,,seventh ,,edition ,a ,treatise on ,simple ,counterpoint in ,forty ,lessons ,by ,friedrich ,j4 ,lehmann ,instructor of ,theory in the ,oberlin ,conservatory of ,music ,author of ,lessons in ,harmony ,g4 ,,schirmer1 ,,inc4 ,,new ,,york ,,preface ,the purpose of this work is to supply the need in the ,oberlin ,conservatory of ,music of a text-book on ,simple ,counterpoint containing a definite assignment of lessons1 and affording more practice than usual in combining species4 ,it is a treatise on strict counterpoint1 but strict in a limited sense only4 ,in two-part counterpoint with other than the first species in both parts1 dissonances are permitted under certain conditions1 and in three- and four-part writing the unprepared seventh and ninth1 and the six-four chord1 are allowed in certain ways4 ,while the illustrations have been written in close score1 it is nevertheless urged that all exercises be written out in open score1 as the movement of the different parts is thus more clearly seen4 ,the use of the ,c-clefs is left optional with the teacher4 ,a knowledge of harmony is presupposed1 hence nothing is said pertaining to it4 ,the author wishes to express his indebtedness to ,professor ,a4,e4 ,heacox for his help and advice4 ,f4,j4 ,,lehmann4 ,,oberlin1 ,,ohio1 ,jan4 #f1 #aijg4 ,,table ,,of ,,contents ,,simple ,,counterpoint ,,lesson ,i4 ,definitions and ,illustrations4 ,,simple ,,counterpoint ,,in ,,two ,,parts ,first ,species3 ,note against ,note4 ,examples and ,exercises4 ,,lesson ,,ii4 ,second ,species3 ,two ,notes against ,one4 ,examples and ,exercises4 ,,lesson ,,iii4 ,second ,species in ,both ,parts4 ,examples4 ,second ,species ,mixed in ,both ,parts4 ,examples and ,exercises4 ,,lesson ,,iv4 ,third ,species3 ,four ,notes against ,one4 ,first ,species against ,six ,notes4 ,second ,species ,continuously in ,both ,parts4 ,examples and ,exercises4 ,,lesson ,v4 ,third ,species in ,both ,parts2 ,mixed4 ,third ,species ,continuously in ,both ,parts4 ,two ,notes against ,four2 ,two against ,six2 ,three against ,six4 ,examples and ,exercises4 ,,lesson ,,vi4 ,fourth ,species3 ,two ,notes ,syncopated against ,one4 ,three ,notes ,syncopated against ,one4 ,two ,notes against ,four2 ,two against ,six2 ,three against ,six4 ,examples and ,exercises4 ,,lesson ,,vii4 ,fourth ,species 7continued74 ,mixed1 in ,both ,parts4 ,three ,notes ,syncopated against ,one4 ,examples and ,exercises4 ,,lesson ,,viii4 ,fourth ,species 7continued74 ,two ,notes ,syncopated against ,two2 ,two against ,four2 ,two against ,six2 ,three against ,six4 ,examples and ,exercises4 ,,lesson ,,ix4 ,fifth ,species3 ,florid ,counterpoint4 ,examples and ,exercises4 ,,lesson ,x4 ,florid ,counterpoint 7continued74 ,combining ,fifth ,species with ,second2 with ,third2 with ,fourth2 with ,fifth4 ,examples and ,exercises4 ,,simple ,,counterpoint ,,in ,,three ,,parts ,,lesson ,,xi4 ,first ,species in ,all ,parts4 ,examples and ,exercises4 ,,lesson ,,xii4 ,second ,species in ,one ,part4 ,examples and ,exercises4 ,,lesson ,,xiii4 ,second ,species in ,two or ,more ,parts4 ,first and ,second ,species ,mixed in ,all ,parts4 ,second ,species in ,all ,parts4 ,examples and ,exercises4 ,,lesson ,,xiv4 ,third ,species in ,one ,part4 ,second ,species in ,all ,parts4 ,examples and ,exercises4 ,,lesson ,,xv4 ,third ,species in ,two or ,more ,parts4 ,first and ,third ,species ,mixed in ,all ,parts4 ,examples and ,exercises4 ,,lesson ,,xvi4 ,third ,species 7continued74 ,mixing ,first1 ,second1 and ,third ,species in ,all ,parts4 ,third ,species in ,all ,parts4 ,examples and ,exercises4 ,,lesson ,,xvii4 ,fourth ,species in ,one ,part4 ,three ,notes ,syncopated in ,one ,part4 ,combining ,first1 ,second1 and ,third ,species4 ,examples1 and ,exercises4 ,,lesson ,,xviii4 ,fourth ,species 7continued74 ,mixed in ,all ,parts4 ,combining ,first1 ,second1 and ,fourth ,species1 and ,first1 ,third1 and ,fourth4 ,examples and ,exercises4 ,,lesson ,,xix4 ,fifth ,species in ,one ,part4 ,examples and ,exercises4 ,,lesson ,,xx4 ,fifth ,species 7continued74 ,combining ,first1 ,second1 and ,fifth2 ,first1 ,third1 and ,fifth2 ,first1 ,fourth1 and ,fifth2 ,fifth in ,two ,parts4 ,example and ,exercises4 ,,lesson ,,xxi4 ,combining the ,various ,species3 ,second1 ,third1 and ,fourth2 ,second1 ,third1 and ,fifth2 ,second1 ,fourth1 and ,fifth2 ,third1 ,fifth1 and ,fifth2 ,fourth1 ,fifth1 and ,fifth4 ,examples and ,exercises4 ,,lesson ,,xxii4 ,fifth ,species in ,all ,parts4 ,examples and ,exercises4 ,,simple ,,counterpoint ,,in ,,four ,,parts ,,lesson ,,xxiii4 ,first ,species in ,all ,parts4 ,examples and ,exercises4 ,,lesson ,,xxiv4 ,second ,species in ,one ,part4 ,examples and ,exercises4 ,,lesson ,,xxv4 ,third ,species in ,one ,part4 ,second ,species ,mixed in ,three ,parts4 ,examples and ,exercises4 ,,lesson ,,xxvi4 ,third ,species 7continued74 ,mixed in ,three ,parts4 ,second ,species ,continuously in ,two ,parts4 ,examples and ,exercises4 ,,lesson ,,xxvii4 ,fourth ,species in ,one ,part4 ,a ,cantus ,firmus with ,first1 ,second1 and ,third ,species in the ,other ,three ,parts4 ,examples and ,exercises4 ,,lesson ,,xxviii4 ,fourth ,species 7continued74 ,a given ,cantus ,firmus1 with ,first1 ,second1 and ,fourth ,species2 with ,first1 ,third1 and ,fourth2 with ,fourth ,species ,mixed4 ,examples and ,exercises4 ,,lesson ,,xxix4 ,fifth ,species in ,one ,part4 ,examples and ,exercises4 ,,lesson ,,xxx4 ,fifth ,species in ,two ,parts4 ,mixing ,second1 ,third1 and ,fourth ,species in ,all ,parts4 ,combining ,first1 ,second1 ,third1 and ,fourth ,species4 ,examples and ,exercises4 ,,lesson ,,xxxi4 ,fifth ,species in ,three or ,four ,parts4 ,examples and ,exercises4 ,,lesson ,,xxxii4 ,fifth ,species in ,all ,parts1 with ,imitation4 ,examples and ,exercises4 ,,florid ,,melodies ,,as ,,canti ,,firmi ,,lesson ,,xxxiii4 ,two-part ,florid ,counterpoint4 ,free ,harmonization4 ,examples and ,exercises4 ,,lessons ,,xxxiv and ,,xxxv4 ,three-part ,florid ,counterpoint4 ,free ,harmonization4 ,examples and ,exercises4 ,,lesson ,,xxxvi4 ,three-part ,florid ,counterpoint 7continued74 ,exercise in ,original ,writing4 ,,lessons ,,xxxvii to ,,xl4 ,four-part ,florid ,counterpoint1 ,example and ,exercises4 ,,simple ,,counterpoint ,,lesson ,i ,counterpoint is the art of combining two or more melodies of equal melodic individuality4 ,in simple counterpoint all parts must remain in the same relative position to one another4 ,the ,cantus ,firmus is a given melodic phrase that is to receive contrapuntal treatment1 that is1 one or more parts are to be added above or below it4 ,the ,counterpoint is any part other than the ,cantus ,firmus4 ,intervals are harmonic or melodic4 ,an ,harmonic interval is the difference in pitch between two tones sounding at the same time4 ,a ,melodic interval is the difference in pitch between two tones sounded in succession by the same voice4 ,fig4 #a4 ,illustration3 ,fig4 #a4 ,harmonic intervals are divided into ,consonances and ,dissonances4 ,consonances are classed as perfect or imperfect4 ,the ,perfect consonances are the ,unison1 ,fifth1 and ,octave4 ,fig4 #b;a4 ,the ,imperfect consonances are the ,major and ,minor ,thirds and ,sixths4 ,fig4 #b;b4 ,all other intervals are dissonances4 ,illustration3 ,fig4 #b4 ,a ,diatonic progression is one in which both name and pitch are changed4 ,fig4 #c;a4 ,a ,chromatic progression is one in which the pitch is changed a semitone1 while the name remains the same4 ,fig4 #c;b4 ,illustration3 ,fig4 #c4 ,progression from one chord to another is called ,harmonic progression2 from one tone to another1 ,melodic progression4 ,in melodic progression all major1 minor1 perfect and diminished intervals are allowed except the major and minor seventh4 ,the minor seventh may1 however1 be used when harmony does not change 7a74 ,fig4 #d4 ,illustration3 ,fig4 #d4 ,in counterpoint there are ,five ,species1 or orders4 ,when the counterpoint has one note for each note of the cantus firmus1 it is of the ,first ,species 7a72 if it has two notes for each note of the cantus firmus1 it is the ,second ,species 7b72 if four notes1 the ,third ,species 7c72 if two notes syncopated1 the ,fourth ,species 7d72 and a mixture of these species is the ,fifth ,species1 or ,florid ,counterpoint 7e74 ,fig4 #e4 ,illustration3 ,fig4 #e4 ,,simple ,,counterpoint ,,in ,,two ,,parts ,,first ,,species ,two-part counterpoint comprises a cantus firmus and a counterpoint4 ,fig4 #f4 ,illustration3 ,fig4 #f4 ,although in two-part counterpoint we have to deal with intervals1 rather than harmonies1 still the harmonic progressions represented by these intervals should be regarded4 ,the exercises should begin and close with tonic harmony4 ,at the beginning the unison1 fifth or octave1 and at the close the unison or octave1 are permitted4 ,fig4 #g4 ,illustration3 ,fig4 #g4 ,after the first measure it is better to use imperfect consonances only4 ,the perfect consonances1 however1 may be used sparingly when a more melodious counterpoint is thereby obtained4 ,the unison may be used in the first and last measures only4 ,fig4 #g4 ,all progressions must be diatonic1 and parts should not cross4 ,the repetition of a note in a lower part should be avoided wherever possible4 ,in a higher part1 repetition to the extent of three notes in succession is allowed4 ,do not use more than three thirds or sixths in succession4 ,fig4 #h4 ,illustration3 ,fig4 #h4 ,successive similar skips1 except the minor third 7a71 in one direction1 are to be avoided4 ,successive skips of a fourth are good when the tones are the fifths of the triads on ,i1 ,,iv and vii deg44 ,the last tone should return one degree 7b74 ,fig4 #i4 ,do not move more than an octave in one direction in two skips4 ,fig4 #i;c4 ,illustration3 ,fig4 #i4 ,covered fifths and octaves1 except from ,i to ,v1 or ,v to ,i1 are forbidden4 ,fig4 #aj4 ,illustration3 ,fig4 #aj4 ,both parts skipping in contrary motion to a fifth or octave should be avoided in two-part writing4 ,fig4 #aa4 ,illustration3 ,fig4 #aa4 ,avoid consecutive perfect intervals4 ,fig4 #ab4 ,illustration3 ,fig4 #ab4 ,the augmented fourth 7,tritone7 is not only considered bad as a melodic interval by some authorities1 but its appearance between different parts in successive intervals is also prohibited4 ,this prohibition1 however1 holds good only when the chords in which it appears are in fundamental position1 as in ,fig4 #ac;a4 ,this is shown by the fact1 that if one part skips as at b1 there is no unpleasant effect4 ,illustration3 ,fig4 #ac4 ,avoid consecutive major thirds in major keys4 ,in minor keys they are good4 ,fig4 #ad4 ,illustration3 ,fig4 #ad4 ,use adjacent voices in writing1 and do not exceed the vocal compass of a voice4 ,modulation may be resorted to within the exercises1 but only to nearly related keys2 for example1 in ,c1 to ,g1 ,f1 a1 e1 or d4 ,at the close parts should proceed stepwise to the unison1 or octave4 ,fig4 #ae;a4 ,illustration3 ,fig4 #ae4 ,a close as in ,fig4 #ae;b may be used occasionally4 ,in this case the leading-tone is better in the higher part4 ,,exercises ,to each of the following canti firmi write two counterpoints above1 and two below4 ,,canti ,,firmi ,illustration3 ,fig4 #af4 ,,lesson ,,ii ,,second ,,species ,illustration3 ,fig4 #ag4 ,all rules for the first species must be observed4 ,two notes are written in the counterpoint to one of the cantus firmus1 except in the last measure4 ,fig4 #ah;a4 ,in the last measure but one the first species may sometimes be used4 ,fig4 #ah;b4 ,illustration3 ,fig4 #ah4 ,repetition of a note in any but the first species is forbidden4 ,fig4 #ai4 ,illustration3 ,fig4 #ai4 ,the counterpoint may begin on the first or the second half of the measure1 preference being given to the second half4 ,when it begins on the first half it must be a unison1 fifth1 or octave2 when on the second half1 it may be any consonance4 ,fig4 #bj4 ,illustration3 ,fig4 #bj4 ,after the first measure the interval on the first beat should be an imperfect consonance1 as in the first species1 but the fifth1 or octave1 may be used occasionally4 ,in this and succeeding lessons1 all notes in the measure not belonging to the harmony implied on the first beat1 must be treated as dissonances1 e4g41 those belonging to the implied harmony may be left by a skip 7a7 or stepwise progression 7b7 unless dissonant with the cantus firmus2 then avoid their use2 if foreign to it1 whether consonant 7c7 with the ,c4,f4 or not 7d71 they must be treated as embellishments or passing-tones4 ,fig4 #ba4 ,illustration3 ,fig4 #ba4 ,the embellishment may be used as follows3 when above the principal tone1 it may be a semitone 7a7 or a whole tone 7b7 distant from it2 and when below1 a semitone 7c74 ,fig4 #bb4 ,illustration3 ,fig4 #bb4 ,when the counterpoint is below the cantus firmus1 the fifth of the chord needs special treatment4 ,it is permitted on the weak beat when the lower is treated as an harmonic passing-tone4 ,an harmonic passing-tone is the second of three tones belonging to the same chord4 ,fig4 #bc;a4 ,while the third tone should be a member of the chord containing the fifth as an harmonic passing-tone1 the chord above it may change as in ,fig4 #bc;b4 ,the fifth is permitted on the strong beat when it is only an implied fifth 7six-four chord72 that is1 the third and fifth appear on the strong beat1 and the root does not come in until the second half of the measure4 ,fig4 #bc;c4 ,illustration3 ,fig4 #bc4 ,the unison is permitted on the weak beat4 ,fig4 #bd4 ,illustration3 ,fig4 #bd4 ,avoid broken-chord effects1 that is1 do not use more than three tones belonging to the same chord in succession4 ,fig4 #be4 ,illustration3 ,fig4 #be4 ,avoid frequent skipping of parts4 ,fig4 #bf4 ,illustration3 ,fig4 #bf4 ,parts may cross occasionally1 but should return immediately ,fig4 #bg4 ,illustration3 ,fig4 #bg4 ,consecutive fifths or octaves on consecutive strong beats are bad2 but they are good on the weak beats if the second fifth or octave is approached in the opposite direction from the first4 ,fig4 #bh4 ,illustration3 ,fig4 #bh4 ,in minor the sixth degree may occasionally be raised on the strong beat1 if it is desired to proceed upward to the raised seventh degree4 ,fig4 #bi4 ,illustration3 ,fig4 #bi4 ,in the last measure but one1 both the supertonic and leading tone should appear4 ,fig4 #cj4 ,illustration3 ,fig4 #cj4 ,three notes may be written to one of the cantus firmus1 as in ,fig4 #ca4 ,for this no new rules are required4 ,illustration3 ,fig4 #ca4 ,the cadences in ,fig4 #cb are good4 ,it will be seen that the cadences of the first species may also be used4 ,illustration3 ,fig4 #cb4 ,,exercises ,to cantus firmus a write two counterpoints above and two below in the first species4 ,to cantus firmus b write two above and two below in the second species4 ,,canti ,,firmi ,illustration3 ,fig4 #cc4 ,,lesson ,,iii ,,second ,,species ,,in ,,both ,,parts#a ,illustration3 ,fig4 #cd4 #a ,in this and similar cases the term species will be understood as referring simply to the number of notes1 or to the note-combinations1 of the contrapuntal part or parts in question4 ,second species in both parts means1 therefore1 that both parts progress in half-notes4 ,when writing second species in both parts no cantus firmus is used1 both parts being original4 ,one part begins on the first beat1 the other may begin on either the first or second beat4 ,fig4 #ce4 ,illustration3 ,fig4 #ce4 ,the interval formed by the two notes appearing on the second beat should be a consonance1 or one of the following dissonances3 ,the augmented fourth1 the diminished fifth1 the minor or diminished seventh when properly resolved1 and the perfect fourth when approached in contrary motion4 ,all tones not belonging to the harmony implied on the first beat1 must be treated as dissonances4 ,fig4 #cf4 ,illustration3 ,fig4 #cf4 ,the seventh or ninth of the implied harmony of a measure1 when approached in an upward direction1 may be used in either part1 provided it is consonant with the other part1 or comes within the requirements of the exceptions4 ,fig4 #cg4 ,the passing major seventh and its root may appear on the weak beat1 even when approached in similar motion as in ,fig4 #cg;a4 ,the seventh must then be treated as a passing-tone4 ,illustration3 ,fig4 #cg4 ,the cadences in ,fig4 #ch are good when writing second species in both parts4 ,those having the second species in one part only1 may also be used4 ,illustration3 ,fig4 #ch4 ,writing the second species in both parts will1 in this lesson1 be confined to a mixture of the first and second species1 as in ,fig4 #ci4 ,in this do not use the second species more than four measures continuously in one part4 ,it will be noticed that the second species may occasionally be used in both parts4 ,in later lessons opportunity will be given to write it continuously in both parts4 ,illustration3 ,fig4 #ci4 ,,exercises ,write two eight-measure phrases mixing the first and second species4 ,fig4 #ci4 ,to cantus firmus a write one counterpoint above and one below1 three notes to the measure4 ,fig4 #ca4 ,to cantus firmus b write one above and one below1 in the second species4 ,,canti ,,firmi ,illustration3 ,fig4 #dj4 ,,lesson ,,iv ,,third ,,species ,illustration3 ,fig4 #da4 ,in this species1 four notes are written in the counterpoint to each note of the cantus firmus4 ,the counterpoint may begin on the first1 second1 or fourth quarter4 ,the second quarter is1 however1 the most usual4 ,fig4 #db4 ,illustration3 ,fig4 #db4 ,the exercises should begin and end with tonic harmony4 ,when the counterpoint begins on the first quarter it must form a perfect consonance with the cantus firmus4 ,when on the second or fourth quarter1 any consonance may be used4 ,all previous rules are to be regarded1 unless exceptions are made4 ,at least one of the first three quarter-notes of a measure should be left degreewise4 ,fig4 #dc4 ,illustration3 ,fig4 #dc4 ,the last quarter of a measure is usually left degreewise4 ,if approached by a skip or by a degreewise progression of at least two quarter-notes1 it may be left by a skip in the opposite direction from which it was approached4 ,a skip of a third in the same direction is also good when this skip is preceded by a skip of a third 7d74 ,fig4 #dd4 ,illustration3 ,fig4 #dd4 ,parts may cross occasionally4 ,the use of non-harmonic tones1 as in ,fig4 #de1 is good in either part4 ,at a the passing-tone1 instead of progressing directly to the adjacent chord-tone1 skips a third to the other side of it and then returns4 ,the embellishment is treated in the same way1 but is most effective when the principal tone is the leading-tone1 as at b4 ,in both cases the counterpoint should continue degreewise through the chord-tone4 ,fig4 #de4 ,illustration3 ,fig4 #de4 ,the fifth1 when in the lower part1 may be used on any but the first quarter1 provided it is treated as a passing-tone1 e4g41 approached and left by stepwise progression in one direction4 ,illustration3 ,fig4 #df4 ,consecutive fifths and octaves are forbidden when appearing on the accented beats of successive measures2 between prominent notes of successive measures not more than four quarters apart2 and between a prominent note of one measure and the first quarter of the next4 ,fig4 #dg4 ,illustration3 ,fig4 #dg4 ,oblique motion to the unison is bad4 ,it is permitted if it continues in the same direction through the unison4 ,fig4 #dh4 ,illustration3 ,fig4 #dh4 ,the unison may be used on any but the first quarter of a measure4 ,frequent repetition of a figure as in ,fig4 #di is not good4 ,illustration3 ,fig4 #di4 ,the embellishment may be used either above or below1 whether a semitone or a whole tone2 but when it is a whole tone below1 it is most satisfactory as the ninth of the implied chord4 ,fig4 #ej4 ,illustration3 ,fig4 #ej4 ,in minor the sixth and seventh degrees of the scale are raised both ascending and descending1 when used in harmonies containing the leading-tone as a chord-tone4 ,they are unaltered both ascending and descending in harmonies containing the sixth degree of the scale as a chord-tone4 ,in other harmonies they are raised in ascending only4 ,the sixth or seventh degrees may be chromatically altered with only one note intervening4 ,fig4 #ea4 ,illustration3 ,fig4 #ea4 ,six notes may be written to one of the cantus firmus1 as in ,fig4 #eb4 ,illustration3 ,fig4 #eb4 ,the cadences in ,fig4 #ec are good4 ,illustration3 ,fig4 #ec4 ,,exercises ,to cantus firmus a write three counterpoints above and three below1 in the third species4 ,write two eight-measure phrases1 using second species continuously in both parts4 ,fig4 #cd4 ,,cantus ,,firmus ,illustration3 ,fig4 #ed4 ,,lesson ,v ,,third ,,species ,,in ,,both ,,parts ,illustration3 ,fig4 #ee4 ,the suggestions given for writing second species in both parts apply here1 except that when both parts move degreewise1 any interval may come on the second and fourth quarters1 preferably a consonance4 ,the third quarter is treated the same as the second half when writing the second species in both parts4 ,the augmented fourth1 and diminished fifth and seventh1 may be approached in similar motion4 ,fig4 #ef4 ,illustration3 ,fig4 #ef4 ,the augmented fourth following the perfect fourth1 as in ,fig4 #ef;a1 is good4 ,the minor seventh1 and the major and minor ninth of a chord1 may be used freely on any but the first quarter1 but must be consonant with the other part4 ,fig4 #eg4 ,illustration3 ,fig4 #eg4 ,the first and third species may be mixed1 as in ,fig4 #eh4 ,illustration3 ,fig4 #eh4 ,the second species may be used in one part and the third in the other1 also six notes in one part and two in the other1 and six in one and three in the other4 ,all tones appearing simultaneously1 must comply with the suggestions for tones appearing on the weak beat given in previous lessons1 where both parts have other than the first species4 ,fig4 #ei4 ,illustration3 ,fig4 #ei4 ,the cadences in ,fig4 #fj are good1 and will suggest others4 ,illustration3 ,fig4 #fj4 ,,exercises ,to cantus firmus a write one counterpoint above and one below1 in the third species4 ,to cantus firmus b write counterpoints in six notes1 one above and one below4 ,fig4 #eb4 ,write one eight-measure phrase1 mixing the first and third species4 ,fig4 #eh4 ,write two eight-measure phrases1 using third species in both parts4 ,fig4 #ee4 ,,canti ,,firmi ,illustration3 ,fig4 #fa4 ,,lesson ,,vi ,,fourth ,,species ,illustration3 ,fig4 #fb4 ,this species is the same as the second1 except that the last note of the measure is tied to the first note of the next1 forming a syncopation4 ,as in the second species1 the first note of the counterpoint should form a unison1 octave or fifth1 and when the counterpoint begins on the second half it may also be an imperfect consonance4 ,when the counterpoint begins on the first half1 the second half is treated the same as the second half of succeeding measures1 described in the next paragraph4 ,after the first measure1 the second half of the measure should contain a consonance 7,fig4 #fc;a71 the first half a consonance 7b71 or dissonance 7c71 preferably the latter1 in which case a suspension is formed4 ,this is the most desirable form of syncopation4 ,when the first half contains a dissonance1 the counterpoint must descend--or ascend in retardation 7d7--one degree to an imperfect consonance 7c74 ,when the first half is a consonance1 it may be left by a skip to some other chord-tone 7e71 or by degreewise progression 7f74 ,in the latter case the second note is non-harmonic1 and therefore should not be used to prepare a syncopation except as in ,fig4 #fc;d 7,retardation of the root in ,i#f74 ,illustration3 ,fig4 #fc4 ,when writing three notes to one in the fourth species1 the suspension may resolve on the second beat 7a71 or the third 7b74 ,in the latter case1 the suspension skips 7c7 to some other chord-tone1 before resolving4 ,the resolution to the leading-tone 7d7 forms an important exception to this rule4 ,fig4 #fd4 ,illustration3 ,fig4 #fd4 ,the fifth may be used in the lower part if it becomes the preparation of a suspension 7,fig4 #fe;a74 ,it may also be used in the lower part1 as in ,fig4 #fe;b1 provided it resolves by skipping to the third of the chord4 ,in skipping from the fifth to the root1 or the reverse1 in the lower part1 do so in an upward direction4 ,the fifth1 when treated as an harmonic passing-tone1 may1 however1 be approached either ascending or descending4 ,illustration3 ,fig4 #fe4 ,the retardation should be used only when prepared by the leading-tone4 ,it rises a semitone in resolving4 ,fig4 #ff4 ,illustration3 ,fig4 #ff4 ,the following dissonant intervals may be used on the first half of the measure3--,when the counterpoint is above1 the fourth and seventh in suspension1 and second and fifth in retardation2 and when below1 the second in suspension1 and the fourth and seventh in retardation4 ,fig4 #fg4 ,illustration3 ,fig4 #fg4 ,consecutive fifths on consecutive strong beats of the measure are good when one of the tones of the second fifth is prepared1 as in ,fig4 #fh4 ,illustration3 ,fig4 #fh4 ,the following cadences are good3 ,illustration3 ,fig4 #fi4 ,,exercises ,write one eight-measure phrase with two notes to the measure in one part and six in the other2 one with three notes in one and six in the other2 and one with two notes in one part and four in the other4 7,fig4 #ei47 ,in combining the species in this and succeeding lessons the student may place any species in any part4 ,to the cantus firmus write two counterpoints above and two below1 in the fourth species4 ,,cantus ,,firmus ,illustration3 ,fig4 #gj4 ,,lesson ,,vii ,,fourth ,,species 7,continued7 ,the first and fourth species may be mixed as in ,fig4 #ga4 ,rules for writing other than the first species in both parts are to be regarded4 ,illustration3 ,fig4 #ga4 ,,exercises ,to cantus firmus a write two counterpoints above and two below1 in the fourth species4 ,to cantus firmus b write two above and two below1 three half-notes to the measure1 with syncopations4 ,write two eight-measure phrases1 mixing the first and fourth species4 ,,canti ,,firmi ,illustration3 ,fig4 #gb4 ,,lesson ,,viii ,,combining ,,the ,,fourth ,,species ,,with ,,the ,,others ,all previous rules for combining species still apply4 ,in combining the fourth species with other than the first1 the following intervals may be used on the first half of the measure1 in addition to those mentioned in ,lesson ,,vi3 ,when the counterpoint is below1 the fourth1 fifth and seventh in suspension1 and the ninth in retardation2 and when above1 the fifth in suspension1 and the seventh in retardation2 but in every such case the part having other than the fourth species must skip to some other chord-tone before resolving the suspension4 ,fig4 #gc4 ,illustration3 ,fig4 #gc4 ,the leading-tone may be doubled as in ,fig4 #gd4 ,here the leading-tone that is prepared skips to some other chord-tone1 while the new leading-tone remains stationary4 ,illustration3 ,fig4 #gd4 ,the minor or diminished seventh1 major or minor ninth1 may be used as preparation of a suspension in either part1 provided it is approached by a skip in an upward direction1 and is consonant with the other part1 or is one of the permitted dissonances4 ,fig4 #ge4 ,illustration3 ,fig4 #ge4 ,the fourth species may be combined with the second or third species1 and two or three notes syncopated may be written in one part with six in the other4 ,fig4 #gf4 ,illustration3 ,fig4 #gf4 ,,exercises ,to the cantus firmus write one counterpoint above and one below1 in the fourth species4 ,write one eight-measure phrase each1 of the following combinations3 ,the fourth species with the second2 the fourth with the third2 two notes syncopated against six notes2 and three notes syncopated against six notes4 ,write some in major and some in minor4 ,fig4 #gf4 ,,cantus ,,firmus ,illustration3 ,fig4 #gg4 ,,lesson ,,ix ,,fifth ,,species3 ,,florid ,,counterpoint ,illustration3 ,fig4 #gh4 ,florid counterpoint is a mixture of the second1 third and fourth species4 ,in addition to these species eighth-notes may be used in groups of two on the second and fourth quarters of the measure4 ,both notes should be approached and left stepwise1 with the exception that the first may be taken by a skip4 ,fig4 #gi4 ,illustration3 ,fig4 #gi4 ,not more than one and one-half measures of any one species should be used continuously in one part4 ,fig4 #hj4 ,illustration3 ,fig4 #hj4 ,in the use of quarter-notes it is necessary to exercise care4 ,they may be used on the first half when preceded by quarter-notes1 when the entire measure is filled1 or when they precede a half-note which is the preparation of a suspension4 ,on the second half they are always good4 ,fig4 #ha4 ,illustration3 ,fig4 #ha4 ,for the present the suspension should not be less than a half-note or its rhythmic equivalent in the ornamental resolution4 ,in this species the suspension may resolve ornamentally1 that is1 it may have some note or notes interpolated between the suspension and its resolution4 ,the relative position of the suspension and its resolution must remain the same as in the regular resolution4 ,fig4 #hb4 ,when the suspension is left by a leap1 the note skipped to should be consonant with the other part 7b74 ,when eighth-notes are used1 as at a1 they must be approached and left stepwise4 ,the suspension1 instead of being sustained as a half-note1 may be repeated on the second quarter1 as at c4 ,in this case it is best to continue stepwise through the tone of resolution4 ,at d the resolution1 instead of coming on the second half1 appears on the quarters on either side4 ,this is good4 ,illustration3 ,fig4 #hb4 ,the ornamental resolution may be used in either part4 ,use the suspension freely4 ,the solutions should be musical1 and are to be written over and over again until such are secured4 ,all cadences of the second1 third and fourth species1 or any combination of these1 may be used4 ,,exercises ,to canti firmi a and b write two counterpoints above and two below1 in the fifth species ,,canti ,,firmi ,illustration3 ,fig4 #hc4 ,,lesson ,x ,,florid ,,counterpoint 7,continued7 ,when florid counterpoint is combined with other than first species1 the dotted half followed by a quarter-note 7a71 or two eighth-notes 7b71 is good4 ,also1 a rhythmic figure1 as at c1 where a half-note occupies the second and third quarters1 may be used4 ,fig4 #hd4 ,illustration3 ,fig4 #hd4 ,,exercises ,write one eight-measure phrase1 each1 of the following combinations3 ,the fifth species with the second2 the fifth with the third2 and the fifth with the fourth4 ,write also two eight-measure phrases with fifth species in both parts4 ,fig4 #he4 ,illustration3 ,fig4 #he4 ,,simple ,,counterpoint ,,in ,,three ,,parts ,,lesson ,,xi ,,first ,,species ,illustration3 ,fig4 #hf4 ,regard all rules for two-part counterpoint1 unless otherwise mentioned4 ,if possible1 each measure should contain a complete chord4 ,when in the first species it becomes necessary to double an interval1 let it be preferably the root4 ,the third should be doubled only when a decidedly smoother melodic progression is thereby obtained2 and when both thirds are in outer parts1 each should be approached and left stepwise in one direction 7,fig4 #hg74 ,the doubling of the fifth is1 of course1 impossible1 since it necessitates the omission of the third4 ,illustration3 ,fig4 #hg4 ,all triads may be used in their first inversion4 ,diminished and augmented triads1 however1 are best used in their first inversion4 ,the six-four chord may be used at the close as the cadencing tonic six-four chord4 ,do not approach the root and fifth in similar motion1 as at b4 ,fig4 #hh4 ,illustration3 ,fig4 #hh4 ,the dominant seventh may be used in any but its second inversion1 the fifth being omitted4#b ,the seventh requires no preparation4 ,other chords of the seventh are better not used until second species and later4 ,if possible1 let the chord in the first measure appear complete4 ,the last chord but one should be complete1 unless some form of ,v or ,v#g is used4 ,fig4 #hi4 #b ,in severely strict counterpoint all parts above the lowest must be consonant with it4 ,dissonances1 when entering simultaneously with it1 must be treated as suspensions1 and when used in the progression of a part from one chord to another1 should be treated as passing-tones or embellishments4 ,this excludes the use of the unprepared seventh and ninth2 all diminished and augmented triads except in their first inversion2 and all six-four chords1 except when the lowest part is treated as a passing-tone4 ,illustration3 ,fig4 #hi4 ,consecutive major thirds may be used when three or more parts are employed4 ,fig4 #ij4 ,illustration3 ,fig4 #ij4 ,a note may now be repeated in the lowest part when it becomes the seventh of a dominant seventh-chord4 ,fig4 #ia4 ,illustration3 ,fig4 #ia4 ,in writing1 use soprano1 alto and tenor1 or alto1 tenor and bass2 and do not separate upper parts more than an octave4 ,for a chord or two they may 7for the sake of better voice-leading7 separate a tenth4 ,all hidden fifths and octaves are bad1 except between ,i and ,v and ,v and ,i4 ,fig4 #ib;a1 b4 ,the perfect fifth following the diminished fifth is good when taken in an upward direction stepwise in the higher parts4 ,fig4 #ib;c4 ,illustration3 ,fig4 #ib4 ,all cadences used in harmony are good4 ,unless otherwise mentioned1 put the cantus firmus in any part1 but avoid its continued use in the same part4 ,,exercises ,to canti firmi a and b write the first species in all parts4 ,write each three times1 setting the cantus firmus in a different part in each solution4 ,this necessitates transposing the cantus firmus1 when setting it in the other parts4 ,,canti ,,firmi ,illustration3 ,fig4 #ic4 ,,lesson ,,xii ,,the ,,second ,,species ,illustration3 ,fig4 #id4 ,the second species is written in one part and the first in the other two4 ,all suggestions made for the second species in two-part counterpoint are to be observed1 unless otherwise mentioned4 ,those regarding consecutive perfect intervals are especially to be observed4 ,the fifth1 when in the lowest voice1 should be used as in two-part counterpoint1 except when used in ,v#d_/c or the cadencing tonic six-four chord4 ,the ,v#d_/c chord may be used on the weak beat1 necessitating the omission of the third4 ,fig4 #ie;a4 ,the third may be omitted 7b71 or doubled 7c71 on the weak beat in this and succeeding species4 ,fig4 #ie4 ,illustration3 ,fig4 #ie4 ,the minor or diminished seventh may be approached by a skip in an upward direction on the weak beat in any part4 ,this usually necessitates the omission of some other chord-member on the weak beat4 ,the major or minor ninth may also be used in the same way1 except in the lowest part1 provided it is at least a ninth above the root4 ,fig4 #if4 ,illustration3 ,fig4 #if4 ,the progression from vii#f deg4 to ,v in root-position or any inversion in the same measure1 is good4 ,fig4 #ig4 ,use b and c only when using other than first species in two or more parts4 ,illustration3 ,fig4 #ig4 ,each measure should usually contain a complete chord4 ,if not complete on the first beat1 bring the missing interval in on the second4 ,fig4 #ih4 ,illustration3 ,fig4 #ih4 ,the cadences in ,fig4 #ii are good1 and will suggest others4 ,the use of the fourth species is permitted as at a4 ,a note may be repeated in the final cadence in all species as at b4 ,illustration3 ,fig4 #ii4 ,,exercises ,to cantus firmus a write the first species in all parts1 as previously directed4 ,to cantus firmus b write second species in one part4 ,write three times1 changing cantus firmus and counterpoint about so that they will appear in each part in turn4 ,,canti ,,firmi ,illustration3 ,fig4 #ajj4 ,,lesson ,,xiii ,,second ,,species ,,in ,,two ,,parts ,illustration3 ,fig4 #aja4 ,the suggestions for second species in both parts1 in two-part counterpoint1 apply for the two parts having the second species in three-part counterpoint4 ,accidental harmonies sometimes appear on the weak beat4 ,all tones in this accidental harmony foreign to the chord on the strong beat must be treated as dissonances4 ,this must be regarded whenever two or more parts have other than the first species4 ,fig4 #ajb4 ,illustration3 ,fig4 #ajb4 ,at ,fig4 #ajb;a1 the accidental harmony f-a-c is on the weak beat4 ,the f and a1 being foreign to the chord c-e-g on the strong beat1 are correctly treated as dissonances4 ,at b1 the f and a are left by skip1 which is not permitted4 ,the second species may be written continuously in all parts2 the tones appearing on the weak beat must be harmonically related to one another1 and those foreign to the chord on the strong beat must be treated as dissonances4 ,fig4 #ajc4 ,illustration3 ,fig4 #ajc4 ,the first and second species may be mixed1 as in ,fig4 #ajd4 ,illustration3 ,fig4 #ajd4 ,the cadences in ,fig4 #aje are good1 and will suggest others4 ,those with first species in all parts may also be used4 ,illustration3 ,fig4 #aje4 ,,exercises ,to cantus firmus a write a counterpoint in the second species in one part4 ,write three settings1 as directed in the previous lesson4 ,write two eight-measure phrases mixing the first and second species in all parts4 ,to cantus firmus b write counterpoints in the second species in the other two parts4 ,write two settings1 with the cantus firmus in different parts4 ,,canti ,,firmi ,illustration3 ,fig4 #ajf4 ,,lesson ,,xiv ,,third ,,species ,illustration3 ,fig4 #ajg4 ,the suggestions for third species in two-part counterpoint1 as well as those for writing the second species in three-part counterpoint1 apply when writing third species in three-part counterpoint4 ,the cadences at ,fig4 #ajh are good1 and will suggest others4 ,illustration3 ,fig4 #ajh4 ,,exercises ,to cantus firmus a write third species in one part4 ,write three settings as previously directed4 ,to cantus firmus b write second species in two parts1 as previously directed4 ,write one eight-measure phrase1 using second species in all parts4 ,,canti ,,firmi ,illustration3 ,fig4 #aji4 ,,lesson ,,xv ,,third ,,species ,,in ,,two ,,or ,,more ,,parts ,illustration3 ,fig4 #aaj4 ,previous suggestions when two or more parts have other than first species1 apply here4 ,in using the ninth of a chord it is well to keep it at least a seventh distant from the third1 as well as a ninth above the root1 except in the case of the dominant ninth in minor keys1 where it may be separated by only an augmented second 7b74 ,fig4 #aaa4 ,illustration3 ,fig4 #aaa4 ,in writing the third species in all parts1 notes appearing simultaneously should be harmonically related4 ,treat all tones foreign to the chord on the first quarter as dissonances4 ,the cadences in ,fig4 #aab are good4 ,illustration3 ,fig4 #aab4 ,,exercises ,to cantus firmus a write third species in one part1 as previously directed4 ,to cantus firmus b write third species in two parts1 as in ,fig4 #aaj;b4 ,write twice1 changing the cantus firmus about4 ,write one eight-measure phrase1 mixing first and third species as in ,fig4 #aaj;a4 ,,canti ,,firmi ,illustration3 ,fig4 #aac4 ,,lesson ,,xvi ,,third ,,species 7,continued7 ,,exercises ,to the cantus firmus write third species in one part1 as previously directed4 ,write one eight-measure phrase1 mixing first and third species2 also one mixing first1 second and third4 ,fig4 #aad4 ,write one eight-measure phrase1 using third species in all parts4 ,fig4 #aaj;c4 ,illustration3 ,fig4 #aad4 ,,cantus ,,firmus ,illustration3 ,fig4 #aae4 ,,lesson ,,xvii ,,fourth ,,species ,illustration3 ,fig4 #aaf4 ,when the syncopation is a suspension or retardation1 it is treated the same as in harmony4 ,the retardation should always be prepared by the leading-tone4 ,when the syncopated note belongs to the harmony of the measure1 it may be left by a skip or stepwise progression4 ,fig4 #aag4 ,illustration3 ,fig4 #aag4 ,the third may be omitted on the strong beat in this species1 provided the part having fourth species skips to the missing third1 as at ,fig4 #aag;a4 ,consecutive fifths1 but not octaves1 are saved by the suspension4 ,whenever they occur1 do not use the note of resolution as preparation of a suspension1 or tie it into the next measure 7a71 since it is really the passing seventh1 and that does not lend itself well to either of the above1 except in sequence as at b4 ,fig4 #aah4 ,illustration3 ,fig4 #aah4 ,the seventh or ninth of a chord1 except the major seventh1 may be used as preparation of a suspension when approached by a skip in an upward direction1 as in ,fig4 #aai4 ,illustration3 ,fig4 #aai4 ,this species may also be written in triple rhythm4 ,fig4 #abj4 ,illustration3 ,fig4 #abj4 ,the cadences in ,fig4 #aba are good1 as well as those of the second species4 ,illustration3 ,fig4 #aba4 ,,exercises ,to cantus firmus a write fourth species in one part4 ,write three settings1 as usual4 ,to cantus firmus b write fourth species in one part in triple rhythm4 ,write three settings1 as above4 ,to cantus firmus b write second species in one part and third in the other4 ,fig4 #abb4 ,illustration3 ,fig4 #abb4 ,,canti ,,firmi ,illustration3 ,fig4 #abc4 ,,lesson ,,xviii ,,fourth ,,species 7,continued7 ,,exercises ,write two eight-measure phrases1 using the fourth species mixed in all parts4 ,fig4 #abd;a4 ,to cantus firmus a write second species in one part and fourth in the other4 ,fig4 #abd;b4 ,to cantus firmus b write third species in one part and fourth in the other4 ,fig4 #abd;c4 ,illustration3 ,fig4 #abd4 ,,canti ,,firmi ,illustration3 ,fig4 #abe4 ,,lesson ,,xix ,,fifth ,,species ,illustration3 ,fig4 #abf4 ,no suggestions other than have already been given for two- and three-part counterpoint are necessary for this species4 ,,exercises ,to canti firmi a and b write fifth species in one part4 ,write each three times1 as usual4 ,,canti ,,firmi ,illustration3 ,fig4 #abg4 ,,lesson ,,xx ,,fifth ,,species 7,continued7 ,,exercises ,to cantus firmus a write second species in one part and fifth in the other4 ,fig4 #abh;a4 ,to cantus firmus b write third species in one part and fifth in the other4 b4 ,to cantus firmus c write fourth species in one part and fifth in the other4 c4 ,to cantus firmus d write fifth species in two parts4 d4 ,illustration3 ,fig4 #abh4 ,,canti ,,firmi ,illustration3 ,fig4 #abi4 ,,lesson ,,xxi ,,combining ,,the ,,various ,,species ,,exercises ,write one eight-measure phrase each1 of the following combinations3 7#a7 #bnd1 #crd and #dth species 7,fig4 #acj;a72 7#b7 #bnd1 #crd and fifth species 7b7 7#c7 #crd1 #eth and #eth species 7c72 7#d7 #bnd1 #dth and #eth species 7d72 7#e7 #dth1 #eth and #eth species 7e74 ,illustration3 ,fig4 #acj4 ,,lesson ,,xxii ,,fifth ,,species ,,in ,,all ,,parts ,,exercises ,write five eight-measure phrases with fifth species in all parts1 making use of imitation at the beginning as in ,fig4 #aca4 ,the imitation need only be relative and continue for three or four notes4 ,it is also well1 when a part uses a striking melodic figure1 to have some other part imitate it immediately after4 ,illustration3 ,fig4 #aca4 ,,simple ,,counterpoint ,,in ,,four ,,parts ,,lesson ,,xxiii ,illustration3 ,fig4 #acb4 ,no new suggestions are needed1 except as follows3 ,all covered fifths and octaves permitted in harmony are allowed here4 ,when the cantus firmus is in the lowest part and the choice of the last chord but one is ,v#d_/c or vii#f deg41 use the latter1 as in ,fig4 #acc4 ,illustration3 ,fig4 #acc4 ,,exercises ,to canti firmi a and b write the first species in the other parts4 ,write each four times1 setting the cantus firmus in each part in turn4 ,,canti ,,firmi ,illustration3 ,fig4 #acd4 ,,lesson ,,xxiv ,illustration3 ,fig4 #ace4 ,,exercises ,to cantus firmus a write the first species in all parts1 as in the previous lesson4 ,to cantus firmus b write the second species in one part4 ,write four times1 and change with each solution1 so that both the cantus firmus and the second species will appear in each part4 ,fig4 #ace4 ,,canti ,,firmi ,illustration3 ,fig4 #acf4 ,,lesson ,,xxv ,illustration3 ,fig4 #acg4 ,,exercises ,to cantus firmus a write second species in one part as previously directed4 ,to cantus firmus b write the first and second species mixed in the other three parts4 ,fig4 #acg;a4 ,to cantus firmus c write third species in one part1 as directed for the second species 7b74 ,,canti ,,firmi ,illustration3 ,fig4 #ach4 ,,lesson ,,xxvi ,illustration3 ,fig4 #aci4 ,,exercises ,to cantus firmus a write the second species in two parts and the first in the others4 ,write twice1 changing the parts about4 ,fig4 #aci;a4 ,to cantus firmus b write third species in one part as previously directed4 ,to cantus firmus c write third species mixed in the other three parts1 as at ,fig4 #aci;b4 ,,canti ,,firmi ,illustration3 ,fig4 #adj4 ,,lesson ,,xxvii ,illustration3 ,fig4 #ada4 ,,exercises ,to cantus firmus a write the first1 second and third species in the other three parts4 ,write twice1 changing the parts about ,fig4 #ada;a4 ,to cantus firmus b write fourth species in one part1 as directed in previous lessons4 ,fig4 #ada;b4 ,to cantus firmus c write third species mixed in the other three parts4 ,fig4 #aci;b4 ,,canti ,,firmi ,illustration3 ,fig4 #adb4 ,,lesson ,,xxviii ,illustration3 ,fig4 #adc4 ,,exercises ,to cantus firmus a write the fourth species in one part1 as usual4 ,to cantus firmus b write first1 second and fourth species in the other three parts4 ,fig4 #adc;a4 ,to cantus firmus c write the first1 third and fourth species in the other three parts4 ,fig4 #adc;b4 ,to cantus firmus c write fourth species mixed in the other parts4 ,fig4 #adc;c4 ,,canti ,,firmi ,illustration3 ,fig4 #add4 ,,lesson ,,xxix ,illustration3 ,fig4 #ade4 ,,exercises ,to canti firmi a and b write fifth species in one part1 as before4 ,,canti ,,firmi ,illustration3 ,fig4 #adf4 ,,lesson ,,xxx ,illustration3 ,fig4 #adg4 ,,exercises ,to the cantus firmus write the fifth species in two parts4 ,write four times1 changing the cantus firmus into every part4 ,fig4 #adg;a4 ,write one eight-measure phrase mixing the second1 third and fourth species 7b74 ,also write one exercise combining the first1 second1 third and fourth species 7c74 ,,cantus ,,firmus ,illustration3 ,fig4 #adh4 ,,lesson ,,xxxi ,illustration3 ,fig4 #adi4 ,,exercises ,to the cantus firmus write the fifth species in all of the other parts4 ,fig4 #adi;a4 ,write four eight-measure phrases with the fifth species in all parts4 ,fig4 #adi;b4 ,,cantus ,,firmus ,illustration3 ,fig4 #aej4 ,,lesson ,,xxxii ,illustration3 ,fig4 #aea4 ,,exercises ,write six eight-measure phrases1 using the fifth species in all the parts4 ,let the parts begin one after the other in imitation4 ,fig4 #aea4 ,,lesson ,,xxxiii ,,florid ,,melodies ,,as ,,canti ,,firmi ,,free ,,harmonization ,,in ,,two-,,part ,,counterpoint ,illustration3 ,fig4 #aeb4 ,thus far1 all notes in the measure foreign to the harmony on the first beat were treated as dissonances4 ,now1 the cantus firmus may be harmonized at pleasure1 the only restriction being that any tone foreign to the chord with which it enters must be treated as a dissonance4 ,fig4 #aeb4 ,it is not necessary that each part be strictly florid1 but that the effect of the parts as a whole should be so4 ,this applies from this point to the end of these lessons4 ,the suspension may now be a quarter-note1 or its rhythmic equivalent4 ,it then comes on the first 7a7 or third 7b7 quarter of the measure1 and the resolution on the quarter following4 ,the preparation should be as long as1 or longer than1 the suspension4 ,fig4 #aec4 ,illustration3 ,fig4 #aec4 ,the eighth-note as in ,fig4 #aed;a is good4 ,it should be used only on the second half of a weak beat1 and be preceded by a dotted quarter-note4 ,sixteenth-notes may be used in place of the eighth-note1 but should be approached and left step-wise4 ,fig4 #aed;b4 ,illustration3 ,fig4 #aed4 ,the first species may be employed occasionally in the course of an exercise4 ,make plentiful use of imitation4 ,when more than one line of a choral is used1 it may be treated by having the other parts continue through the holds1 as at a1 or letting them rest1 as at b4 ,fig4 #aee4 ,when1 in place of the hold1 the movement continues1 it is necessary to interpolate a full measure in place of the hold4 ,fig4 #aee and ,fig4 #aei4 ,illustration3 ,fig4 #aee4 ,the note under the hold may be continued the extra measure1 or the part may rest and then reenter4 ,all that is required is that it begin after the lapse of one measure1 i4e41 when the line ends on the accent the next line begins on the weak beat of the measure following1 and if it ends on the weak beat then on the accent of the next measure4 ,the interval at any hold except the last of a choral may be either a perfect 7a7 or imperfect consonance 7b74 ,fig4 #aef4 ,illustration3 ,fig4 #aef4 ,modulation often occurs at the holds4 ,if so1 make it clear4 ,in this and in succeeding lessons set the cantus firmus in any part1 and transpose if necessary4 ,,exercises ,to cantus firmus b write two counterpoints above and two below4 ,to cantus firmus a write one above and one below1 with both parts resting at the hold4 ,also do the same with the counterpoint continuing at the hold4 ,fig4 #aee;a1 b4 ,,canti ,,firmi ,illustration3 ,fig4 #aeg4 ,,lesson ,,xxxiv ,,free ,,harmonization ,,in ,,three-,,part ,,counterpoint ,when writing in three or more parts1 it is well to let a part rest occasionally1 and1 when it reenters1 have it imitate one of the other parts4 ,fig4 #aeh4 ,illustration3 ,fig4 #aeh4 ,,exercises ,to cantus firmus a write two counterpoints above and two below in two-part counterpoint4 ,write two original eight-measure phrases in two-part counterpoint4 ,to cantus firmus b write one example in three-part counterpoint with continuous movement at the hold4 ,fig4 #aei4 ,illustration3 ,fig4 #aei4 ,,canti ,,firmi ,illustration3 ,fig4 #afj4 ,,lesson ,,xxxv ,to canti firmi a and b write two parts4 ,write each three times1 setting the cantus firmus in all parts in turn4 ,write one of the solutions of the choral with continuous movement at the hold4 ,,canti ,,firmi ,illustration3 ,fig4 #afa4 ,,lesson ,,xxxvi ,write two eight-measure phrases1 and one sixteen-measure phrase1 of original counterpoint in three parts4 ,,lesson ,,xxxvii ,,free ,,harmonization ,,in ,,four-,,part ,,counterpoint ,illustration3 ,fig4 #afb4 ,,exercises ,to the cantus firmus write three parts4 ,write two sixteen-measure phrases of original four-part counterpoint1 one major and one minor4 ,,cantus ,,firmus ,illustration3 ,fig4 #afc4 ,,lesson ,,xxxviii ,in this and the following lessons have the parts in some of the exercises begin one after the other in imitation4 ,fig4 #aea4 ,,exercises ,write two eight-measure phrases1 and one sixteen-measure phrase1 of original four-part counterpoint4 ,,lesson ,,xxxix ,write two sixteen-measure phrases of original four-part counterpoint4 ,,lesson ,,xl ,write an original exercise in four-part counterpoint1 extended to thirty-two measures4