony sooften displayed by students in their contrapuntal work,especially in their misuse of the § chord.

In studying the effect of the harmonic progressions it is

suggested that the pianoforte be freely used.

As passing-figures—whether used as minims in the 2ndSpecies, or as crotchets at the second half of the bar in the3rd and 5th Species—form such an important feature of

Counterpoint, it is hoped that the somewhat lengthy Chapter

VI PREFACE.

on this subject may not be considered superfluous. It seemsconvenient to divide passing-notes in the 2nd Species into

two classes:—the workable and the less workable ones, as,

in choosing them indiscriminately, the student is liable to

hamper his work by taking such passing-notes as the ascending

and descending Ninth, and the descending Fourth, whichpresent great difficulty in the addition of other moving parts.

In the Chapter on Florid Counterpoint (Chapter VIII.

Sections i and 8) attention is directed to the bad effect

often produced by employing two quavers immediately before

or after a crotchet that is dissonant with the Canto Fermo at

the middle of the bar.

The danger of ill-considered dissonances at the last part

of the bar, especially when the Canto Fermo moves a 3rd up or

down, is also dealt with in Sections 2 and 10 of the same Chapter.

The following are general observances in this book :

—

(i.) No restriction as to change of harmony within the

bar, especially with a moving Bass,

(ii.) A moderate amount of modulation allowed after the

primary key has been established,

(iii.) Free use of the prepared j? and £ in any combination

with the 4th or 5th Species.

Cherubini mentions this only in combining the 2nd and

4th Species. Other theorists go somewhat further, and a natural

development of the idea seems to be to allow the use of these

discords whenever they can be properly prepared and resolved.

Against a Canto Fermo in semibreves there is not often

occasion to use the uninverted chord of the prepared Seventh.

(iv.) Occasional use of a syncopated minim in the 5th

Species against another moving part.

The fact that the syncopated minim is to be found in the

strictest Counterpoint of Palestrina seems to justify its use.

English composers of about the same period, notably Dering,

also sometimes made use of it.

Strict Counterpoint is indeed a thorny subject. Although

the memorandum issued by the Council of the Union of

Graduates has done much towards standardizing it, teachers

still differ considerably on matters of detail as to what is and

is not permissible; and it is hardly likely that the worked

exercises in this book will pass unscathed the ordeal of the

critic's eye.

Bearing in mind this divergence of views, a tentative

line has been followed on some matters in the text.

It is desirable that the student be stimulated to make his

exercises sound as musical as possible, and to avoid such

PREFACE. Vll

harshnesses arising from the moving parts and crudities of

harmony as would be considered bad in any Composition

of a contrapuntal nature.

With regard to the proper attitude of the student towards

well-established rules, a wise remark by the late Sir John Gossto his pupil Sir Frederick Bridge, which the writer is

permitted to quote, seems to be very apposite—" I am in

favour of your occasionally breaking a rule, when you knowhow to observe it."

The writer expresses his thanks to Sir Walter Parratt andProfessor

J. C. Bridge, Professors of Music at the Universities

of Oxford* and Durham respectively, and to the Senate of the

University of London, for permission to print certain Canti

Fermi from the Mus. B. examination papers at those

Universities.

The idea of this book was originally prompted by the desire

to provide some help to students preparing for the examina-

tions of the Royal College of Organists, and the writer

wishes especially to thank the Council of that institution

(Hon. Secretary, Dr. H. A. Harding) for permitting him to

print a considerable number of Canti Fermi from their

examination papers.

Two of the exercises are included by the courtesy of

Dr. C. W. Pearce, the writer observing, after this book wasfinished, that a working of them had already appeared in his

" Modern Academic Counterpoint."

The Canti Fermi in exercises Nos. 24, 25, 31, 33, 43, and

49, by Theodore Dubois, are from his " Traite de Counter-

point et de Fugue," and are printed by permission of

Messrs. Heugel & Co., Au Menestrel, 2 bis Rue Vivienne,

Paris, publishers and owners of the copyright for all countries.

This work, with its erudite and comprehensive treatment of

Fugue, is without doubt the most important contribution to

that subject that has appeared for many years, and should be

of great value to advanced students.

The writer's warmest thanks are due to Sir Frederick

Bridge for advice freely given on various important matters,

his unique knowledge and experience in this subject rendering

his opinion particularly authoritative.

The writer also expresses his thanks to Sir C. Hubert Parry

and Mr. Charles Macpherson for several suggestions which he

has acted upon.

Sir Walter Parratt has since resigned the Professorship.

CHAPTER I.

COUNTERPOINT FROM A MELODIC POINT OF VIEW.

The cardinal feature of contrapuntal writing is that each voiceor instrument shall have a good melodic part. This is notalways possible with parts proceeding in semibreves, but in

Combined Counterpoint in three or four parts, where all exceptthe Canto Fermo consist of moving parts, the melodiccharacter of each of them should be insisted upon.

A part may be unmelodic through there being a frequentharping on the same notes within a too limited compass ; or,

on the other hand, the movement may be too strident ordisjointed, extending to the extreme limit of an octave or morein the course of every few bars. In either case the partfails from lack of definite aim, and from being void of climax.

The 3rd Species, with its continuous crotchet movement,is particularly liable to fall short in either one or other of theserespects, and is, perhaps, the most difficult species to writereally well.

The melodic form of both Canto Fermo and the accom-panying counterpoints can be of various forms.

There is the Canto Fermo which commences on a rather

high note, and finishes an octave lower. The highest pointwill then generally be felt to be in the first two or three bars,

and the remainder will take the form of a gradual diminuendo.But the majority of Canti Fermi, commencing on a low

or medium note, gradually ascend until they reach someculminating point; usually at the 6th or 8th above, and thenrecede again towards the note on which they started. This is

the type of melodic part to which the following remarks moreparticularly apply.

The form of a melodic part may be said to be of the natureof a series of curves. The curves of a well-written part will

vary in shape, without too many of small dimensions. As the

melody proceeds the curves may gradually increase in height,

the higher ones alternating with lower ones, so that the climaxmay not be arrived at too suddenly. But whatever form themelodic part takes, no two curves will be exactly alike.

2 COMBINED COUNTERPOINT.

For instance, if a melodic part commencing on F, rises

gradually to D and then falls, next time it rises the highest

note—especially if on the same part of the bar as before—will

probably be either higher or lower than D.Sequential movement, not necessarily exact, is useful in

leading to a climax. Observe its use in both stanzas of our

National Anthem, and the culminating note in the last

bar but one, the effect of which is intensified by this note

appearing only once in the course of the melody.

A repeated return to the same extreme high note should

be avoided, particularly on the same part of the bar.

Melodies of every description have been written on the

principle of the culminating high note, already referred to

in the case of the National Anthem. For instance :" On the

banks of Allan Water," " The British Grenadiers," " TheLincolnshire Poacher," Schubert's Serenade, the Toreador's

Song from "Carmen" (both parts), Clay's" I'll sing thee songs

of Araby," Elgar's " Land of hope and glory," the Austrian

National Anthem, and the hymn-tunes—the "Old Hundredth,"" Dundee," " Melcombe," " Winchester Old," &c.

This is also the case in connection with larger works,

to mention only such well-known examples as the opening

theme from the slow movement of Beethoven's D major,

C minor, and Choral Symphonies, and the themes generally in

Tschaikowsky's Pathetic Symphony.In the works of the early English Church composers there

are occasionally striking effects obtained by reserving an upper

note in the Treble for a particular passage towards the end of

the movement. Several such instances are to be found in

Byrd's Service in D minor. See, for example, in the Te Deum,the fine effect of the Treble part at the words " Govern themand lift them up for ever. Day by day we magnify Thee," and

a similar passage near the end of the Gloria in the NuncDimittis.

Our public singers know too well the value of the

culminating high note.

In the above cases the climax is generally towards the end

of the melody; this particular position is, however, not

essential in a contrapuntal part.

It is not suggested that this is the only possible type of

melody, but it is probably the most useful one for the student to

follow, and the exercises in this book are written on that plan.

When, as is desirable, each part in a counterpoint exercise

has its climax, these climaxes will, on account of the inde-

pendent movement of the parts, occur at different points,

although they will generally be near to one another.

COUNTERPOINT FROM A MELODIC POINT OF VIEW. 3

It is important that each vocal part should, as far

as the exigencies of the particular species permit, bereally singable. Whilst imagining the effect of the parts

sounding together as he writes the exercise bar by bar, thestudent must acquire the habit of constantly testing themelodic effect of each separate part, viewed as a whole, after

any addition to it has been made. Without particular attention

to this on the part of the student, his Counterpoint will neverbe of a high order.

If, as is unfortunately sometimes the case, he has only anindistinct idea of the sounds that he writes, it is advisable

to take some special means to improve this, such as a coursein ear-training. In the meantime, frequent use of the

pianoforte during the writing of the exercises is recommended,in order to test the effect of what has been written, and to seewhether it sounds as wras expected. This should, of course, beregarded as a temporary measure, to be gradually and at last

entirely dispensed writh, as in the case of the use of artificial

means of assistance by one learning to swim.

CHAPTER II.

COUNTERPOINT FROM A HARMONIC POINT OF VIEW.

In Counterpoint, although the most important consideration

should be the melodic flow of the individual parts, it is also

desirable that it be constructed on a satisfactory harmonic

basis. Melodious flowing parts will make some harmonic

progressions tolerable which would sound bad if the parts

moved note against note, but will not justify a succession of

ill-chosen and crude progressions of harmony.

The firmness of the § chord permits of almost absolute

freedom of movement in the Bass. This is not always the

case with thefj,

and injudicious use of this chord is often the

cause of weak harmony.

A ^ will never sound amiss with the Bass next moving by2nd, but on certain degrees of the scale—notably on the Tonic

or Dominant, and to a less extent on the Supevtonic—it can

sound very unsatisfactory if followed by certain leaps in

the Bass.

The following remarks have reference to the use of the §.

The examples in this and in the following Chapter are written

in four parts, as being the clearest means of representing the

harmonic basis on which the moving Counterpoints may be

constructed, whether in three or in any number of parts.

1.—A | on the Tonic or Dominant sounds weak when the

Bass next rises a 4th or falls a 5th :

—

%

* Weak. Weak.:q:

&

In the key of A minor these two chords, on the contrary, sound perfectly well.

COUNTERPOINT FROM A HARMONIC POINT OF VIEW. 5

2.—A § on the Tonic or Dominant also sounds weak whenthe Bass next rises a 3rd to a % chord :

—

iWeak. Weak.

:o:

§=£ :S:^

'-EL

With either of the above movements in the Bass it is

recommended that a § be taken on the Tonic or Dominant.

But with any other movement of the Bass a ^ should beoccasionally used as a means of varying the harmony, and of

avoiding excessive use of the Tonic and Dominant harmonies.

It is particularly effective when the Bass next rises or falls

a 2nd, as in the following examples :

—

I

All good.

-o

—

ur—

&

K—T^

3.—On the Tonic or Dominant, when the Bass next rises a

5th, or falls a 4th, a § should be nearly always taken.

For occasional use, however, a § will not sound amiss if

the 6th is approached and quitted by 2nd upwards, as in the

following examples :

—

W^-

COMBINED COUNTERPOINT.

4.—A § on the Supertonic sounds weak when the Bass next

rises a 4th or falls a 5th. With this movement of the Bassa % should be taken on the Supertonic :

—

i

Weak.<9-

Strong.

W^- &z-Q-

St

5.—On the Submediant some students seem to make a practice

of always employing a §. Such excessive use of this chordis unwise, as a stronger effect is more often than not producedby employing a § on the Submediant, especially with a leaping

Bass.

The § on the other degrees of the major scale presents noparticular difficulty as regards the movement of the Bass, or

as regards harmonic progression.

The foregoing remarks on chord-progression may be takento apply generally, whether the Canto Fermo is in the Bassor in an upper part.

At the same time it must be borne in mind that with amoving Counterpoint in the Bass, the placing together of the

opening chords of two successive bars does not necessarily

show the harmonic progression between the bars. Theprogression may be strengthened, or even entirely changed, bythe moving Bass.

For instance, the following example at (a) consists of the §on the Tonic, with the Bass rising a 4th, which is describedon page 4 as weak. With the addition of a moving Bass at

(b) and (c) it becomes quite strong, the harmonic progression

between the bars being as at (d) :

—

P(a) Weak.zz:

{b) Good

&(c) Good. (d)

IS £

W — "

=£21

-"g:

DZQI

6

COUNTERPOINT FROM A HARMONIC POINT OF VIEW. J

Similarly, the weak progression of a § on the Tonic withthe Bass rising a 3rd at [e) is strengthened at (/) by the

addition of the root in the Bass at the middle of the bar,

and by the tied note in the inner part ; whilst at (g) will

be recognized a familiar and effective dissonance, properly

resolved. Both of these examples are perfectly satisfactory.

{e) Weak. (/) Good. {g) Good.

r i-»

m- 2±z:

5)

A weak harmonic progression also sometimes sounds less

objectionable, or even well, when one of the parts is syncopated.

With the 4th Species in the Bass, both of the examples onpage 4 admit of possible use.

The above examples (a) to (g) all have reference to thej| on

the Tonic. The progressions from the % on the Dominant andSupertonic, described as weak on pages 4-6, are not likely

to sound well even with a moving Bass in shorter notes.

A progression which should be particularly avoided is the

jjon the Dominant followed by the ^ on the Subdominant,

introducing the False relation of the Tritone :—

IMi—8-

Composers of the Polyphonic period certainly made free use of this

progression. So characteristic is it of early Church music that moderncomposers employ it as a means of imparting ecclesiastical atmosphere to

their vocal writing.

But in such examples of its use, ancient or modern, it will be foundthat the parts move entirely, or almost entirely, note-against-note. Its

use is inexpedient in contrapuntal writing against a Canto Fermo ofsemibreves.


It is therefore necessary when the Canto Fermo in the

Bass descends from the Dominant to the Subdominant to

take a § on either one, or on both of these notes :

—

:g:122:

s—T3-

jQ.-Sr -&L :g=

C.F.

Care should also be taken to avoid the above progression

when the Canto Fermo is in an upper part, and especially

when it rises from the Dominant to the Submediant :

—

As this movement of the Canto Fermo in an upper part

often leads to clumsy harmonization, it may be well to give it

some consideration.

The principal matter to decide is whether or not to use the

Dominant harmony for the first note. If the Dominant | is

used, the next chord progression is limited to one of thefollowing :

—

C.F.

w^jGl.

u=£-tt—

Or, if the first inversion of the Dominant harmony is

employed :

—

C.F. m Rare.

-©

—

23

^B^fl

6

COUNTERPOINT FROM A HARMONIC POINT OF VIEW. 9

With the Canto Fermo in an inner part, in addition to the

above, the following chord progression is also available :

—

C.F.

WC.F.

But (with the Canto Fermo in an inner part) there is an

increased danger of consecutive 5ths :

—

C.F.m

From the foregoing remarks it will be seen that the use of

the Dominant harmony with this movement of the Canto Fermomay present difficulty, on account of the limited choice of

chord-progressions.

The easier course is to take the Tonic harmony instead, but

it would be idle to imagine that the difficulty can be always

avoided in that way, as there may be as likely as not some

good reason for employing the Dominant harmony, such as:

(i.) To help establish the key ;(ii.) To avoid a preponderance

of Tonic harmony ; or (iii.) On account of what immediately

precedes or follows it.

In such case, the harmonic limitations already referred to

should be borne in mind, and particular care taken with the

movement of the Bass in the next bar or two.

6. J. Bennett—Combined Counterpoint—Novello—B


Whilst a Counterpoint exercise should be constructed

largely on the stronger harmonies of the key, a certain

infusion of secondary chords is desirable, if only to avoid

monotony.

It is, for instance, decidedly weak always to use the

Subdominant and Tonic harmonies, when the Canto Fermoin an upper part proceeds in either of the following ways,

in the key of C :

—

This is a case where with either one or both notes a

secondary harmony might well be employed.

The following are ways in which the first of the above

progressions of the Canto Fermo can be harmonized :

—

-Q-_o__

3E

It may, however, be well to draw attention to the danger of con-secutive 5ths between the Submediant and Dominant chords, if either

of the above progressions be used immediately before the cadence.With a moving Bass these consecutive 5ths can certainly be avoided by

employing two chords in a bar, as in the following examples. Otherwise,with this movement of the Canto Fermo, it is impossible (apart from aconceivable instance with a syncopated Bass) to take the Submediantchord immediately before the cadence.

X-F. C.F.

COUNTERPOINT FROM A HARMONIC POINT OF VIEW. I I

THE MINOR KEY.

The remarks on the use of the $ (pages 4—7) may be

also applied to a certain extent to the minor key, based on the

harmonic scale.

The complete § on the Dominant, being dissonant, is

unavailable, but in three-part writing an incomplete § is

possible. With the Canto Fermo in the Bass its use is

practically limited to when the Bass next moves by 2nd upor down. It is somewhat less restricted with a movingBass.

1

When the Supertonic is followed by the Dominant in the

Bass, a § on the Supertonic sounds weak, as in the majorkey. The dissonant i] on the Supertonic being unavailable,

it is generally best, with this movement in the Bass, to take

an incomplete § :

—

W^: fr°I

ttg -

-O-

^ -te

tt«

The minor 7th of the key may be used as the Bass of a

6 chord, provided that it be approached and quitted by 2nd

downwards :

—


If introduced as an essential note of the chord in an uppei

part, the minor 7th of the key induces a certain vaguenessof tonality, and may even sound like an unsuccessful attempt

at a modulation to the key of the relative major.

For this reason it should not be often used as anessential note in an upper part, and when used it is advisable

to introduce the Dominant harmony, with the proper leading

note, in the course of the next two or three bars, as in the

following examples. By this means any vagueness of tonality

is arrested.

The minor 7th should, as in the Bass, be approached andquitted by 2nd downwards :

—

It is also possible to use the ascending major 6th of the minor key asan essential note of the chord, provided that it be approached and quittedby 2nd, generally upwards. It, however, presents great difficulty withmoving parts, and can seldom be profitably used. The student is

recommended not to use it in Combined Counterpoint, with the exceptionof the 5-6 on the Supertonic in the 2nd Species, which is particularly useful

at a cadence.

The selection of chords in the minor key being rather limited,

when the Canto Fermo admits of it, a transition to the key of

the relative major is generally effective and to be recom-mended, but the primary key should be first established.

CHAPTER III.

PASSING-NOTES IN THE 2nd SPECIES,

IN COMBINED COUNTERPOINT.

In Combined Counterpoint the 2nd Species requires care

as to the passing-notes employed. If that part has anill-chosen passing-note it may clash against the other parts

and produce a dissonance at the last part of the bar whichdoes not admit of satisfactory resolution.

The following examples are faulty in that respect, the

cause being the use of unworkable passing-notes in the2nd Species part :

—

49 zz

m-TT

Note the ugly progression between the bars in eachexample :

—

m=m

Albrechtsberger and Cherubini avoided this difficulty bypractically discarding the use of passing-notes in the 2nd Speciespart in the few examples of Combined Counterpoint to befound in their treatises. By so doing one of the most salient

features of the 2nd Species is lost, and the part is reduced to amore or less inelegant series of leaps in every bar.

The better plan seems to be to make a selection of thosepassing-notes which are most adaptable to the addition ofother moving parts, excluding the less workable ones.

M COMBINED COUNTERPOINT.

In an upper part the workable passing-figures are at the

following intervals above the Bass :

—

8-7, 6-5, 5-6, and 3-4.

In the Bass the following can be taken in their inverted

form :

—

8-7, 3-4.

THE PASSING 8-7.

The Bass Rising a 4/th, or Falling a 5TH.

The following examples show the various degrees of the

scales of C major and C minor on which the 8-7 can be taken.

The most effective use of the 8-7 is with this movement of

the Bass.

The progression marked (a) can only be taken if the 5th,

being dissonant, is omitted :

—

T P O -**-r> _/ rj n n

1

'

1

^1

1 a 1 | l 1

iffl f°" " <T3 '1

\Sy 1 '

'

1

J*y ' 1

-e- -Q_Mf <Z> f-jl("J. rj""w^ O

—Q. ^ —

,

(*)T-P-0-,

Jf L'u f? n "P r3- te~ T~riIm

'F p 1 r^ r> H1

1

Vf '! 1 1 •

eWt* bi Q. .ra

(gja.fr , . -©

—

^yfr"

* tt

The Bass Rising a 2nd.

This progression is not of great use except with the

Dominant in the Bass :

—

$ mm ^~ o iijg

» u

THE PASSING 6-5. 15

THE PASSING 6-5.

The Bass Rising a 2nd.

The 6-5 is a very useful passing-figure. Resolved on theinterval of the 3rd, that interval can form part of either a §or

Ichord, but a % is recommended as generally best. It

is figured 6 in the following examples where the £, beingdissonant, cannot be taken.

The following remarks refer to examples in the minor keyat the top of the next page :

—

(i.) The 6-5 on the Supertonic with the upper notes of theascending melodic scale moving downwards (see a) sounds crude.It is generally better to take the descending form of themelodic scale, even if it makes a transition to the key of therelative major, as in the following example :

—

£

SsBE(ii.) On the Dominant (see b), the complete § being

dissonant, the 3rd from the Bass must be omitted.

:o_-g>

—

trt- f Qt=t

=P==^=

w(6)

rP—^-En i 1 -p- *31———

-jT-&-&-_q_:/L 1 1

nlm t

11

!VU ' F

•7

« -&-/~y <*3(w.

|pS>~^l

SiB=&6

16

(«)


\£^^Z f* rr> p <>- ^ Q "1—1

—

ja._i]

• oi)\ *

-<s>- Ll_|J -H-

-^

—

O '

-—

H

1 O |

1

1 1

C»5

The Bass Falling a 3RD.

This treatment of the 6-5 can be taken on any degree

of the major or minor scale, but it is hardly a strong

progression on account of the similar motion in 6ths :

—

m=^

THE PASSING 5-6-

The Bass Falling a 2nd.

The 5-6, which might almost be termed the Palestrina

passing-figure, by the very important part it plays in that

composer's Counterpoint, is perhaps the most useful and

effective of all passing-figures.

At (a) the raised 6th of the minor key must be approached

by 2nd, generally from below. This progression is useful at a

cadence :

—

(«)

PllllT2\

iifctMfoq

is

THE PASSING 5-6. 17

The Bass Risixg a 5TH, or Falling a 4.TH.

^^-I—i-g H-g 22=:::p il=ei

22:

30r6

fat;J=tte£5lE.<=:

zpz:

g» ~^:

The Bass Rising a 2\d.

This treatment of the 5-6 can be taken on nearly every

degree of the major scale, and on some degrees of the minor

scale, but it is hardly a strong progression, on account of the

similar motion in 6ths :

—

j3i

m

i8 COMBINED COUNTERPOINT.

THE PASSING 3-4.

The Bass Falling a 2nd.

The 3-4 sounds well whether the 3rd form part of a § or

of a § chord. It is only figured 6 in the following examples

where the 5th, being dissonant, cannot be taken.

The example at (a) has the minor 7th of the minor key

in the Bass. This must be approached downwards from the

Tonic Bass :

—

Sat zx

(6)

^ggj^Wp.^£$E=L

6 6 6 t}6 6 6 t|6

-&-\>—Hi _o—

T

rj "^T{jp'WJ^ "1—'

—

q=t-—

u

(?):. \>Q

—

—

t

'—

'

~ -&— 1-0 Q~-r*9—

n

^4

—

6 A 6 6 8

6

6 6

A passing 3-4 is not recommended with any other

movement of the Bass in Combined Counterpoint.

PASSING-NOTES IN THE BASS. 19

PASSING-NOTES IN THE BASS.

The Inverted 8-7.

A passing 8-7 in the Bass can be taken on any degreeof the major or minor scale, except where there is a dissonanttriad.

The following examples are intended to show the various

movements of the Canto Fermo in an upper part whichadmit of a passing 7th from the Dominant being taken in

the Bass.

These examples might be transferred to the other available

degrees of the scale. Here and there a progression wouldprove impossible on account of the movement of an augmentedinterval, or a doubling of the leading-note :

—

Possible.

TZT-JCL-

Eft 1-

wT^=^ -Q-s]^-4l P* cj rz ^^& "E^ .or::

-£2_ , O

m ^ p 1:a: P o

I7?~5~

It is also possible on certain degrees of the scale to resolve

a passing 8-7 in the Bass on a § chord. This progression is

of far less importance than the resolution on a \ :

—

# a 11—

®

n

$—a——e 1l & 1 u

—&—rs- <-@J_J 1 -A 1

£L_.

20 combined counterpoint.

The Inverted 3-4.

When the Canto Fermo in an upper part falls a 2nd, a

passing 3-4 can be introduced in the Bass, by taking the

interval of the 6th below the first note of the Canto Fermo.

It should nearly always resolve on a § chord. Onlythe most likely Bass notes are included in the following

examples :—

-

mW:

rZ2T.3BEEtfcr:

^9-TT O^ T

—Q—f t-O^j-£*-7 ^

O n -O-Q

(W • p rz> Î

>-T» h I

_. ?. fej—

L

6 — 6 — 6 - t

Occasionally the passing 3-4 is taken at the interval of an8ve below the Canto Fermo, as in the following examples.

The 6th from the Bass will then be represented in the other

upper part.

Attention is drawn to the 7th on the Dominant at the

second part of the bar :

—

\J

VL> <-JJ *

'TaV 1-2 tJ[W« C>!

\J>1

-&—**--fr-jvF

6 —

The student is recommended not to take a passing 3-4 in

the Bass when the Canto Fermo proceeds by leap, as in the

following example. The effect is certain to be bad with other

moving parts added :

—

I

m XX.

6 —

THE AUXILIARY NOTE. 2 1

The observant student will have noticed in the course of this Chapterthat the most effective passing-notes are taken against the movement of a

2nd, 4th, or 5th in the Canto Pernio. In Combined Counterpoint it is

not often that a workable minim passing-note can be taken when the

Canto Fermo moves a 3rd, up or down, whether in the Bass or in anupper part.

It remains to be said that the only other possible passing-

notes (i.e., real Passing-notes as distinguished from Auxiliary

notes) not dealt with in this Chapter are :

—

(i.) The Ascending and Descending gth in an upper

part, and in the Bass ;

(ii.) The Descending 4th in an upper part.

These are the less workable passing-notes referred to on

page 13, and their indiscriminate use in a 2nd Species part

in Combined Counterpoint is the cause of much ill-sounding

Counterpoint.

So seldom can they be used with good effect, that the

student is advised to shun them, and confine his minim

passing-notes to those more workable ones recommended on

page 14.

THE AUXILIARY NOTE.

The Auxiliary note is of less musical value in a 2nd Species

part than the true Passing-note. It is occasionally useful in

the combination of the 2nd and 3rd Species.

In the progressions 5-6 and 6-5 the second minim is

sometimes treated after the manner of an Auxiliary note.

If this produces the effect of a change of harmony, it is,

of course, not really an Auxiliary note.

-9 ^r ^, 1—&— rj -& rT-o- <T2~~e—

n

A--^ -in r> r r^t —

1

1-1— 1

—

*BI

i

—

'

1

iJ

(W\« —(w« CJvi^

5 6


When the 6-5 is employed in this way on the Tonic or

Dominant, with the Bass next rising a 4th or falling a 5th,

the second minim has undoubtedly the effect of establishing a

3 chord. This is a useful progression, if approached smoothly

in the minim part :

—

-7—1—

n

<"-> «/.w—^—&- _o 1 !

2F —]

-&-M\ m rj(<*j.NJ> O O

A minim that is dissonant with the Canto Fermo should,

generally speaking, not be treated as an Auxiliary note, as the

effect is likely to be harsh with another moving part added.

The following, however, admits of possible use.

A 7th on the Dominant, or a Diminished 7th on the

Leading-note of the minor key, can be introduced by meansof an Auxiliary note in the Bass. It is essential that the

Canto Fermo in the Treble or inner part fall a 2nd, in order to

resolve the dissonance :

—

\J

yu~,

Ô—-U

<raV P fj(W •

\^s 1 |_' m

-3

CHAPTER IV.

THE 2nd AND 3rd SPECIES.

[This Chapter and the following Chapters are divided into

numbered sections.]

i.—In Combined Counterpoint a 2nd Species part should

not be overloaded with passing-notes. Generally speaking,

it is advisable to have a fewer number than in SimpleCounterpoint.

When combining the 2nd and 3rd Species it is possible

to plan out first the 2nd Species part, or some portion of it,

and then add the other part.

This method may generally work very well, except that if

the 3rd Species part is in the Bass, that part cannot be left

entirely until last. A preliminary plan might be made as

in the following example, the bass part being completedafterwards. Such plan must be considered of a tentative

nature :

—

ziz

C.F.

Sî

2.—In Combined Counterpoint of whatever kind, it is

advisable to give particular consideration to the middle of

the bar. In combining minims and crotchets these two parts

should there be generally consonant with one another ; anoccasional dissonance is then welcome and effective.

When these parts together form a dissonance at the

middle of the bar, the part in crotchets should approach it

by 2nd. Such dissonance should generally be approached in

contrary motion, as at (a) and (b). Similar motion can,

= 4 COMBINED COUNTERPOINT.

however, sometimes be taken without ill-effect, if one of the

moving parts is in the Bass, as at (c) and (d) :

—

(a) (&)(

(c) (d)

-O J n i

1

. n|

An exceptional case is when the crotchet part has changingnotes. The two moving parts may then approach a dissonanceat the middle of the bar by skip in both parts, and in similar

motion :

—

tH-1-47^ h- —¥-*—-'-3 °^-»

-1 - •:

/„\ . fj .^_((*;. P* **——

| * '

***»# #

v>—

'

1 —& 14_J—|—|_JJ

[In the examples the Canto Fermo is ahvays represented by

the pavt that has a semibreve or semibreves. It is not considered

necessary to indicate it.)

3.—Although the stronger effect is generally obtained byretaining the same harmony throughout the bar, it is

permissible occasionally to change it. When, as is usually

the case, this change of harmony occurs at the third crotchet

of the bar, an accented passing-note can sometimes be

effectively introduced at that point in the crotchet part, as in

the following examples: -+ +

j—r--t—

:o:

T~

:^'

5 ' 5 5

3 3 2

There is no effect of consecutive 8ves and 5ths between the Tenor andBass in the first of the above examples, as these intervals do not occur in

successive chords. This applies to all similar cases where there is achange of harmony within the bar. (See, for instance, Exercises No. 7,*

bars 6—7 ; No. 11, bars 8—9 ; and No. 12, bars 4—5.)

* The numbered Exercises referred to here and elsewhere will be found

in Chapters IV.—VIII., generally at the end of the Chapter.

THE 2ND AND 3RD SPECIES. 25

4.—The bare 4th between the upper parts of a § chordat the middle of the bar sounds thin. It is particularly

objectionable when approached by similar motion, as in thefollowing example at (a). If approached in contrary motion,and with the crotchet part moving by 2nd as at (b), theprogression is quite tolerable.

The bareness of the 4th is not felt when the 3rd of the

chord is in the Bass, particularly if approached in contrarymotion, as at (c) :

—

(a> Bad.

I

(b) Better. (c) Good.

¥T-d- Jl • 4. ^z=*

m

5.—The conventional Changing note figure, consisting of aturn round a central note, should be sparingly used. It is

sometimes useful at a cadence, or to fall back on in case ofdifficulty :

—

- m W a »g^^ =F * r=?***H^=f

It is recommended that the last note of a Changing notefigure be quitted by 2nd, as indicated in the above examples.Such skips as the following are ugly :

—

fS^-*^"*<5>

O<S> 1

\—q U

tfaY p f p^v£l-1

1

^:

6.—There is another and more ancient type of Changingnote—the Nota Cambiata—as adopted by Fux from the worksof the early composers ; employed also by Albrechtsbergerbut rejected by Cherubini.

G. J. Bennett—Combined Counterpoint—Novello—

C


The Nota Cambiata has undoubtedly more melodic interest

than the conventional turn, and although the aforesaid theorists

made use of it in a way which would be hardly accepted in

these days, it seems possible occasionally to introduce it over

a § chord without offence.

The following are suggested ways for its treatment (see

also Exercise 5, bar 8 ; and, with the 4th Species, Exercises 29,

bar 5 ; and 31, bar 4) :

—

iro:

J--4:-QT

ZZZ1

-?-+ Z±

m1 f-r

:cz:

H}1

~t>—1 T~~ ,

'

(i^—ra ^Q^S^Z? —\i o> j

'iff^—i

1

—

-g—

*

—*—

1

Tt>—rl

rj

X£5 & r-J Vf»-^——

—

+—::

This Changing note figure differs from the conventional turn in that

the first three notes are all consonant with the Canto Fermo. Against an

y

objection to its use on account of a certain ambiguity of harmony, it maybe urged that this seems to be a case where the harmonic point of viewshould give way, on account of the excellent melodic effect.

7.—The following examples show some ways in whichthe 2nd and 3rd Species can be combined, the passing-notes

in the 2nd Species part being limited to those workable onesrecommended in Chapter III.

Many of these and of the subsequent examples are also

available in the minor key :

—

i—&-. £3rTf

:ii£2i

:ri:

-«LJ_J_-


n l|

1

i 1

fk—<^» id

—

'"J# —<S> -J-J-t^H-

•> I W -+- -m- -o- 1 I i r-&-

I

I

-8-

<kV <r>(Wj ,-2 rj rj

6 5

r> 1

6 6

I

5

1

6 5

7T J J (O —o ?-31 1&-*-' m

* « f m r-j—-i

—

A——«>*y P e> -Q- i 1 i 1

r~ i r r -fr£\' ^ r>[(•/•No

6 5 6 5 6 5

|

6

!

y # -r J 1

'

1 T rj o rjr) J * m t i

|\J S m m 4 « -

J A -G>- I

l

P 1

i r r°^

(<-£• • rj(W • --, TJ>

5 6

(8-" in Bass.)

j? ;> -<>

5

1

"# "|

6

r-S

3

(3-4 in

4

Bass.)

^ r -f-r 1

ri>-0-

r>

-Gh-

*-

1

11

O

iWi • ° *"-> r-> 13((*;. i

i ;^ ^ — g

-'

'- I

In the last two examples it may be observed that the parts happen to

form a passing chord at the second half of the bar. This is frequently

the case with a moving Bass.

8.—When the Canto Fermo in an upper part descends

a 2nd between certain degrees of the scale, a fundamentaldiscord can be effectively introduced at the last part of

the bar.


Observe how the dissonance is both prepared and resolved

in the Canto Fermo :

—

Dom. 7th. Dom. 7th. Dom. gth.

J J J-jn H •U-Hn 1

4rr>~ :o # • <~j

£> -s»—

|

tr—"

m-r—r1

L-G> 1

p© ~j° r>

~&—

1

r—<S>

-?j — r-^

—

Added 6th.—a—k—|— m-

Dim. 7th.1

Dim, 7th.

X w\—\m f r -0

—

~~ |

—

'—1

—

\~

rm " P J 1

rjIsU • 1 J

m * S rv

-O- Ar- j-& Q1 1

T-1 L-L-i- r n

Wj>-1

i M—H\

...O -* ' *V~ _£-»

g.—Effective use can be made of scale-passages moving in

opposite directions.

In the two first examples the parts meet in the middle of

the bar at the interval of an 8ve.

In the last example they meet at the interval of a gth, the

contrary motion to and from the dissonance making the effect

satisfactory. The harmony may be regarded as changing at the

middle of the bar, with an accented passing-note in the Bass:

—

-J J J ,r>

6—5

10.—Sequential movement is of value in this combination.

It can often be introduced with good effect when a progression

of two notes in the Canto Fermo is repeated a 2nd or 3rd

higher or lower.

Repetition at the interval of a 3rd is perhaps the mostuseful, and examples may be found in Exercises 2, bars 5—g ;

3, bars 4—7 ; 4, bars 2—5 ; 5, bars 3—7 ; 8, bars 4—8 ; and12, bars 1—4.

It will be observed that the two-bar pattern is notnecessarily repeated entire.


Sometimes it is convenient to make the crotchets follow anindependent line (see Exercise i, bars 4—8), which may indeedproduce the better effect, provided that the sequential characterof the passage be sufficiently recognizable.

Occasionally, as in Exercise 10, bars 4—8, sequential movementwhich is not suggested by the movement of the Canto Fermocan be employed in the minim part.

11.—The following are some of the many possible forms ofcadence, and are nearly all available in the minor key. Thestudent is, as in subsequent chapters, also referred to thecadences at the end of the worked exercises.

£=1—

r

~~o:-w ^-i

^l

zozzz:

H)—J—\ 1 I

/1 m m J fi — —e =°^g> n —m —m—m- —

75

P |

P I—e»— -l3

-r »-i

f-i

-0-p- J

L_& 11

^ r-i—

:

t= -r d— <TJ

*^2: IS


In most of the following and subsequent exercises the Bass is

unfigured. except for an occasional figure where there might be

any question as to the implied harmony.

A comma is sometimes used—in preference to an extended

slur—to give some indication of the phrasing of a part.

CANTO FERMO IN BASS.

Ex. I

gEr^=g=f:-~-

, F.R.C.O., July, 1914.

^^^=f=^gi^^=FH^^ S ^B=m1—

r

C.F.I

IS^H=J=

«Hee :g=*z =ff=P= T*—prJ=t ^==t *=

^ 1^Note, (i.) Bars 1-2.—The 8ves between Treble and Bass are from Tonic

to Dominant, in contrary motion, and both unaccented.

(ii.) Bar 3.—The doubled leading-note is approached and quitted byconjunct movement in both parts.

The above exercise might also commence in the following way. Thealternative small notes introduce 5ths between Treble and Alto. They seemto be permissible, not being direct, and the second 5th consisting of notes

unessential to the prevailing harmony, but they are hardly recommended :

—


1

From an Examination Paper.mm st ^^mm *=*=* 3g=^gJfEgJfz^zg: EE±EE-J~E

etBMi3=t±

C.F.

$1

"I

1~ »^MBS== --&==&=* ^—

=

:—

:

f» •3E=S= I* * c i*- ,

*?.

: . l I

; ±:*- P I *~

1^Note.—The Canto Fermo does not admit of the key of D minor being

properly established until near the end.

Ex. 3. F.R.C.O., January, 1897.

« -rq==ezf-

mC.F.

3"2^- T=^

Note, (i.) Bars 3-4.—The skip in the Treble, from a crotchet that is

dissonant with the minim, is less objectionable than if it had been to anyother note than the 8ve.

(ii.) Bar 6.—The doubled leading-note has even more to justify it than is

the case in Exercise 1 ; as, in addition to the conjunct movement in both parts,

it forms part of a sequential passage which commences at bar 4.


Ex. 4.

CANTO FERMO IN TREBLE.

Oxford, 1st Mus. Bac, 1915.

E=T T-y-nrr-P p=F=P= t^^Pm 4==^ T-g—

r

1*_

s»Tfr— E£23 --=3; g =F=p

E-»-*-

fc£>=*=n 5»=P: * r »m r r J-3$r^&

mm m

Ex. 5. A.R.C.O., January, 1895.

C.F.

£ ^=c :H=g * C- ^=Eg3r=i=

i

^Wrffe^fr^rfwlr-1 r ^ ^ p^

HI*2d!3 ^Note, (i.) Bars 1-2.—The 8ves between Treble and Bass are by contrary

motion and unaccented. Moreover, the second 8ve is covered by the

continued contrary motion to the following bar.

(ii.) Bar 8.—Nota Cambiata in Alto (see page 25).

(hi.) At bar 9 is the "conceivable instance with a syncopated Bass"referred to on page 10 (see paragraph in smaller type).

Ex. 6.

b


Oxford, 1st Mus. Bac, 1915.

C.F.

&b$ ^=^zi- I I

LPlI? <= T5 ^3- •

: -1 —

i-stn^

—

u—rr

—

•&- r-S> fa

r

'

p—

'

s? 1—<s>—

jl

:.£^£___

=rv^-M f P m . p-r--f-m^

_ y

wt>b l—

1

1—F-1

-i—1—

1

-U-L-U-P-4=^=——1

—

1—1— —

»

Ex. 7. F.R.C.O., July, 1912.

5— H6

Ex. 8.

,4fJfc

CANTO FERMO IN INNER PART.

Durham, 1st Mus. Bac, 1913.

g=j^=fe1 1=^ aL

|—r~r

C..F.

gjfe-J r r iJ^w rrtr J Ûj^4*m


:{Sr==:

HE ii

iSS -M=?=*l HZZMZ mt^^MEx. g. Oxford, ist Mus. Bac, 1914.

C.^.

3=u:

ft*^

p^=^*=t ^^ 3t*

J—:~r

7^~ lty» /r. —i—

1

5—2—

3

"P- r"=J=q—

f** | H

1ft b .—

I M

—<s>—

-

-»

1

-i- =t= -H

—

1

—

^f-^ S>—

J

^=?—

H

—

H

—m—m ~V=f-fw

—<s>

—

H—hsy -ri1>-

"r*~~f~i =t^3=3 1w b JlI-H- -fc-*4—U- 4=«=-H--t 1

e-—J-*&^=TL_J

Note.—The 3rd Species in the Bass sometimes assumes a moreinstrumental character, with a more extended compass than in an upper part.

Ex. 10.F.R.C.O ., July, is

:^- .a.

--t-m -<=-

C.F.

i^=

S:i»-i—

g^^Êg^^S^^


fccttz 3= j=£=5=f~-

&=

-M~

Note. Bars 5-6.—The skip from a crotchet that is dissonant with theminim must be considered a licence.

Ex. 11.

I—-r « »~

F.R.C.O., January, 1907.

3=r£^-*~l-* ^T=*=

C..F.

Ei_=

§£^ ISe ^î^ --&

£

Si-p—

*

-

ftr^ —J^__4Rrg 1

«S> .

(=>—1

—

—

J

n

>Ci- »[

1 -J L J_L -fc=d-^

—

—<&—Note. Bar 7.—Doubling of the Leading-note with conjunct movement

in both parts.


p^ffr-rr^^^^f^^^^^^C.F..

m^: *F=&t=i=5 6

3

f \[" f— =£= a...

-*£

Note.—(i.) A working of the above exercise is difficult except byemploying two chords in nearly every bar.

(ii.) By changing the harmony in Bar 1, sequential movement is obtainedin the Treble.


IN TRIPLE TIME.Ex. 13.a • "-:«- tj* |flj*

=1 1 L--£=?-

Durham, 1st Mus. Bac, 191 1.

-i !I—

J

-Fz^--Mz

C.F.

tm'jt2_

M|S^=^ ^w=^ -*-t-?- -»—»--

WdH9- IZZl

*m :~?zz^=>-

^=P=F g^^Fg3^ gm^^B=*==»feggjS^ =*=g=

=fifc nn-

Note. Bar 2.—The skip from the fourth crotchet which is dissonantwith the Bass is perhaps justified by the particular pattern of the Treblepart, which is really an ornamentation of three minims—B, C, B.

37

CHAPTER V.

THE 2nd AND 4th SPECIES.

i.—In any combination with the 4th Species, it is convenient

to consider that part first, subject to the condition that the Basspart can never be left entirely until last.

In planning out a 4th Species part the student is sometimesled on by the movement of the Canto Fermo to write such aCounterpoint as the following, which he imagines will suffice

because the syncopation is unbroken :

—

The monotony of such a Counterpoint, with its limited

compass, its repeated leap to the same upper note—never rising

as a climax to a higher note—is evident, and if no better

unbroken solution could be found, the syncopation should

somewhere be interrupted.

It may be mentioned as a matter of practical experience, that

in cases where an unbroken syncopated part is impossible, the

better result will often be obtained by interrupting the synco-

pation a bar or two earlier than is absolutely necessary.

2.—With regard to the 2nd Species part, care must be taken

to avoid it being a disjointed part, consisting of a series of

awkward skips. The means to this end are :

—

(i.) The use of Passing-notes where possible ;

(ii.) Judicious changes of harmony at the second half of

the bar

;

(iii.) Occasional use of the prepared j? when the 2nd Species

is in the Bass, and of the \ when the 4th Species is

in the Bass.

3.—The following remarks and examples will make clear

to what extent the Suspensions 9-8, 7-6, 4-3, and 6-5 can be

accompanied by the passing figures recommended in Chapter III.


THE SUSPENDED 9-8.

Accompanied by the 5-6.

This is not of much use in three parts, the absence of the

3rd of the chord making the progression sound thin.

Note the skip from the 6th at the end of the second bar.

The movement of this interval is free (except that on this

particular Bass it happens to be the Leading note), it being

consonant with the Bass :

—

--TZL 3-£:g£

Âccompanied by the 3-4.

The first example has the 3-4 in the Bass at bars 2 and 4,

and the second example the 9-8 in the Bass, with the 3-4 in the

inner part. (For further examples, see Exercises 19 and 20.)

^=122: ^ £7J3

7 7 4 3

THE SUSPENDED 7-6.


It is essential that the 5th be perfect, and approached from

the 2nd below :-

ms-_-J-

jg^jzgz^zgpl

22:

THE 2ND AND 4TH SPECIES. 39


The 3 4 is really the first inversion of ? § (see previous page).

It can only be taken with the Canto Fermo in the Bass nextfalling a 2nd, and it leads in the following bar to the soundingof the root of the chord against its gth, which is harsh in somepositions.

At (a) the position in the second bar is tolerable, whilst that

at (b) is more harsh, and should be seldom used.

(For an example, see Exercise 17, bars 7-8.)

The inversions of this progression are given at (c) and (d).

That at (c) sounds particularly well. At (d) the Treble cannotrise a 2nd, as this would sound extremely harsh against the

suspension in the Bass. The Treble instead rises a 4th, and thesuspension in the Bass is treated as an inverted 4-3.

(See also Exercise 16, bars 3-4.)

{a)

^sk r-> 0-ssible.

p=1=

]

—

h

—1-

-larsh.

—C-J—<S>-

Good. Good.

d A

'

i .

s- —

C2—<S>-

1 s_P -&-" i

f-i <—& . & l—o i

tfiV % 1 1

1((*;•] J f

5 fj q'v^> S _j!L_d_..H °

||

7 6

3 4

7 6 7

3

6

4

7 6 6 5

5

9 6 4 6

2

5—2—

The progressions at (c) and (rf) can be continued in sequencewith excellent effect :

—

W -&—&--! h- I§?=£±

In the above examples the chords figured ^ and \ may be regarded for

all practical purposes as inversions of the prepared chord of the 7th.

As the % at (c) happens to resolve on a diminished triad, the

progression can only be taken with the Canto Fermo next falling a 2nd.(For similar instances, see Exercise 18, bars 6 and 12.) But when the j? is

resolved on a § containing a perfect 5th, that particular movement of theCanto Fermo is not essential.


THE SUSPENDED 4-3.


$ zi=^F

-1 n:«.

(See also Exercises 14, bar 2 ; and 17, bar 3.)


m ZZ2Z sî

!P

THE SUSPENDED 6-5.


—*2 ^g_

ZpZ

C32fc :^: ^1 I

I I

The student should study the foregoing examples, noting against whatmovements of the Canto Fermo the various combinations are made, so that

he may know how to introduce them into his exercises. He should

particularly note the conditions under which the intervals g, | and \ can

be made use of.

,


4.—The thin effect of the bare 4th between the upper partsof a

jjchord has already been referred to on page 25.

With the Canto Fermo in the Bass and the suspended 9-8in the Treble, as at (a), this interval cannot always be avoided.The alternative at (b), with the very worst kind of hidden8ves, is, of course, inadmissible.

A possible way out of the difficulty is to make the inner partskip to the 6th from the Bass, as at (c).

(See also Exercise 14, bar 7.)

This progression also sounds well with the upper partsinverted, as at (d)

:

—{a) Thin. (6) Bad. (0 Good. (d) Good.

mw -jr±3: 2±*&~^r

9S 98 98 986 6

The bare 4th in Exercise 14, bar 5, is not objectionable, as it is coveredby the same harmony being continued in the following bar.

5.—The following are some of the forms of cadence, andothers can be obtained by inverting the upper parts. It is some-times necessary in this combination to finish with the 3rd of thechord in the Treble.

M

*Ê^

.Ql

_Q_^=P=T B q H-

1 EE

r4 3 5 3

G J. Bennett—Combined Counterpoint—Novello—U

6 5

3


In the following exercises the complete figuring of the Bassis given :

—

Ex. 14. F.R.C.O., July, 1900.

&E£ m :k s

C.F.

m^ :=g—r~y *m 2Eir«

tt^-p—p^l-f^^? S-

I4»-

6 5 9 7 6

Ex. 15.F.R.C.O., January, 1892.

-_ -taT

W^m -^1

-p-

_£?: ex. (2

f=j=

^J^^=pH==f=^Êxercise 15 might also commence as follows :

—

C.F.

Im^=z-

m_<s rz=:

fcÊS^^&Et=

H65

22"

^

Ex. 16.

—pa1

—

Durham, ist Mus. Bac.

1

igu.

g?^ i

—

C.F.

=b= ^b= ==>

—

*=h= ^=kg--J=t

:fe^

^Tfrfe—=

—

P —

P

1

~JPr

«". rs—

—^—

E

^W —i—411

s

=t=*=

fe1

£k—<=

55

Si l=ÊV

EXERCISES 17 TO 20 ARE SETTINGS OF A CANTO FERMO

BY CHERUBINI.

Ex. 17.

- ct- "P= ?3*=^=g ^ ::=^=Sfc§i

iHÎili =1—

f

g~4=i=^^ qg >s) :=g—

I

7 6 7 6- 3 4

pm pzr^ gESE==EF£i r- ^ -

tt

3^g^tt3=^gEEff?EE^^^^^^S@g

7 6 76 76 767 6

Note. Bar 8.—The suspension with its resolution note sounded above it

is undoubtedly harsh. Some justification of its use may be that the Treble

part here imitates the pattern of the opening bars.


zT-¥~Yf ±£=m--:k=r

zzfrrsfc

5 *

^S q=i^=6 6 5 9 8 6

^=fc::

Ex. 19.

6 6 4 6 2 4

i;-

^r^ 3^f=f^f^ÊEÊ^^^^^


Ex. 20.

m±?

£3Ê-p

—

pg- i^g=?e£3?e iI

4 3 9 6

IL" P/*s 1—

f

1-f=^= :g_^£- ^ ^l^J _gl

ofc^kb^

W^=^ "-

4 6 6t=t3~22:

7 4 6 6

5 5

4 6

CHAPTER VI.

THE 3rd AND 4th SPECIES,

I.—Having taken together the 2nd and 3rd Species, and the

2nd and 4th, there will be no particular difficulty in combining

the 3rd and 4th.

The moving parts may occasionally form a dissonance at

the middle of the bar, provided that the crotchet part approach

it by 2nd, and in contrary motion to the syncopated part :

—

2.—With a suspended 7-6, the 5th above the Bass, if

perfect, may be taken at the second crotchet of the bar :

—

i^SE s

A 1 J J-

3-—The prepared discords !? and \ can be used as in

combining the 2nd and 4th Species. The student is referredto Exercises 25—30 for examples of their use.

The * represents %, and is resolved on a % chord. It must not be

confused with *-, the last inversion of a Suspended 9-8, in which the 6th

from the Bass is not an essential note.

4.—When the 4th Species in the Bass is at the interval of a2nd or 9th below the Canto Fermo, the crotchet part can betreated as part of a % chord, as at (a), or a $, as at (b) :

—

'^f- -\w~\-

BE1

THE 3RD AND 4TH SPECIES. 47

5.—In a succession of two or more suspensions of the 7-6

(also in a passage consisting partly of 7-6 and partly of simple §chords), the crotchet part must be sufficiently varied, and notfollow the same melodic pattern in two successive bars. Inwriting this part some ingenuity is required to avoid impliedconsecutive 8ves or unisons with either of the other parts.

(See Exercises 22, last four bars, and 24, bars 4-7.)

These remarks apply also to cases where the 4th Species in

the Bass has a succession of suspensions at the interval of a2nd or gth below the Canto Fermo.

(See the bars near the beginning and end of Exercise 29,and the last five bars of Exercise 30.)

6.—A figure consisting of four notes of the ascending or

descending scale can sometimes be maintained with good effect in

the crotchet part for two or even three bars.

(See Exercises 22, bars 3-4 and 6-8 ; and 24, bars 7-9.)

From the remarks in the previous section it will be understoodthat such treatment of the crotchet part should not be takenagainst a succession of Suspensions of the 7-6, or their equivalentin the Bass.

7.—The following are some of the forms of cadence :

—

^£Z -F— 1 F-

&> ::

mzresz: it—

5

3

Ii

rT-MZ S1^21

4 — 3 — 6 —5 —

4 8

Ex. 21.

COMBINED COUNTERPOINT


Durham, ist Mus. Baa, 1915.

Durham, ist Mus. Bac, 1916.

Note. Bar 9.—The sounding of the resolution note, approached by leap,

against the Suspension, is unusual. The contrary motion between the twoparts within the bar palliates the harshness.

Ex. 23.


A.R.C.O., January, 1910.

I? "I P i d

% if f * r C l—^-\-£*i=*± -i r

5^-fc

C..F. 9 8

Ex. 24. C"./'. by Dubois.

SSEp- -^> -£2-

y_^_-rT -r *-1— I

I

ilEiEEE

1 I r=tt -—4-,.

:«=*^r

S£ ng) LgJ-

(=

5=C./\

Pu J !

T=ty^-*- =*==*J * *~^ y-5-

is g :g a-

§5^5 63

i1 1 1

m-*-?-*-^ *iîi ^^*^rjG2a^^

s

Note. Bar 10.—The dissonant 5th in the Alto is resolved in the

following bar.

5o COMBINED COUNTERPOINT.


Ex. 25. C.F. by Dubois.

^^ -U-V—m: jm—fL.-p

:*=*:*t

: _ P -f5' <v

1- £z

P 3»€

i^ -f-y *=*=*=?- r rw=^^-m-r g^pÊff=y±=t= f-1-

n%^^§=§=*=zfc=S=gfc ^=±I^Hg6 ' 45 — 6 5 4"

3 P

Ex. 26. A.R.C.O., July, 1907.


1

Ex. 27. F.R.C.O., January, 1914.

1

m ^§^==Eg=iEgEEEE3^3E

m=r-3—3=^3^=^^^^^ *=

ft:^=t^=^ *t

1 r


F.R.C.O., July, 1915.

;j COMBINED COUNTERPOINT.

Ex. 29.

--*=£ ir—r—w--

1—1—

r

--2=M.

A.K.C.O., January, 1907.

3=£ ^m

C.F.

is î -:§=e

1=*=

^^^^^^^ ^=* :£=*=^=t

fe

iSle If* T=g

1=

Note, (i ) Bars 4-5.—The 8ves between Alto and Bass, the latter beingsyncopated, really represent a 10th followed by an Unison.

(ii.) Bar 5.—Nota Cambiata in the Treble ; also in Exercise 31, at the

4th bar, in the Alto.

Ex. 30.

j^^^^^^ .-m—£—m-I 1 I

-

tPi:

F.R.C.O., July, 1914.

^mm C.F.

m 3

feÊEErZE&.-

&£ z*=B. T3=m -•-»- m :C=:zp!i:£=_ t=

-i—1—1-

E-uM?fe^±=

i^ piiS™î^l§=Ia4 62

THE 3RD AND 4TH SPECIES.

IN TRIPLE TIME.

53


CF.

te^r^r-r^^TIE**?^M=ffZ zm^=-=*z

ifeE

v- b\, ,iP <=«- igs -P.zzttP

•-J1—r&

IH ^

V £fe

i^^^ -r-rm~r JbL-iedE.

Q=^ -r~'—

r

2 — 3

54

CHAPTER VII.

THE 5th SPECIES IN COMBINED COUNTERPOINT.

i.

—

Before considering the combination of the 5th Species with

other moving parts, it may not be amiss to make a few recom-mendations as to the 5th Species part itself, with regard to those

points in which the student's treatment of it is sometimesdeficient :

—

(i.) Suspensions and other tied notes are of distinct value,

if not used to excess ;

A part entirely void of tied notes, and consisting of a

succession of alternate bars of minims and shorter

notes, is rarely satisfactory

;

(ii.) Quavers should only be taken on the 2nd and 4th

crotchets of the bar, and preferably on the 2ndcrotchet.

(iii.) Quavers should be both approached and quitted by2nd, except that they may be approached by the

skip of an 8ve ;

There would also appear to be no ill-effect in skipping from the secondquaver when, as in the following examples, that note is merely an ornamenta-tion of a descending scale-passage.

(See also Exercises 42, Bass of bar 3 ; and 51, Bass of bar 2.)

S. S. Wesley made important use of this quaver figure in the final fugal

movement of the anthem " O Lord, Thou art my God."

i* *—jI L

THE 5TH SPECIES IN COMBINED COUNTERPOINT. 55

(iv.) In choosing a suspension, consider the harmonicprogression. Do not, for instance, as a generalrule, use a 7-6 when, on account of the movementof the Bass, a % would sound weak

;

(v.) Do not use a 7-6 too frequently, to the entire neglectof the 9-8 and 4-3 ;

(vi.) Vary the ornamentation of the Suspensions. Thefollowing are a few of the possible ways of doingso. Some students use far too frequently the

quaver ornamental figure, as in the first of the

following examples, to the entire exclusion of

crotchet ornamentation :

—

m 'Jtr&z :gz* ^z=M:* * J-*-* ^-t-Q-li

m

1

w^ =P=Szp:

$ s

4 — 4

— 2

6


2.—A crotchet tied to a crotchet is occasionally useful in a5th Species part, when combining with the 2nd Species.

(See Exercises 33, bars 8-9; and 36, bars 10- 11.)

3.—Additional means of variety are the dotted minim anddotted crotchet ; but the latter should be very rarely used.

It is necessary that some other part mark the beat where the

dot occurs.

A dotted minim may possibly introduce a suspension at the

middle of the bar, when the harmony is changed at that point.

(See the following examples, and Exercise 38, bar 6) :

—

s-. 3; C-J1 <rj

-g»—r-yj

7 6 (3—7 62 —

4.—The occasional use of a syncopated minim is possible.

In the first two of the following examples the syncopated minimintroduces a Suspension, and in the third example, a dissonant 5th,

at the middle of the bar, which is resolved in the following bar.

In the last example the harmony is exceptionally changed at

the second crotchet of the bar.

(For other examples of the syncopated minim, see

Exercises 35, 36, 39, 43, and 45.)

teim

.cL

JPL JKEÎ

:t: SEE=s=p=

7 6 5 6 5

5.—When combining the 3rd and 5th Species the value of an

occasional crotchet rest in the 5th Species part should not be

overlooked. Instances may be found in Exercises 40-45.

6.—Free use can be made of the prepared discords % and £.

THE 5'fH SPECIES IN COMBINED COUNTERPOINT.

THE 2nd AND 5th SPECIES.

57

Ex. 32.

-——e* g

—

m-*.-I—1-4-


*-m*~A.R.C.O., July, 1911.

-Ml£z tZ^=^ g= .ip=g^Si

5^=^ F=rn>

=& 7=— =gte^B^ ^sz;r^

w ^8C..F.


Ex. 34.


A.R.C.O., January, 1905.

^W=Pl-^-r-^-ri* ^=ff: =<= 1-^

-I 1 r*F f

—

"

n 1 p

G. J. Bennett—Combined Counterpoint—Xoveilo—E


&=« —

:

©s 1=^^= 3=^ £==*=*=* J 4

Ex 35. C.F. by Cherubim.

fc-f^-j—a= »=* . *-y : . <=?ee£ig=rr-—

y

' Izb:

H^:-^ g-

S

F^=^g-#—r-*=

-=- fe—^=ft^::^==F

E^

--&= -&> -lg=L--&Z

THE 2ND AND jTH SPECIES.


59

Ex. 36. F.R.C.O., July, 1899.

ife^f -J?-*-m-W=?=gm t^: ^S r—w-r.

mC.F.

^=&z:r=:

pg £=£*= m '*-<•-&-=fc=t==t=ff=£: B *^

*fc:

Ex. 37. F.R.C.O., July, iJ

S|E^

6o COMBINED COUNTERPOINT.

Ex. 38. ^ A.R.C.O., July, 1910.

It! fP g1—

IC..F.

^=p:

U-'—L_LE=I—!—U- Mlt=d !_

L

Ex. 39.

I?33:

£3^. ^=t

^ 4=—f^—?-j _i 1-

F.R.C.O., July, 1897.

£=~

jgg==icf.

1 fcQm^t?3^^g

S^ 4=: ^î^

r*i 1 1 -r~yezfcrtr.—=tJ=f=aF=£ Pi

THE 3rd AND 5th SPECIES.


Ex. 40.

Iw=% -^T--4

^=fei=l33313

J=:p

F.R.C.O., July, 1904.

zmr^r. w3~r—r~wzz

fi^^^fT^^^^Ê^^^^^^^

C.F.I

THE 3RD AND 5TH SPECIES. 6l

££ iptf: HE*=»£=

F= r *j ==*

r=ri

r ^- 4=r rp=P=p:

I:£=*==?

b 1 -L—

i

3ti:±=t

Ex. 41. From an Examination Paper.

-f^m^^r ^=*^=tr

=*=*=t=*=£=

i i—m^-m—

F

1

OT=t=

s

Pi =*=^•=*: 3=p

rff=pz1—

r

=s=p= 5t«=t

tt—

y

^ p—rP

Bt

§^^^^=ft i» *iii^»z ±==fc 1*3=

3z: te* 1 o—l f^-



Ex. 42.

efr¥==-«

—

C.F. ay Cherubini.

~f~^

.--O-

-4-T"—S~ =1=—

1

—1-

1

P p~-1"-f- p i» iE 1

'-

—fS> '

-?—-1

—f»~

4-

—

^

:

—S-

—p-ton*

1~H -1

—

1

-1—1

—

-f—i-

:Zf=-F"

-MH-

-p—f--_Jj__1 V * * -^ • 1 =J—

r

-1—l—-

**m?m -J*—-*-' 3=*-i—

r

fczfct=^=

3*^ p-tIPÊiE^P^ *E

I


C.F.

:ff:—P-^rrrr^^^ P r«- -g=—1 =±

-m^r-m-;:tTt~p 1

t =t=* £gTfrrr i rrrrg3=j3B3sg

P eî

f^F-f^S^g^-P^^j; MjSfS-mr-rr-r

^^^^TtPtcI 1 I

-P-p-±4=P=P E^^-

qi

THE 3RD AND 5TH SPECIES.


63

Ex. 44. F.R.C.O., July, 1903.

i b - ^ P _*—

^

# r^fce=*

c.^.

|g^-S^^Êg =g—T £-*- -r-p-=-f-=t=p=ti

—'—

f

T~r I 3s^_

fe

Ex. 45. F.R.C.O., July, 1894.

64 COMBINED COUNTER POINT.

The 4/th and 5TH Species.

7.—In combining the 4th and 5th Species it it desirable that

the 5th Species part be not entirely void of tied notes. Onesingle tied note in the course of a 5th Species part will often

prevent it degenerating into a rambling, unsatisfactory part.

8.—Attention should be directed to whether it is possible

anywhere to introduce a Double Suspension. (See Exercise 50.)

Or, if it is found necessary to break the syncopation in the

4th Species part, it will probably be possible to introduce a

Suspension at that point in the 5th Species part.

(See Exercises 47, bars 3 and 6 ; 49, bar 7 ; and 52, bar 5.)

9.—The available Double Suspensions are :—

9-8 9-8 7-64-3 7-6 5-6

And, with the Bass suspended :

—

4--3-3

6-62-—

The latter are inversions of the |:|, with the 9th and 4th respectively in

the Bass.

Ex 46.

I•f—r- £S


Durham Final Mus. B., 1911.

3/tfT *A^—-r—Lî -1 fa- il

II

C.F. 5 6

3

i £. -t e=j^===Û=-—===SU-Igs

Note. Bar 1.—With crotchet movement some melodic gain can be

occasionally effected by changing the harmony to a % at the middle of the

first bar. This should be considered exceptional. (See also Exercises 12 and 57.)

Ex. 47.

a^§

THE 4TH AND 5TH SPECIES. 65

F.R.C.O., January, 1Q04.

1ff? K= rp2=r-~

=£=p:fc -t=t :| r £=*=

:!=:

£Pjf =1^C.F. 5 —

4 3

®=S=I= =iiEZZZL

=: -r-y-g==t -a

—

W --&-±z

&*~


Ex. 48.

inC.F.

Jfc= ^ :£==^1 r

C.F. by Fux.

=F=f^

I

1= r^—fagg^ e =**=

:3£i=] g=*-*-d^-Jih=c

66 COMBINED COUNTERPOINT.Ex. 49.

MMC.F. by Dubois.»

C.F.

^?—g- rg: g Ê=ft

jHjSfe E 1 1—?=:

- 3 3

is=

&r=F=r^$p-J

^*^S=« -J—*- piE

3: r^==^ H1*- -JI

9 8 6


Ex. 50. C.F. by Cherubini

THE 4TH AND 5TH SPECIES. 67

Ex. 51.

$= 5^=3SBLondon, Interm. Mus. B., 1

4—1 1

^—: ~e) e.t=*=tf

m

$tet=jg f=<—:=g1

r

£ -(=—4^:

1

s-'f

-f5'-

if

Ex. 52. F.R.C.O., January, i£

=J=P ^z= "=|:

^g^jg^^^^^feg^^gî^l

68

CHAPTER VIII.

FLORID AND IMITATIONAL COUNTERPOINT IN

THREE AND FOUR PARTS.

Facility in writing the 5th Species, or, as it is usually termed,

Florid Counterpoint, in several parts, is of the greatest value;

it approaches more nearly to real composition than the

Counterpoint already dealt with, and which is really only

preparatory to it.

It is important that the parts should not proceed too muchtogether, but with independence of movement. Where, for

instance, one part has vigorous movement for a bar or two,

the other part or parts may proceed in a quieter manner.The principal interest must not be centred in the Treble or

in any one part, but the movement be so distributed that each

part is of equal interest.

As Florid Counterpoint is practically a constant changing andblending together of the first four Species, the rules and principles

explained in Chapters IV.—VII. may be applied to the writing of

Florid Counterpoint in several parts against a Canto Fermo in

semibreves.The practice with regard to the use of quavers has varied

from time to time ; some theorists, including Albrechtsberger,

making free use of them, and others using them very sparingly,

or even excluding them entirely.

Again, other writers, like Sir John Goss, seemed to favour

their use in Simple Counterpoint, but not in CombinedFlorid Counterpoint. Compare the Exercises 62-65 by him in

Sir Frederick Bridge's "Counterpoint" with Exercise 117 in

the same book, and with the first exercise in the Appendix of

this book.

Without doubt some of the most excellent and dignified

Counterpoint, especially in four or more parts, has been written

without any quaver movement whatever.

Although not suggesting that the student follow this plan,

it is important that quavers be used in moderation, and it is

recommended that a certain proportion of bars in each exercise

be entirely without quaver movement.When approaching the cadence they can sometimes be

employed with good effect more freely than in the opening

bars.

A constant jingling of quavers in every bar produces flippant

and undignified melodic parts, and prevents any feeling of

climax.

FLORID COUNTERPOINT IN THREE PART-. 69

FLORID COUNTERPOINT IN THREE PARTS.

1.—A dissonance at the middle of the bar should be introducedsmoothly, not in such a manner that a strong emphasis is thrownupon it.

A crotchet forming a dissonance with the Canto Fermo at themiddle of the bar will generally sound satisfactory if the part in

which it occurs has no quaver movement in the same bar.

(See Exercises 53, Alto of bar 1 and Treble of bar 2 ;

54, Alto of bar 7 ; 56, Tenor of bar 3 ; 57, Bass of bar 5, &c.)

Xor is it likely to sound bad preceded by two quavers, if thecompass of the part in which it occurs is restricted in that barto a 3rd or 4th.

(See the following examples, and Exercises 56* Tenor ofbar 7 ; and 61, Treble of bar 6) :

—

All good. +

Vi-H—

f

L_j _j_ D '

+, Q j 1

^m—m—m—m- rz>'

-s>- +1— ^J : J m *-

1 ' 1

+

-<5>

-O-

-w i

J'

Jr-4- \

'—

1

1—

u

But with a more extended movement of the part, the quaverstend to throw too strong an emphasis on the dissonance at themiddle of the bar, and it is recommended that such passages asthe following be avoided. Each of them would be satisfactory

with the elimination of the first quaver, as at (a) :

—

Not recommended.

-f-pj-i -O- T 1 J (a) Good.

n

+

T^-0 '

m m

1i

1

"C?

+1* »„

nc? -U

%7Zi

<T3 r± -G>— ^ 1

c

:

<-3


The student is recommended to avoid, without exception, a

dissonant crotchet followed by two quavers in the same part, as the

effect is invariably clumsy and ill-balanced :

—

Not recommended.

$ s j j n

J- -Q-

iT5 ~ZH H

2.—Care must be taken that the movement from bar to bar

sounds well.

It is, however, only when the Canto Fermo moves a 3rd upor down that there is any real difficulty in this matter. In that

case, particularly if the Canto Fermo is in an upper part, a harsh

effect may be produced by an ill-considered dissonance at the last

part of the bar.

The following are some of the few possible ways in whicha passing-note will sound well at the last crotchet of the bar with

this movement of the Canto Fermo :

—

All good. Bd&

"O"

EE

m liH isl

In the last of the above examples the passing 7th in the Bassis at the interval of a qth from the Canto Fermo. Apartfrom this progression, which sounds very well, the student is

—

when the Canto Fermo moves a 3rd up or down, and especially

FLORID COUNTERPOINT IN THREE PARTS. 71

if in an upper part—warned in a general way against taking

the interval of the 7th or 9th from the Canto Fermo at the last

crotchet of the bar, as being likely to produce such uneuphoniouspassages as the following :

—

Not recommended.

Clumsy progressions of this kind can be avoided by makingthe last crotchet or quaver in the bar consist only of notesthat are essential to the harmony, or consonant with theCanto Fermo.

In support of the fact that the movement of a 3rd in the Canto Fermopresents more difficulty than any other interval, see the paragraph in smalltype on page 21, which refers to the use of passing-notes in the 2nd Species.

The foregoing remarks do not entirely apply when the sameharmony is employed in the two bars. In that case a 7th or 9thfrom the Canto Fermo at the last part of the bar is not likely to

sound bad, provided it resolve in contrary motion to the CantoFermo.

It is then often convenient to have a tied note in the otherpart :

—

All good.1

i iî 33ZZZ\

w^ :z;o: ~m

n 1 ^-- 1 QX1

CJ • <"3W

—

&•> -G>-

J

—

& rl i i

'

m-^y 0— p • 0— ..

1

—

1-1

u


3.—With combined Florid Counterpoint it is not often

convenient or advisable to take a minim passing-note. The more

practical way of employing the passing-figures recommended in

Chapter III. is in crotchets at the last part of the bar.

For instance, the 5-6 may appear in the Treble or an inner

part, in either of the following forms :

—

S^ =t-<9-—

4.—A Suspension may exceptionally descend a 3rd before

proceeding to its resolution note. This movement has someaffinity to a changing-note figure.

(See also Exercise 55, Alto of bar 6.)

As a general rule this leap of a 3rd is better avoided by the

use of quavers, but it will occasionally happen with freely-moving

parts, that a smoother effect is obtained by using crotchet move-ment, as in the following examples :

—

A case might also arise where such crotchet movement would be useful

to establish a point of imitation. (See Exercise 67, Alto of bar 4.)


5.—As in Simple Counterpoint, a minim tied to a crotchet is

generally preferable to a crotchet tied to a crotchet. With freely-

moving parts, however, a crotchet tied to a crotchet is

occasionally of value in adding to the elasticity of the part,

and to prevent a certain monotony likely to ensue from the

repeated use of the same rhythmic pattern.

(See Exercises 54, Alto of bars 6—7; 60, Treble of bars 6—7 ;

62, Bass of bars 6—7, and Treble of bars 8—9 ; and 63, Treble

of bars 7—8.)

6.—Consecutive 5ths separated only by a Suspension are

condemned by all theorists. The progression at (a), although

occasionally made use of by the great masters from Palestrina

onwards, must be strictly avoided, as also that at (b), where the

5ths are equally prominent.

With a freer movement of the parts, as at (c), the 5ths occur

in a more transitory manner on the unaccented parts of the bar,

and their ill-effect seems to entirely disappear.

The passage at (d) can be justified on other grounds. Herethe upper note of the first 5th is unessential to the harmony.

Consecutive 5ths with a note intervening are always permissible

when either of the 5ths includes an unessential note.

(a) Bad. (b) Not recommended.

p-i— —r-i— \-— —m—1

—

tfh

—

D —<s> —&-= —'

—

m

w- fj rj ^ r*

I^--"!

1

—' 1 ' ^ 1

'1—J 1

fit)•'

' "-" rj fj(W.*o

(c) Good.

a r- 1 1 1 1 J 1

(d) Good.

1

1

]/ 1 _i mi

* 1 1

-far— S # —<s> m— I

9 -m—W - —r^ P m i-d - »—aif (^1 UJ 1 1

V 'ffrrrrf\' ° fj(W.s—^ CJ

G. J. Bennett- Combined Counterpoint—Novello—

f


7.—When the student has acquired a certain degree of facility

in the writing of the Florid parts, he should make some attempt

at Imitational Counterpoint.

The following are useful figures for Imitation at the commence-

ment of the exercise :

—

l=E £=*:

(•

—

m-

3=F

I~W m P~

1 >-

^^=rrf^f=^ v^

^ i • d

I-e &- ^—*=sznzrzr


The exercises commencing with a point of imitation are

placed last in each group.


Ex. 53

C.F.

I rrrrrp^m^b-r-*—fs>^.zp egW?==

s5 6

3

Ex. 54.

e=teE

A.R.C.O., January, 191 7.

£3

SeSe

^^£

C./\



/Pb —r= p—r

—

p—•\ i 1—f—!"—r— -

^

—

-U-c

—

—h—-r—1-—F—p—^— J- -J—

'

1 P— -

j J1 3-

:

:fc"—

^

—.

p- f r rf ^ *—

C..F.

^=feg=3S=E=£=J^ =ff=*:±=-:=t ??=Z2=£

5*^= 1^1


i^^sii -t-*t«r£:

§ : r ^~ -<s> ^ T"

cf.

|gLfeSB=^ll-t—»-r

t g^gsE IffC

g

Note.—The Treble commences exceptionally with the 3rd, in order to

establish a point of imitation.

FLORID COUNTERPOINT IN THREE PARTS.



77

-f-1 -« —• h

fit)r~ '—

•J C.F.

1£ F 1 m mr* r=

h

(2 r_# ."?• «_# m—r-5—r—I -r——^—F—f—

'

*

_j5 [I—! =~_J1

r^ ^-^F-m—=

—

T—

r~Vt^ I 1 1 *j

5 6

-J _1 1L P ! 1

1 LJ,

L

$

m -£—*-

Note.—The prepared dissonance in the Alto at bar 6 is resolved in the

following bar.

I

Ex. 58.

m - ig"

A.R.C.O., July, 1912.

Sê J 1— Z*=pE£-




Ex. 60. A.R.C.O., July, 1914

m

6 —

FLORID COUNTPOINT IN THREE PARTS. 79

Ex. 6l. A.R.C.O., January, 1916.

ftt-^-g=|gg=EEr-r l I-

—p rrn*- r * Eft

1 te=^:C..F.

-1*—p:5£5 ^±?v

Ex. 62. A.R.C.O. July, 1913.

n? n —

1

1F=*=b-»—*— -p —

1

f

—1—=t=P=

r-i

-6—is

C.F.

-^^

1-, 1 J j-1te—

~

f& -*-pp—w • p f»feft r -H -tH # - d

1=t— -ta-J

«0 COMBINED COUNTERPOINT.

Ex. 63.

m

_A.R.C.O., July, 1916.

C.F.

fBjJE i=^^=i^

i

8 6

-rs-tSF*

BEE^^ 1—r-r

IN TRIPLE TIME.

Ex. 64. Six bars in Canon. Durham Final Mus. B., 1916.

^^j=^=jg^^£j=j-U-^=^^F^âi6 â^r^s^gfee

c./\

S=p:=t^= i ^n^^^> * > *

Ift^^^fgB -U-i—L_

r

m-rr^- 0> ^ r-«—

FLORID COUNTERPOINT IN FOUR PARTS. 81

FLORID COUNTERPOINT IN FOUR PARTS.

8.—The remarks in section i of this Chapter apply with even

greater force to Counterpoint in four parts. Very ugly Counter-

point may result from injudicious use of quaver movement leading

to or from a dissonant crotchet.

However, the possibility of preceding a dissonant crotchet byquaver movement, under the limited conditions referred to in the

third paragraph of page 69, should not be lost sight of.

(See Exercises 75, Bass of bar 5 ; 77, Treble of bar 5 ; 80,

Alto of bar 5, and Treble of bar 6.)

9.—A passing chord, dissonant with the Canto Fermo,can be taken at the middle of the bar. The Canto Fermo in the

Bass must then be regarded as a Pedal, and the Tenor during

the bar conform to the ordinary rules of a Bass part.

A passing chord can be taken on the Tonic or Dominant, and,

to a more limited degree, on the Submediant :

—

n A li,

1 1 1-,—s> # 1—1 1 1 -11—

1

'

—

un

1

1, 1 r—A1

1 1* 4 4 A

A "

J J 1 1

Cr£\- rj(W.\^- *r> h-n —

The first of the above examples, and similar ones introducing

the Dominant harmony as a passing chord, can also be taken in

the first inversion on the Mediant Bass. Note the chord of the

diminished 7th in the second of the following examples :

—

^k gi

is SSLJ-

eat1

>

-Q*.


With the Canto Fermo in an upper part, passing fundamental

discords can be effectively introduced at the middle of the bar :

—

10.—In Section 2 of this Chapter reference was made to the

danger of introducing ill-considered dissonances at the last part

of the bar, especially when the Canto Fermo next proceeds by

3rd, up or down.In four-part writing, with this movement of the Canto Fermo

such progressions as the following, which introduce a complete

passing-chord at the last part of the bar, must be avoided. Theupper parts, taken alone, are resolved quite correctly, but being

all dissonant with the Bass, the leap in the Bass has an effect akin

to what is commonly expressed as "cutting the ground from

underneath one's feet " :

—

When the Canto Fermo falls a 4th, or rises a 5th, such

progressions as the following must be avoided.

In the first example, whether the chord at the last part of the

bar be regarded as a ^ or |, the leap in the bass makes the

progression impossible.

In the second example there is a chord of the leading 7th at

the last part of the bar, with the Canto Fermo—a diminished 5th

from the Bass—falling a 4th. Had the Canto Fermo descended

a 2nd, the progression would be excellent.


11.—A semibreve may be taken occasionally, if tied over to acrotchet or minim in the following bar.

It may also be taken if followed by a rest at the commence-ment of the following bar.

(See the Bass parts of Exercises 78 and 79.)

Otherwise, a semibreve should be avoided against aCanto Fermo in semibreves, on account of its stagnant effect.

In a case of extreme difficulty it may be better to repeat the note <sl. Jrather than have an untied semibreve. The repetition of a note at the end ofthe bar is not necessarily bad. As the commencing note of a moving figure it

may be the means of adding a rhythmic interest to the part, a notableillustration of which is found in the second bar of the following theme fromBach's Canzona for the Organ :

—

12.—The value of an occasional rest in a 5th Species part hasbeen already referred to in the previous Chapter.

A rest is particularly good before a point of imitation.

(See Exercises 67, 70, and 74.)

In conclusion, the importance to the student of a good ear,

whether natural or acquired, and a study of the contrapuntal worksof the great masters—especially of Bach's " Das WohltemperirteKlavier " and organ works—may be emphasised.

Although Strict Counterpoint is written upon a more limited

harmonic basis, and fettered by an unyielding Canto Fermo of

equal notes, the underlying principles are the same in both cases ;

and he who is most imbued with the spirit and practice of the

above-named works is the most likely to be able to infuse somemusical interest into his contrapuntal work.

84

Ex. 65.


CANTO FERMO IN BASS. F.R.C.O., July, 1910.

^=f£: ff==3± *mpESEÊH -g *—g- -I* m ir fefe^

ii==^ s ff==2^r—

r

&»lcf.

—m -1

—

—

1

-P- r =*=£=]| ( —<s>1*4-^ —\

-f-F —1

—

-*--*- :(5

-p-pfg= F

-4

—

—<s> H

—r -=f=—»

—

1*' —1«—-T^f- |£=

=f=1

"

—n

—

-y

—1

—

—

1

—s>

—

-1

—

1— uJ -

a St

Ex. 66. F.R.C.O., January, 191 =

-1-"

FLORID COUNTERPOINT IN FOUR PARTS. 85Ex. 67. F.R.C.O., January, 1907.

i3=T Z&r m r-r-ar 1—1-

i i- r * ?=£==^c

-r~p- iczp:r-

' ff^ -H— :|—

r

£c^.

ip-

-<—g-EZ^JÛf^g

U T=? r *:p=F=^

-*—P- * r3=1= =5=P= »=R=E:

:| t

fezZZ^


Note. Bar 5.—The prepared 7th on Dominant is accompanied by the 5th.

See also Ex. 69, bar 5 ; and compare Treble of Ex. 65, bar 5.

86 COMBINED COUNTERPOINT.Ex. 69. F.R.C.O., January, 1916.

~fiP~—h- * =iKJ—d r --T r-

p r-=^-

*-^-r— —F » P~

-t^—^ 4 s) 1,

-iff * r

—

l-

*Bb= =f=-j- 1

1— ^j t- '

—

\- 1 c

A=

f9 \-f—T—r

—

w~

'

4R,

©TV ——

-1 h—1—1—f

—

_ U „_C.F.

r-w—

r

^=p P^M-L I

7*-jjT?3r

^~ ^îfeEt ffziâ:

£» r-ry -r—w Bi=t

Ex. 70.

—^=3—

r

C.F. by Cherubini.

x ^ —=j=—1—r~i * r\

es,~—— —^—*- J.

w - g 1

ZJ~

-r ,. r j* r—uj=i.

—

=f^3=3= ZJ f -P—

—

! HA

= (» -—f 7m—4Rr— - 1 1

'IJ -1 L-1

^ b b" « — nC.F.

?\V—\—urn "i" r kizh^î £=p^£

Ef$5==

Sg^=E=frg=gfc

FLORID COUNTERPOINT IN FOUR PARTS.

I* -!-rit=P=P=*=

^=¥* *3t J J •I *I

I*- ^ «S

fe-3 a^grbltsi l^S

wm

Ex. 71.

gill

CANTO FERMO IN TREBLE.F.R.C.O., July, 1916.

m r r A I .J JB4=t ?**=:=^

K"- S—H

—

g =£=

g q=^= ^Se b 1*—ffr

1T=:C

^ +£ E§=^=rE -r—

y

i^g^^^^p =^=kp=g 1*==^:

^ -I—

r

Note.—With reference to the 5ths between the Treble and Bass at thebeginning of bars 4-7, see paragraph at bottom of page 24.


Ex. 72. F.R.C.O., July, 1914.

Ex. 73. Another working of the same.

l hfr ^

•J C.F.

ft*~h*—™ ^ -p—^~*—M~^ ^— 1

-

A

i^— r ]_4 j^_l l_L^ £ 1

= =1= =£ J , p- p- r-r-iit^-—=

—

-* = ' *r=£=—

—

TTf-= P . | * -—1" "I 1

EiEEE^yk ^

ir*=f^: * m immw 3=t

fcthfe^m ZM'=gZ 3==Z£l m IE=t=

1^f—Z^^Ê^g^ÊgEEg^gEgNote.—The small notes are an alternative, to meet any objection to the

consecutive 8ves at the beginning of bars 6 and 7, between the Treble and Alto.

Ex 74.

i|8=Vn r~>



£ =p=*=p=s=:£=£ =p=Ni

5^0£f= Ifr

—

r.BQE~-i=»

i

*~=^- :*r *

I?—rsz^

s^rt—

I

s-:£z£=»=j»=

*±*

Ifem—m- t * ^ :*=£

SE it=t».»—

Exercise 74 might also commence as follows:

—

I5E5^

Hs=e=^5 *=£^

&"" ^gggÊ^JfUfÊl

if* E 3=t

G-. J. Bennett—Combined Counterpoint—Novello—

Q

go COMBINED COUNTERPOINT.

Ex. 75.

I

CANTO FERMO IN ALTO.

London Final Mus. B., 1906.

3=r£gg^jgjf^^îgg t=-

&j^S S^S mmm=m.m=i^ EzKzm*0=2^mm3m

pMmr&tz^m ±m

«-mtjtrr-g^J^sgÊg

gg iljal==gl=p • !*-

jî^ggg»

Ex. 76.

n^PSe=I=KOxford 1st Mus. B., 1915

3=** *-£:tz—z=3-tz=L**r-T

§iPt.v.

1 H^HH^îli^liijp^-F- F^±I^Hl :&=q:

FLORID COUNTERPOINT IN FOUR PART? 9'

m==?sz H f , P

i- nr r ir =S=C HEt^£ mu * j

Ex. 77.F.R.C.O., July, 1911.

~"f£— (-pH^^l^pi^MS^li!

r: =g= =p=g—£L

ffij=-(=

—

T-(= :£=*S ^

—

m—g=iiH^

PH^l

fee

Se£ iSMJ

3ijs ^3Jr~7^


CANTO FERMO IN TENOR.

Ex. 78. F.R.C.O., July, 1912.

I«=-- £ ±=t:•=*--

We*-*Jt.-UiC

:<=-

«£C.^.

F.R.C.O.. July, 1015.


i i-

m w?t~ S—J-0-m-:«=ffSt-"t

Ex. 8o,

b


!==C ——I—1=3t -»—ggz=J «L±zsa

i' I*=Z*t

i^C./<~.

£ : ^ T=*=3=

zS^-t^S=fo ~f~rfr-—»~ J—i f t- - =p?=lgj^-—i—

'

1—-i

—

"SP-

--[— 1—' 1

—m—S<

• -^—

1

—1

—

._•— _^>

—-I

,

~r» F~ 1* -f* *~ <* -pi

t±±=j

1£2-b—

J

*- I-F-*—F--1— ._l r—I

13^^ d ^-•—II

94

APPENDIX.

The following examples of a freer type of Counterpoint,

although entirely beyond the scope of this book, may be of

interest. The first example, a working in Florid Counterpoint

by Sir John Goss of the well-known Canto Fermo by Fux, the

writer was permitted to copy from a manuscript book in the

possession of the late Dr. T. Lea Southgate. Were it not for

the chromatic movement of the Bass in bars 4 and 5, the examplemight be considered fairly strict :

—

io =tl^s s ^m.

Bpp^^jg^^fpÊgÊEEEpEf^gipg^l

APPENDIX 9 5

The next two examples were written in the class-room of the

late Joseph Rheinberger at the Munich Royal School of Music,and exemplify the type of Counterpoint taught by him. Theyare for strings, and the upper parts can in either examplebe inverted in any position :

—

Choral, "Christus, der ist mein Leben.'

^^ 3* :*

^ti* j—^=g^=-*=^»

IN ^L=J.^

ft'feagfiifei^gjg,;^-I—I—I—I—

E

—tfc=i—I

—

!-

1'iUJ

—^z=£Z?=M1

9 6 APPENDIX.

t—4" 1

— ^1 -tr

—

i

3?=p= zprg: *r:rg: US:fc=E *=^=3S&i

*H-H j Jjt^=*=S=

-x=3r- mFSt*TO4r3=;

J-JteP

^^Ê^^gz=--^Ta^=^3

'J* J- ^

IP^^^SS3#^: fc

:ff=p; i rff=p;±=4= r|r*=g: =t=

£=E

^ r" g'rTTrr r

IJ —-^ :*=g=

M-l J Jfr~ ^^d^feipi^

ORGAN TRANSCRIPTIONSBY

George J. Bennett,

S. (I.

Introduction and Melodrama.—"The Dream of

Jubal" ... ... ... A. C. Mackenzie i 6

Prelude to " Lohengrin" (Act i

)

... Wagner i o

Andantino.—Symphony (No. 4) in F minorTscha'ikoxcsky 2 o

Slow Movement.— Pianoforte Concerto in B fiat minor

Tscha'ikoxvsky 1 6

Coronation March ... ... Tschaikoxcsky 2

Three Minuets.—Symphonies in C, G minor, and

E flat ' Mozart 2

Minuet.—Sonata in E fiat (Op. 31, III.) BeetJioven 1 <>

Prelude to "Colomba " (Act 1) A. C. Mackenzie 1 6

Finale ("O may we soon again").—

"Blest Pair of

Sirens" ... ... ... C.H.H. Parry 1 6

Nocturne.—" A Midsummer Night's Dream "

Mendelssohn 1 6

Prelude to "Parsifal" (Act 1 ) Wagner : 6

Transformation Scene.—

"Parsifal" (Act 1)

Wagner 1 (>

Good Friday Music— " Parsifal" (Acts) Wagner 1 6

To be continual

.

London: NOVELLO AND COMPANY, Limited.

New York: THE H. W, CRAY Co., Sou-: Agents for the U.S.A.

Novello's Music Primers & Educational Series.

s. d.

The Pianoforte .. E. Pauer 2The Rudiments of Music

VV. H. CUMMINGS 1The Organ .. .. J. Stainer 2The Harmonium .. King Hall 2Singing .. .. A. Randegger 4Speech in Song (Singer's Pronounc-

ing Primer) .

.

A. J. Ellis, f.r.s. 2Musical Forms .. E. Paufr 2Harmony J. Stainer 2Counterpoint .. J. F. Bridge 2Fugue .. .. James Higgs 2Scientific Basis of Music

W. H. Stone 112. Double Counterpoint J. F. Bridge 213. Church Choir Training

J. Troutbeck 1Plain Song .. T. Helmore 2Instrumentation .. E. Prout 2The Elements of the Beautiful

in Music .. .. E. Paler 1

The Violin Berthold Tours 2Tonic Sol-fa .. ..J. Curwen 1Lancashire Sol-fa J. Greenwood 1Composition .. .. J. Stainer 2Musical Terms

Stainer and Barrett 1The Violoncello Jules de Swert 2Two-part Exercises (396)

James Greenwood 1DoubleScales Franklin Taylor 1

Do. (Continental Fingering) „ 1Musical Expression MathisLussy 3Solfeggi (Both Notations) (or in

Three Parts, is. 61. each)Florence Marshall 4

Organ Accompaniment J. F. Bridge 2The Cornet .. .. H. Brett 2Musical Dictation. Pt. I. Dr. Ritter 1

Do. Do. Part II. „ 2Modulation .. James Higgs 2Double Bass .. A.C.White 3

3.

4.

6.

6.

7.

8.

9.

10.

11.

14.

15.

16.

17.

18.

19.

20.

21.

23

B4.

24a35.

26.

33. Extemporization F. J. Sawyer 231. Analysis of Form, as displayed

in Beethoven's PianoforteSonatas .. H.A.Harding 2

35. 500 Fugue Subjects and AnswersA. W. Marchant 3

36. Hand Gymnastics T. R. Prentice 137. Musical Ornamentation. Part I.

E. Dannreuther 537a. Do. Do. Part II. 53S. Transposition J. Warriner 238a. Do. Supplement (Keyboard

and Orchestral) J. Warriner 139. The Art of Training Choir Boys

G. C. Martin 339a. Do. Do. (Exercises only) 1

40. Biographical Dictionary ofMusicians .. W. H. Cummings 2

41. Examples in Strict Counterpoint.Part I. Gordon Saunders

41a. Do. Do. Part II.

42. Summary of Musical HistoryC. H. H. Parry

43. Musical Gestures J. F. Bridge43a. Rudiments in Rhyme J. F. Bridge44. Basses and Melodies R. Diinstan45. First Steps at the Pianoforte

Francesco Bkrger46. A Dictionary of Pianists and

Composers for the PianoforteE. Pauer

47. Organ Pedal Technique. Part I.

B. W. Horner47a. Organ Pedal Technique. Part IF.

2 6

2

48. Twelve Trios for Organ, by(Albrechtsuerger) W. Marchant

49. Fifty Three-part Studies (BothNotations) .. J. E. Vernham

50. Choral Society Vocalisation (orin Four Parts, 6d. each ; TonicSol-fa, 4d.each) .. J. Stainer

50a. Do. The Exercises Adapted &Arranged for Female Voices

A. W. Marchant51. Two-part Solfeggi James Higgs52. History of the Pianoforte

A. J. Hipkins53. Scales and Arpeggios F. Taylor54. Sonata Form .. W. H. Hadow55. A Dictionary of Violin Makers

C. Stainer56. Analysis of Bach's 48 Preludes

and Fugues (or in Four Parts,is. each) .. . . F. Iliffe

57. Appendix to "Analysis of Form "

H. A. Harding58. Harmonization of Melodies

J. E. Yeknham*59. "Braille" Music-Notation (For

sighted teachers to instruct theblind) E.Watson

60. Five-part Harmony F.E.Gladstone61. The Viola (Edited by Alfred

Gibson) Berthold Tours62. Harmonics and Resultants

C. E. Lowe63. Breathing for Voice Production

H. H. Hulbert64. The Choirboy's Elements of

Music .. George J. Bennett05. First Steps for the Violin.

Part I. (Violin only) Emil Kueuz65a. First Steps for the Violin.

Part II. (The Pieces with Piano-forte Accomp.) Emil Kreuz

CO. Score-reading Exercises. Book I.

Emily R. Daymond6C.A. D > Do. Book II.

67. Method of Singing J. Stockhausen68. A Treatise on Strict Counter-

point. Part I. F. E. Gladstone69. Do. Do. Part II.

70. Examination Questions C. Harris71. Voice Culture for Children.

Part I. James Bates72. Do. Do. Part II.

73. Dj. Do. Part III

73a. Do. Part III. (Sol-fa)

(Nos. 71 to 75 complete: in paper covers,3s. 6d., or in paper boards, 4s. 6d.)

74. The Choirboy's Guide to theCathedral Psalter E. Newton

75. Twelve Elementary Duets forPianoforte E. Mundella

76. Harmony for SchoolsF. E. Gladstone

77. Key to Ditto F. E. Gladstone78. Score-Reading Exercises

A. H. Peppin79. Figured-bass Playing J.R. Tobin80. Ten r Exercises E. D. Palmer81. Three-Part Studies Hugh Blair82. An E-sayon Music J. Stainer83. The Military Band G. Miller84. Equal Temperament H. Spain85. A Guide to Solo Singing

Gustave Garcia86. Theory of Music J. *. O'Neill87. Self-helpfor Singers D.C.Taylor83 The Organ W. G. Alcock

(To be continued.)

s. d.

1 G

1 G

2

2 6

3

r,

1

7 r.

2

2

1

2

1

1 G

2 G

1 G1 6

4

>

1 (i

2

1 6

1 Ga

4

1

2 6

1 6

1 S1 61 (1

91

21 tt

21

1 li

i

Published in paper boards only.

Anv of the above may be had strongly bound in boards, price Is. each extra. Nos.43a, 47a, 51, 57, 65, 65a, 66, 66a, 73, 73a. 77, 79, 80, 81, and 84 are published

only in paper covers

London : NOVELLO AND COMPANY, Limited.New York : THE H. W. GRAY CO., Sole Agents E£R the U.S.A.

i#fn/i6 nNTS FDR

6(J

Documents

BENNET - Combined Counterpoint