LESSON VII

FOURTH SPECIES (Continued)

The first and fourth species may be mixed as in Fig. 71. Rules for writing other than the first species in both parts are to be regarded.

[Ill.u.s.tration: Fig. 71.]

EXERCISES

To cantus firmus _a_ write two counterpoints above and two below, in the fourth species.

To cantus firmus _b_ write two above and two below, three half-notes to the measure, with syncopations.

Write two eight-measure phrases, mixing the first and fourth species.

CANTI FIRMI

[Ill.u.s.tration: Fig. 72.]

LESSON VIII

COMBINING THE FOURTH SPECIES WITH THE OTHERS

All previous rules for combining species still apply.

In combining the fourth species with other than the first, the following intervals may be used on the first half of the measure, in addition to those mentioned in Lesson VI: When the counterpoint is below, the fourth, fifth and seventh in suspension, and the ninth in r.e.t.a.r.dation; and when above, the fifth in suspension, and the seventh in r.e.t.a.r.dation; but in every such case the part having other than the fourth species must skip to some other chord-tone before resolving the suspension. [Fig. 73.]

[Ill.u.s.tration: Fig. 73.]

The leading-tone may be doubled as in Fig. 74. Here the leading-tone that is prepared skips to some other chord-tone, while the new leading-tone remains stationary.

[Ill.u.s.tration: Fig. 74.]

The minor or diminished seventh, major or minor ninth, may be used as preparation of a suspension in either part, provided it is approached by a skip in an upward direction, and is consonant with the other part, or is one of the permitted dissonances. [Fig. 75.]

[Ill.u.s.tration: Fig. 75.]

The fourth species may be combined with the second or third species, and two or three notes syncopated may be written in one part with six in the other. [Fig. 76.]

[Ill.u.s.tration: Fig. 76.]

EXERCISES

To the cantus firmus write one counterpoint above and one below, in the fourth species.

Write one eight-measure phrase each, of the following combinations: The fourth species with the second; the fourth with the third; two notes syncopated against six notes; and three notes syncopated against six notes.

Write some in major and some in minor. [Fig. 76.]

CANTUS FIRMUS

[Ill.u.s.tration: Fig. 77.]

LESSON IX

FIFTH SPECIES: FLORID COUNTERPOINT

[Ill.u.s.tration: Fig. 78.]

Florid counterpoint is a mixture of the second, third and fourth species.

In addition to these species eighth-notes may be used in groups of two on the second and fourth quarters of the measure. Both notes should be approached and left stepwise, with the exception that the first may be taken by a skip. [Fig. 79.]

[Ill.u.s.tration: Fig. 79.]

Not more than one and one-half measures of any one species should be used continuously in one part. [Fig. 80.]

[Ill.u.s.tration: Fig. 80.]

In the use of quarter-notes it is necessary to exercise care. They may be used on the first half when preceded by quarter-notes, when the entire measure is filled, or when they precede a half-note which is the preparation of a suspension. On the second half they are always good. [Fig.

81.]

[Ill.u.s.tration: Fig. 81.]

For the present the suspension should not be less than a half-note or its rhythmic equivalent in the ornamental resolution.

In this species the suspension may resolve ornamentally, that is, it may have some note or notes interpolated between the suspension and its resolution. The relative position of the suspension and its resolution must remain the same as in the regular resolution. [Fig. 82.]

When the suspension is left by a leap, the note skipped to should be consonant with the other part (_b_). When eighth-notes are used, as at _a_, they must be approached and left stepwise.

The suspension, instead of being sustained as a half-note, may be repeated on the second quarter, as at _c_. In this case it is best to continue stepwise through the tone of resolution.

At _d_ the resolution, instead of coming on the second half, appears on the quarters on either side. This is good.

[Ill.u.s.tration: Fig. 82.]