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 NOVELLO'S
MUSIC PRIMERS AND EDUCATIONAL SERIES.

A DICTIONARY OF

MUSICAL TERMS BY

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 0^2^-/^^^--
NOVELLO'S
MUSIC PRIMERS AND EDUCATIONAL SERIES.

COMBINED COUNTERPOINT
IN 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 OF

CAMBRIDGE. 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 greater

part of the work is necessarily given up to the exposition of
Simple Counterpoint. As Combined and Florid Counterpoint
form now such an important feature of examination work, it
is thought that there may be room for a book dealing only
with those particular branches of the subject, and which might
be 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 Counterpoint
in 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 no

modulation shall be made before the primary key has been

established.
No attempt is made to deal with Modal Counterpoint, as
found in the works of the composers of the Polyphonic period,
that subject being, in the writer's opinion, better deferred
until the student has completed a course of Counterpoint
founded on our present tonal system.
A feature of this book is the considerable number of
worked exercises, including every possible combination and
arrangement of the parts in Common time, except that the
5th Species is the only species treated in combination with itself.
As to its plan, the first three Chapters deal with
preliminary matters, and may not be necessary, wholly or in
part, for the student who has a natural instinct for choosing
the right harmonies and passing-notes.
With reference to Chapter II., the writer is well aware
that he lays himself open to the charge of regarding the subject
too much from the harmonic point of view, but he was induced
to include this Chapter by observing the feeble harmony so
often 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 2nd
Species, or as crotchets at the second half of the bar in the
—
3rd 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 seems

convenient 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, which
present 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 and £ in any combination
j?

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 theCouncil 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 Goss
to 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 know
how to observe it."

The writer expresses his thanks to Sir Walter Parratt and

Professor 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 was
finished, 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
" Traite de Counter-
49, by Theodore Dubois, are from his
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 voice

or instrument shall have a good melodic part. This is not
always possible with parts proceeding in semibreves, but in
Combined Counterpoint in three or four parts, where all except
the Canto Fermo consist of moving parts, the melodic
character of each of them should be insisted upon.
A part may be unmelodic through there being a frequent
harping on the same notes within a too limited compass or, ;

on the other hand, the movement may be too strident or

disjointed, extending to the extreme limit of an octave or more
in the course of every few bars. In either case the part
fails 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 these
respects, and is, perhaps, the most difficult species to write
really 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 point
will 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 some
culminating point; usually at the 6th or 8th above, and then
recede again towards the note on which they started. This is
the type of melodic part to which the following remarks more
particularly apply.
The form of a melodic part may be said to be of the nature
of 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 climax
may not be arrived at too suddenly. But whatever form the
melodic 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," " The

Lincolnshire 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 Dmajor,
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 them
and lift them up for ever. Day by day we magnify Thee," and
a similar passage near the end of the Gloria in the Nunc
Dimittis.
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, be
really singable. Whilst imagining the effect of the parts
sounding together as he writes the exercise bar by bar, the
student must acquire the habit of constantly testing the
melodic 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 never
be of a high order.
If, as is unfortunately sometimes the case, he has only an
indistinct idea of the sounds that he writes, it is advisable
to take some special means to improve this, such as a course
in 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 see
whether it sounds as w as expected. This should, of course, be
r

regarded as a temporary measure, to be gradually and at last

entirely dispensed w ith, as in the case of the use of artificial
r

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 the fj, and injudicious use of this chord is often the
cause of weak harmony.
A ^ will never sound amiss with the Bass next moving by
—
2nd, 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 when

the Bass next rises a 3rd to a % chord :

Weak. Weak.
:o:

i
§=£ '-EL
:S:
^
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 be
occasionally 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 :

All good.

I -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 Bass
a % should be taken on the Supertonic :

Weak. Strong.
<9-

i
-Q-
&z St
W^-
5. —
On the Submediant some students seem to make a practice
of always employing a §. Such excessive use of this chord
is unwise, as a stronger effect is more often than not produced
by employing a § on the Submediant, especially with a leaping
Bass.
The § on the other degrees of the major scale presents no
particular difficulty as regards the movement of the Bass, or
as regards harmonic progression.

The foregoing remarks on chord-progression may be taken

to apply generally, whether the Canto Fermo is in the Bass
or in an upper part.
At the same time it must be borne in mind that with a
moving 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. The
progression may be strengthened, or even entirely changed, by
the moving Bass.
For instance, the following example at (a) consists of the §
on the Tonic, with the Bass rising a 4th, which is described
on 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) :

(a) Weak. {b) Good (c) Good. (d)

& £
P
zz:
IS
-"g:

W6
— "
=£21 DZQI
 COUNTERPOINT FROM A HARMONIC POINT OF VIEW. J

Similarly, the weak progression of a § on the Tonic with

the 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 on
page 4 admit of possible use.
The above examples (a) to (g) all have reference to the on j|

the Tonic. The progressions from the % on the Dominant and

Supertonic, 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

on the Dominant followed by the ^ on the Subdominant,
jj

introducing the False relation of the Tritone : —

I
Mi — 8-

Composers of the Polyphonic period certainly made free use of this

progression. So characteristic is it of early Church music that modern
composers 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 found
that the parts move entirely, or almost entirely, note-against-note. Its
use is inexpedient in contrapuntal writing against a Canto Fermo of
semibreves.
 — — — —

8 COMBINED COUNTERPOINT.

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 :

122:
:g: s
jQ.
—T3- -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, may be well to give it
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 the
following :

C.F.

jGl.

w^ u=£-
tt—

Or, if the first inversion of the Dominant harmony is

employed :

C.F.

-© m Rare.

^B^fl

23

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.
C.F.

W
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 Fermo
may present difficulty, on account of the limited choice of
chord-progressions.

The is to take the Tonic harmony instead, but

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

 — —

10 COMBINED COUNTERPOINT.

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 Fermo
in 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 a
conceivable instance with a syncopated Bass) to take the Submediant
chord 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 up
or down. It is somewhat less restricted with a moving
Bass.

When the Supertonic is followed by the Dominant in the

Bass, a § on the Supertonic sounds weak, as in the major
key. The dissonant i] on the Supertonic being unavailable,
it is generally best, with this movement in the Bass, to take

an incomplete § :

-O-

^
W^: fr°

tt«
I
tt g -

-te

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 :
 —

COMBINED COUNTERPOINT.

an essential note of the chord in an uppei

If introduced as
part, the minor 7th of the key induces a certain vagueness
of 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 an
essential 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 and
quitted by 2nd downwards :

It is also possible to use the ascending major 6th of the minor key as
an essential note of the chord, provided that it be approached and quitted
by 2nd, generally upwards. It, however, presents great difficulty with
moving parts, and can seldom be profitably used. The student is
recommended not to use it in Combined Counterpoint, with the exception
of 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 an
ill-chosen passing-note it may clash against the other parts
and produce a dissonance at the last part of the bar which
does not admit of satisfactory resolution.
The following examples are faulty in that respect, the
cause being the use of unworkable passing-notes in the
2nd Species part :

4
9 zz

m-TT

Note the ugly progression between the bars in each

example :

m=m

Albrechtsberger and Cherubini avoided this difficulty by

practically discarding the use of passing-notes in the 2nd Species
part in the few examples of Combined Counterpoint to be
found in their treatises. By so doing one of the most salient
features of the 2nd Species is lost, and the part is reduced to a
more or less inelegant series of leaps in every bar.
The better plan seems to be to make a selection of those
passing-notes which are most adaptable to the addition of
other 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 :

P O n -**-r> _
/
"
'

1
^ rj
1
n a
1
T
1 |
1

l 1

iffl f°" <T3 '

1

\Sy 1 '
'
1

*y ' 1
J

-e- -Q_
Mf <Z>
rj
f-j
l("J.
""w^ O
(*)
—Q. ^ — T-P-0-,
Jf L'u f?
Im F p
'

r^
n r> "P r
3-
te~
H
T~ri 1
1

Vf '
1

! 1 1 •

eWt* bi Q. ra
-© .

^y "
(gja.fr
fr
, .

* tt

The Bass Rising a 2nd.

This progression is not of great use except with the
Dominant in the Bass :

$ m
m ^~ 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 the

interval of the 3rd, that interval can form part of either a
§
or chord, but a % is recommended as generally best. It
I
is figured 6 in the following examples where the £, being
dissonant, cannot be taken.

The following remarks refer to examples in the minor key

at the top of the next page :

(i.) The 6-5 on the Supertonic with the upper notes of the

ascending melodic scale moving downwards (see a) sounds crude.

It is generally better to take the descending form of the
melodic scale, even if it makes a transition to the key of the
relative major, as in the following example :

Ss
BE
(ii.) On the Dominant (see b), the complete § being
dissonant, the 3rd from the Bass must be omitted.

-g> trt- f^ Q =P==^=

:o_ t=t

w
(6)

-p- *3 1— —— T-&-&- _q_:

rP—^-En n 1

|pS>~^l
i

-j
/L 1 1

lm
VU '
t
F
1
1

•7

/~y 3
« -&-

Si
<*
(w.
B= &6
 — — H ——

16 COMBINED COUNTERPOINT.

(«)

\£^^Z p ^ Q "1
— ja._i]
<>-
—
1

f* rr>

-H-
1

- 1
Ll_|J
1

-<s>-

• oi)\ * -^ O '
1 O |

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
which might almost be termed the Palestrina
5-6,
by the very important part it plays in that
passing-figure,
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 :

(«)

T2\ oq
Pllll iifctMf is
 THE PASSING 5-6. 17

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

g -I

H-g— i-

22=:::p ^^
il=ei
22:

0r6
3

zpz:
.<=:
fat;J=tte£5lE

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
 —— — t ' — T un

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
-&-\>
{jp'WJ^ — "1— '
_o
—
q=t-
rj "^
— T

— '

Q ~
-&— 1-0 Q~- 9—
r*
^4
(?):. \>

6 6 6 8 6 6
A
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 degree

of the major or minor scale, except where there is a dissonant
triad.

The following examples are intended to show the various

movements of the Canto Fermo in an upper part which
admit 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 would
prove impossible on account of the movement of an augmented
interval, or a doubling of the leading-note :

Possible.
JCL-
TZT-
E ft
1-

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

-£2_ , O

m ^ p 1
:a: P o
I
7?~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——ae
1

1l
&
1

1
n
u

—&—rs- <-
£L_.
@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. Only

the most likely Bass notes are included in the following
examples : —
—f
m —Q
^j-£*-7 ^ t-O

^9-TT O^ T W ^ Q On -O-

W:
rZ2T.
3BEE •
p rz>

—-
( I

tfcr:
>-T» h
_. fej
I

6 — 6 — ?.

6 t

Occasionally the passing 3-4 is taken at the interval of an

8ve 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

J
VL> <-J
*

'TaV 1-2
[W« C> tJ
!
-&—**-
\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 6
XX.

—
 THE AUXILIARY NOTE. 2 1

The observant student will have noticed in the course of this Chapter
that 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 an
upper 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 -& -o- ~~ e—

A-
*B
iJ
-^ -i
n r>
I
r
i
^,
r^t — 1
r
T
-1
— — <T2
1

(W\«
(w«
— CJ
vi^
5 6
 — —n

COMBINED COUNTERPOINT.

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
w—^——
/.
&- _o
—— 1

]
<"->

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 means
of 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~ ,
^O — -U

<raV
(W
\^s
•
P
1
fj
|_
'

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 Simple
Counterpoint.
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 completed
afterwards. Such plan must be considered of a tentative
nature :

ziz

C.F.

S^i
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 an ;

occasional 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 changing

notes. The two moving parts may then approach a dissonance
at 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 is generally obtained by

the stronger effect
retaining 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—
T~

:o:
:^
'

5 '
5 5
3 3 2
There is no effect of consecutive 8ves and 5ths between the Tenor and
Bass 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 a
change 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 § chord
at the middle of the bar sounds thin. It is particularly
objectionable when approached by similar motion, as in the
following example at (a). If approached in contrary motion,
and with the crotchet part moving by 2nd as at (b), the
progression 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 contrary
motion, as at (c) :

(a> Bad. (b) Better. (c) Good.

T-d- Jl • 4. ^z=*
I
¥
m
5. —
The conventional Changing note figure, consisting of a
turn round a central note, should be sparingly used. It is
sometimes useful at a cadence, or to fall back on in case of
difficulty :

- m W a »g ^^ =F * r=?***H^=f

It is recommended that the last note of a Changing note

figure 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
v£l-
p
1
f
1
p^ ^ :

6. —There is another and more ancient type of Changing

— —
note the Nota Cambiata as adopted by Fux from the works
of the early composers employed also by Albrechtsberger
;

but rejected by Cherubini.

G. J. Bennett — Combined Counterpoint — Novello—

 — — —
* — 1 y

26 COMBINED COUNTERPOINT.

The Not a 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)

;
:

ro:
i 1
J--4:
-QT -?-+ Z±
f-r
m :cz:
ZZZ1

H} — T~~ —*— —
~t>
'

-g— ^Q^S^Z?
1 ,

1
(i
^—o>
\i
ra j

'iff
X
^ —£5
i

&
1

r-J
Tt>
Vf»-^
— rl
—— rj

+— ::

This Changing note figure differs from the conventional turn in that
the first three notes are all consonant with the Canto Fermo. Against an
objection to its use on account of a certain ambiguity of harmony, it may
be urged that this seems to be a case where the harmonic point of view
should give way, on account of the excellent melodic effect.

7. —
The following examples show some ways in which
the 2nd and 3rd Species can be combined, the passing-notes
in the 2nd Species part being limited to those workable ones
recommended in Chapter III.
Many
of these and of the subsequent examples are also
available in the minor key :

— &-. £3 :ri:

i rTf
:ii£2i
-«LJ_J_-
 THE 2ND AND 3RD SPECIES. 27

n 1

—
l
|
i 1

# — <S> -J-J-t^H-
'"J
fk <^» id
•> I W -+- - m -
-o- 1 I i
-&- -8-
r I

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

6 5 6 6 5 6 5

—o
—-
1
r> 1 I

&-*-'J
7T J
m (O
«
?-3
— 1 1

—«>
*y P e>
*
-Q-
f m r-j -i A
r
1
i i 1

r~ i r

^ r>
o
fr£\'
[(•/•
N

6 5 6 5 6 5 6

ry
# - |

r) J
J
* 1

m m
'
1
T rj
o rj
\J S 4 t i
|

P 1
«
r r
- °^
i

J A -G>- I
l

rj
( W
(<-£• •
• --, TJ>

5 6 5 6 3 4

(8-" in Bass.) 1
(3-4 in Bass.)
-<> "# "
| r-S
j? ;>
-0- *-

^ r -f-r 1
ri>
-Gh-
1 1
O
1

iWi
((*;.
• °
i
*"->
r>
^ ^ —r-> 13

- -
i ;

g
'
'

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 fundamental
discord can be effectively introduced at the last part of
the bar.
 — — — 1 —— |

28 COMBINED COUNTERPOINT.

Observe how the dissonance is both prepared and resolved

in the Canto Fermo :

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

J J J-jn
~ :o H#
• U-Hn
• <~j

—
4rr>
tr " L-G> 1 ~&— £> -s»—
1

m-r 1
— r
p© ~j° r>
r—<S>
-?j — r-^

—a —k
X "w\
rm P
—J—m
Added
|

\
6th.
m- -0
f r
Dim.
~~ |

m * S
\~
7th.
1

'
— 1
Dim,

rj
7th.

IsU • 1

J rv
1 1

-O-
Ar- j-& Q 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 most
useful, 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— and;
— ; — ;

12, bars 1
It will
4. —
be observed that the two-bar pattern is not
necessarily repeated entire.
 THE 2ND AND 3RD SPECIES. 29

Sometimes it is convenient to make the crotchets follow an

independent line (see Exercise i, bars 4 8), which may indeed —
produce the better effect, provided that the sequential character
of the passage be sufficiently recognizable.
Occasionally, as in Exercise 10, bars 4 8, sequential movement—
which is not suggested by the movement of the Canto Fermo
can be employed in the minim part.
—
11. The following are some of the many possible forms of
cadence, and are nearly all available in the minor key. The
student is, as in subsequent chapters, also referred to the
cadences at the end of the worked exercises.

~~o:
£= 1
— -w ^-i
zozzz:

^l
H )— J—\
/1 m m J 1 I

fi — —e =°^
g> n
P I

—e» — -r
—
-l 3
m
»-
—m—m- — &
L_ 11

P | i

-0-

^
75
r-i
— f-i

t=
p-
-r
J

d— <TJ

*
^2:
IS
 —r

30 COMBINED COUNTERPOINT.

In most of the following and subsequent exercises the Bass is

where there might be
unfigured. except for an occasional figure
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
, F.R.C.O., July, 1914.
-~-
gEr^=g=f:

^^^=f=^gi^^=FH^^ S —
^B=m
1

C.F.
I

S^H=J=
I
:g=*z =ff=P= T*—pr
«HeeJ=t ^==t *=

^ —
Note, (i.) Bars 1-2. The 8ves between Treble and Bass are from Tonic
1^
to Dominant, in contrary motion, and both unaccented.
(ii.) —
Bar 3. The doubled leading-note is approached and quitted by
conjunct movement in both parts.

The above exercise might also commence in the following way. The
alternative small notes introduce 5ths between Treble and Alto. They seem
to be permissible, not being direct, and the second 5th consisting of notes
unessential to the prevailing harmony, but they are hardly recommended :
 THE 2ND AND 3RD SPECIES. 3

mm
From an Examination Paper.

st
^^m
m *=*=* 3g=^gJfEgJfz^zg:
EE±EE-J~E
etBMi
3=t±

C.F.

$
S==
=*
1
"
^
I

—1~ --&==& :—
»^MB
f» •
3E=S= *- P
I*
I
*~
: . l
*
I
c ±:
;
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.

«
m
-r
q==ez
f-

C.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 any

other 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.

 r

32 COMBINED COUNTERPOINT.

CANTO FERMO IN TREBLE.

Ex. 4. Oxford, 1st Mus. Bac, 1915.

mE=T 4==^ T-y-nrr-P

1
*_
p=F=P= T-g—
t^^P
s»Tfr— E --=3; p
£23 g =F=

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 3r=i= :H=g * C-

^=Eg

i
^Wrffe^ fr ^rf
wlr-
*2d!3
1

r ^
—
^ ^
Note, (i.) Bars 1-2. The 8ves between Treble and Bass are by contrary
p^
HI
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).
 THE 2ND AND 3RD SPECIES. 33
Ex. 6. Oxford, 1st Mus. Bac, 1915.
b

C.F.

^=^z
& b$
i- I I

LPlI? <= T5 ^3- •

: -1 —
s? 1—<s>—

:
.£^£___
i-stn^
u — rr
•&- r-S> fa
r p— _
jl
y

w t>b l — —F-=rv^
1

-U-L-U-P- 4=^= ——
—— -M 1
f P m p-r- -f-m^ —1— —
-i 1
.

1 1

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

5 — H6

CANTO FERMO IN INNER PART.

Ex. 8. Durham, 1st Mus. Bac, 1913.

,4 1 |— r~r
fJfc g=j^=fe ^ 1=
aL

C..F.

gjfe-J r r i
J^ w rrtr J ^Uj^4*m
 - 1 — 3 — — J H

34 COMBINED COUNTERPOINT.

:{Sr==:

HE ii

iSS -M=?=*l HZZMZ mt^^M

Ex. g. Oxford, ist Mus. Bac, 1914.

3=u:

C.^.

ft*^

p^=^
*=t ^^ 3t* :~r
J—

7^~ lty» —i— —2 —

5
- =q—
"P
I

M
/r.
-»
1
-i-
r"=J

=t= -H
f**
1
^f-^
|

S>— ^=? — H

1ft b .—
—<s> —
—<s> —
w —m—m V=f-fw H— hsy -ri >-"r*~~f~i J-=t^3=3
~ 1

b JlI -H- -fc-*4—U- 4=«= -H--t — *&^=T L_J 1

e-
1

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

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

--t-
:^- .a.
m -<=-

C.F.

i^=
Si» :

-i—
g^^^Eg^^S^^
 THE 2ND AND 3RD SPECIES. 35

fccttz 3= j=£=5= &=

f~-

-M~

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

Ex. 11. F.R.C.O., January, 1907.

I—-r « »~ 3=r£
^-*~l-* ^T=*=
C..F.

Ei_=

§£^ ISe ^^i^

£
--&

- p — -
Si
ftr^
4Rrg —J^__ 1

— 1
— n
>Ci- » [

1 -J
«S>

L
.

J_L
(=>

-fc=d -^ — <& —
Note. Bar 7. — Doubling of the Leading-note with conjunct movement
in both parts.

^^^^f^^^^^^
Ex. 12. A.R.C.O., January, 1909.

p^ffr-rr
C.F..

*F=&
m^: t=i=
f \[" f—^=£= a...

-*£
5 6
3

Note. (i.) —
A working of the above exercise is difficult except by
employing two chords in nearly every bar.
(ii.) By changing the harmony in Bar 1, sequential movement is obtained

in the Treble.
 J

36 COMBINED COUNTERPOINT.

IN TRIPLE TIME.
Ex.

a 13.

C.F.
• "-:«- tj * |flj*
=1 1
Durham,

--£=?- z^--Mz
L
1st Mus. Bac,

-i !
191

I
—
1.

-F

tm
'jt2_

^w=^
|S^=^
M -*-t-?- -»—»--

WdH9
*m
-
:~?zz
IZZl
^=>-

^=P=F g^^Fg3^ gm^^

»B=*==

fe ^
ggj S =*=g=
n-
=fifc n
Note. Bar —
2. The skip from the fourth crotchet which is dissonant
with the Bass is perhaps justified by the particular pattern of the Treble
part, 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 Bass
part can never be left entirely until last.
In planning out a 4th Species part the student is sometimes
led on by the movement of the Canto Fermo to write such a
Counterpoint 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 being a disjointed part, consisting of a series of
it

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.
 —

33 COMBINED COUNTERPOINT.

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
-£
:g£
3
^
Accompanied by the 3-4.

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

first
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.

Accompanied by the 5-6.

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

the 2nd below :-

g^ zgz^zgplj
j

ms -_-J- 22:
 THE 2ND AND 4TH SPECIES. 39

Accompanied by the 3-4.

The 3 4 is really the first inversion of

? § (see previous page).
It can only be taken with the Canto Fermo in the Bass next
falling a 2nd, and it leads in the following bar to the sounding
of the root of the chord against its gth, which is harsh in some
positions.
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.)

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

That (c) sounds particularly well.
at At (d) the Treble cannot
rise a 2nd, as this would sound extremely harsh against the
suspension in the Bass. The Treble instead rises a 4th, and the
suspension in the Bass is treated as an inverted 4-3.
(See also Exercise 16, bars 3-4.)

{a) ] -larsh. Good. Good.

ssible.
^sk r-> 0-
p
=1= — 1- —C —<S>-
-J

'
i . —C2
<S>-
P -&-
f-i <—& . & l—o i
1 s_ " i

tfiV
((*;•
v^>
%A
d s- —
1

SJ
1

5 fj q' 1

H °
f
]

_j!L_d_..
7 6 7 6 7 6 7 6 6 5 9 6
|

4
|

6 5 —
—
3 4 3 4 5 2 2

The progressions at (c) and (rf) can be continued in sequence

with excellent effect :

W -&—&-
-!
h- I§?=£±

In the above examples the chords figured ^ and \ may be regarded for
all practicalpurposes 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 is j?

resolved on a § containing a perfect 5th, that particular movement of the

Canto Fermo is not essential.
 40 COMBINED COUNTERPOINT.

THE SUSPENDED 4-3.

Accompanied by the 5-6.

-1 n
:«.
=^F
$ zi

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

Accompanied by the 6-5.

m ZZ2Z
s^i
!P

THE SUSPENDED 6-5.

Accompanied by the 8-7.

—*2 ^g_

ZpZ
1 I
C32fc
:^:
^ I I

The student should study the foregoing examples, noting against what
movements 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.

,
 THE 2ND AND 4TH SPECIES. 41

4. — The thin
effect of the bare 4th between the upper parts
of a chord has already been referred to on page 25.
jj

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

Apossible way out of the difficulty is to make the inner part

skip to the 6th from the Bass, as at (c).
(See also Exercise 14, bar 7.)
This progression also sounds well with the upper parts
inverted, as at (d) —
{a) Thin. (6) Bad. (0 Good. (d) Good.

m
w
-jr±
3: 2±
*&~^r

9S 98 98 6
98 6

The bare 4th in Exercise 14, bar not objectionable, as

5, is it is covered
by the same harmony being continued in the following bar.

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

*
.Ql
^E^ _Q_
^=P=T B q H -

1 EE
4
r3 5 3
6 5
3

G J. Bennett— Combined Counterpoint— Novello—U

 — —

42 COMBINED COUNTERPOINT.

In the following exercises the complete figuring of the Bass

is given :

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

&E£
C.F.
m :k s

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

m^ :=g—r~y *m 2Eir«
-_ -taT

tt^-p —p^l-f^^? S- W^
-^1
I
4»-
m -p-

6 5 9 7 6

_£?: ex. (2

f=j=

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

C.F.
_<s rz=:
m^=z-
I
m fc^ES^^&E t=

H 22"

^
6
5
 Ex. 16. Durham, ist Mus. Bac. igu.

— pa 1

g?^ i
=b= ^b=
1

==>
*=h= ^=kg--J=t
C.F.

«". — rs
:fe^

^Tfrfe—= P — ~JP — ^—
^W 1
r

11
—i—4
s

=t
=*=

£k—
55
1
<=

fe

Si
^ l=^E
V

EXERCISES 17 TO 20 ARE SETTINGS OF A CANTO FERMO

BY CHERUBINI.
Ex. 17.

- ct- "P=
?3*=^=g ^ ::=^=Sfc
§i

iH^Iili
^ qg
— g~
>s) :
=1

=g— f 4=i=
^
7 6 7 6
-
3 4

pm pzr^ gESE==EF£i r-
tt
^ -

^tt 3 =^ g
3^g
EE
ff? EE ^^^^^^S
@g 7 6 76 76 767 6

Note. Bar 8. — The suspension with

resolution note sounded above it its
is undoubtedly harsh. Some justification of its use may be that the Treble
part here imitates the pattern of the opening bars.
44 COMBINED COUNTERPOINT.

:k=r
zT-¥~Yf^±£=m--

zzfrrsfc

5 *
6 6
^S 5 9 8
q=i^=
^=fc::
6

Ex. 19.

6 6 4 6 2 4

;
-

i
^r^^3^f=f^f^^EE^E^^^^^
 THE 2ND AND 4TH SPECIES. 45

Ex. 20.

±? m
-p g-
£3^E =?e£3?e i
p
I
i^g
4 3 9 6

L" P/*s 1
— f=^=
1- :g_^ £- ^ ^l^J _gl
I
ofc^k
b^

W^=^ "-
t=t3~22:
4 6 6 7 4 6 6
5 5
 —— —

46

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 referred

to 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 a
2nd or 9th below the Canto Fermo, the crotchet part can be
treated 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 not
follow the same melodic pattern in two successive bars. In
writing this part some ingenuity is required to avoid implied
consecutive 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 a
2nd 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 understood

that such treatment of the crotchet part should not be taken
against a succession of Suspensions of the 7-6, or their equivalent
in the Bass.

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

&> ::

^£Z -F — 1 F-

m zresz:
it—
5
3

I
i
rT-MZ
4 — 3 —
1^21

6
5
—
—
S
48 COMBINED COUNTERPOINT

CANTO FERMO IN BASS.

Ex. 21. 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 two
parts within the bar palliates the harshness.
 THE 3RD AND 4TH SPECIES. 49
Ex. 23. A.R.C.O., January, 1910.

I? " I
P i d

l —^-\-
% if f * r C £*i=*± -i r

5^-fc
C..F. 9 8

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

p- -^>
SSE -£2-
1

:«=*^r
I r
=tt -—4-,.

y_^_-r T -r * — -1 I

LgJ -
(=
I

ng)
S£

ilEiEEE 5=
C./\

Pu J
y^-*- !
=*==* JT=t
* *~^
y-5-

is g :g a-

§5^
5 6
3

im
-*-?-* -^
1 1 1

*i^ii ^^*^rjG2a^^
s
Note. Bar 10. — The dissonant 5th in the Alto is resolved in the
following bar.
5o COMBINED COUNTERPOINT.

CANTO FERMO IN TREBLE.

Ex. 25. C.F. by Dubois.

^^ : _ P -f
1-
5 '
-U- V—m:

<v
£z
jm—fL.
-p
:*=*: *t

P 3»€

i^ -f- y
±=t= *=*=*=?-
f-1-
r r w=^ ^-m-r g^p^Eff=y

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

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

 1

THE 3RD AND 4TH SPECIES. 5

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

m ^§^==Eg=iEgEEEE3^3E
m=r-3—3=^3^= ^^^^^ *=

ft:
^=t^=^
1 r
*t

CANTO FERMO IN INNER PART.

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

 r

;j COMBINED COUNTERPOINT.
Ex. 29.
--*=£
——
ir—r—w
1 1
--

--2=M.
3=£ ^
A.K.C.O., January, 1907.

C.F.
m
is 1=*= ^i :
- §=e

^^^^^^^ ^=* :£=*=

^=t

fe
If* T=g
iSle 1=
—
Note, (i ) Bars 4-5. The 8ves between Alto and Bass, the latter being
syncopated, 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. F.R.C.O., July, 1914.

j^^^^^^ .-m—£—m-
I 1 I
-
tPi:
^m
m C.F.

m 3
&.-
fe^EEErZE

&£ z*=B.
:£=_
T 3=m
t=
-•-»-
m :C=:zp!i
-i—— 1 1-

E-uM?
fe^±=

i^
a piiS™^i^l§=I 4 6
2
 r

THE 3RD AND 4TH SPECIES. 53

IN TRIPLE TIME.
Ex. 31. C.F. by Dubois.

CF.
zm^=-=*z
te^r^r-r^^T
IE**?
^M=ffZ
ifeE

P -P zzttP
v- b\, ,i
&
<=«-
igs •-J 1
.

—
r

H ^
I
V £fe

i^^^ -r-rm~r
Q=^
JbL-iedE.
-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 sometimes
deficient :

(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 2nd
crotchet.

(iii.) Quavers should be both approached and quitted by

2nd, 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 second

quaver 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."

* *—j I L

i
 — ;

THE 5TH SPECIES IN COMBINED COUNTERPOINT. 55

(iv.) In choosing a suspension, consider the harmonic

progression. Do not, for instance, as a general
rule, use a 7-6 when, on account of the movement
of the Bass, a % would sound weak

(v.) Do not use a 7-6 too frequently, to the entire neglect

of the 9-8 and 4-3 ;

(vi.) Vary the ornamentation of the Suspensions. The

following are a few of the possible ways of doing
so. 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
m
'Jtr&z
:gz* ^z=M: -*-*
* * J ^-t-Q-li

1
w^ =P=Szp:

$ s

4 — 4 6
— 2
 —

56 COMBINED COUNTERPOINT.

2. —
A crotchet tied to a crotchet is occasionally useful in a
5th 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 and

dotted 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-J 1
<rj

-g»—r-yj

7 6 (3—7 6
2 —
4. —
The occasional use of a syncopated minim is possible.
In the first two of the following examples the syncopated minim
introduces 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.)

.cL

te JPL JKE^I

im :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. 57

THE 2nd AND 5th SPECIES.

CANTO FERMO IN BASS.

Ex. 32. A.R.C.O., July, 1911.

-Ml£z *-m*~
tZ^=^
g g= .ip=g^ Si
— -——e*
-I 1-4-
m-*.

=& 5^=^
te^B^ ^sz;r^ 7= — =g F=rn >

wC..F.
^8
Ex. 33. C.F. by Dubois.

CANTO FERMO IN TREBLE.

Ex. 34. A.R.C.O., January, 1905.

=<= 1-^ n
^W=P
l -^-r-^-ri *
^=ff:
-I 1
r*F f
— 1
p

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

 : y

COMBINED COUNTERPOINT.

&=« —

©s 1=^^= 3=^ £==*=*=* J 4

Ex 35. C.F. by Cherubim.

fc-f^-j— a= =* *-y ig=rr -—

» . : .

<=?ee£ '
Izb:

-^ g-
H^:

F^=^g
-#—r-*=
-=-
fe —^=ft^ ^ :: ==
F

E^
--&= -&> -lg=L--&Z
 THE 2ND AND jTH SPECIES. 59

CANTO FERMO IN INNER PART.

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

ife^f ?=gm
-J?-*- m -W= t^: ^S^r—w-r.

m C.F.

^=&z
:r=:

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

*fc:

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

S|E^
 L

6o COMBINED COUNTERPOINT.

Ex. 38.

^ It!
A.R.C.O., July,

fP
1910.

g
1—

I C..F.

^=p:
U- — L_L E= I— !— U-
'

Ml t=d !_

Ex. 39. F.R.C.O., July, 1897.

——
I
?
33:
^ f^ ?-j _i 4=
1
-
£=~

£ jgg==i
cf.

3^. ^=t 1 fc Qm^t?3^^g

S^ 4=: ^
^i^
r*i 1 1

-r~y ezfcrtr.— =tJ=f=aF=£

Pi
THE 3rd AND 5th SPECIES.

CANTO FERMO IN BASS.

Ex. 40. F.R.C.O., July, 1904.

—r~w
Iw=%
-^T- ^=fei=l J=:p 3~r zz
-4 33313 zmr^r.
w

fi ^^^fT^^^^^E^^^^^^^
I
C.F.
 y i r F

THE 3RD AND 5TH SPECIES. 6l

=ȣ=
££ iptf:
HE* r *j == *
F=

r=r -L— r
i
^- 4=r
:£=*==? 3ti: rp=P=p:
I b 1

±=t

Ex. 41. From an Examination Paper.

=tr =t
-f^m^^r ^=*^ =*=* =*=£=

i i—m^-m
OT=t=
— 1

=*=^
Pi •=*: 3=p
rff=pz
1— =s=p= 5t«=t

tt— ^ p —rP
Bt

ii^»z ^=ft ±==fc i» *i

§^^^ 1*3=
3z:
te* 1
o—l f^-
 ^ r 1 —
1 — r

62 COMBINED COUNTERPOINT.

CANTO FERMO IN TREBLE.

Ex. 42. C.F. ay Cherubini.

-«
efr¥== .--O- 1

~f~^ -?— T"—S~ =1= —S-

-4- —— 1-
P
— p~ p
E 1
'- -1 4- 1
~H -1 -1 1
-1"-f-
-f—i- -MH- i» i

—f»~ — —
— fS> '

_Jj__
: —p- ton* *
1
V
* -^ • 1
:Z=
=f -F" -1
J— —
-p—f--
l—-

m?m **
—
-J*—-*-'
-i
fczfct=^=
3=*

p-t
3*^ IP^EiE^P^ *E

Ex. 43. C.F. by Dubois.

I C.F.

—
^^ P r«- -g= — 1
:ff:
=±
P-
^rrrr^
; tTt~p
:
1
t -m^r-m-
=t=* £gTfrrr rrrrg3=j3B3sg i

P e^i
MjSfS-m
f^F-f^S^g^-P^^j; r-rr-r

^^^^ TtPtc
I 1 I
-P-p-
±4=P=P E ^^q -

i
 f ^

THE 3RD AND 5TH SPECIES. 63

CANTO FERMO IN INNER PART.

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

i b - ^ P _*— # r
^
*fce=
^^^Eg
c.^.

—T
g^-S
| —— i
'
=g £-*- -r-p-=-f-
=t=p=t

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. One
single 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 7-6
4-3 7-6 5-6
And, with the Bass suspended :

4-- 6-6
3-3 2- —
The latter are inversions of the |:|, with the 9th and 4th respectively in
the Bass.

CANTO FERMO IN BASS.

Ex 46. Durham Final Mus. B., 1911.

3/t fT *A^ — -r—

I
•f— r-
£S L^i -1
fa- il
I
I

C.F. 5 6
3

i £. -t
e
gs =j^===^U=- — ===SU-I
—
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.)
 —

THE 4TH AND 5TH SPECIES. 65

Ex. 47. F.R.C.O., January, 1Q04.
?
a^§ ff K=
1
rp2=r-~

=£=p: £=*=
r
fc -t=t :|
:!=:

£Pjf
C.F. 5 —
=1^
4 3

ZZZL
®=S=I= =iiE

-r-y-g
==t -a W --&-±z
=:

& *~

CANTO FERMO IN TREBLE.

Ex. 48. C.F. by Fux.

in I
^
C.F.

Jfc= :£==^ 1
=F=f^
r

r^—fag ^ e =**=
1= g
:3£i=] g=*-*-d^-Jih=c
66 COMBINED COUNTERPOINT.

»
MM
Ex. 49.

C.F.
C.F. by Dubois.

^?—g- rg: g ^E=ft

?=:
jHjSfe E 1 1—

- 3 3

is=
p-J
&r=F=r^$ ^*^S=« -J —*- piE
3:
1*- -J
9 8
I

6
r^==^
H

CANTO FERMO IN INNER PART.

Ex. 50. C.F. by Cherubini

 THE 4TH AND 5TH SPECIES. 67
Ex. 51. London, Interm. Mus. B., 1

4—1
$= 5^=3SB ^— ~e) t=*=
:
1

tf
e.

te
t=jg f=<—:=g £ -(= —4^ s - 5'-
$ 1 r
:1 -'f f

if

Ex. 52. F.R.C.O., January, i£

=J=P ^z= "=|:

^g^jg^^^^^feg^^g^i^ 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 much
together, 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 and
blending 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 Combined
Florid 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.
 —
f —
: 1 u

FLORID COUNTERPOINT IN THREE PART-. 69

FLORID COUNTERPOINT IN THREE PARTS.

1. —
A dissonance at the middle of the bar should be introduced
smoothly, not in such a manner that a strong emphasis is thrown
upon it.

A crotchet forming a dissonance with the Canto Fermo at the

middle 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 it likely to
is sound bad preceded by two quavers, if the
compass of the part in which it occurs is restricted in that bar
to a 3rd or 4th.
(See the following examples, and Exercises 56* Tenor of
bar 7 and 61, Treble of bar 6)
; :

All good. + +
Vi-H — L_j _j_ D '
^m—m
,

Q
—mj—m- 1

rz>
'

1 ' 1
-O-
+
-s>- — ^ +
1

-w i

J
'

J
J :
Jm
r-4
*-
-
-<5>

\
'

— 1 —
But with a more extended movement of the part, the quavers
tend to throw too strong an emphasis on the dissonance at the
middle of the bar, and it is recommended that such passages as
the following be avoided. Each of them would be satisfactory
with the elimination of the first quaver, as at (a) :

Not recommende d.
a) Good.
-f-pj-i -O- T 1
J (
n
m m n
"C? c? -U
+ 1
i
1

+
T^ -0 »„
% 7Zi
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r± -G>—
1*
^ 1
c <-3
 — — —

70 COMBINED COUNTERPOINT.

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-
ZH
i
T5 ~

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 up
or 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 which
a passing-note will sound well at the last crotchet of the bar with
this movement of the Canto Fermo :

All good.

B "O"

d&
EE

m liH isl

In the last of the above examples the passing 7th in the Bass
is the interval of a qth from the Canto Fermo.
at Apart
from 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 uneuphonious
passages as the following :

Not recommended.

Clumsy progressions of this kind can be avoided by making

the last crotchet or quaver in the bar consist only of notes
that are essential to the harmony, or consonant with the
Canto Fermo.
In support of the fact that the movement of a 3rd in the Canto Fermo
presents more difficulty than any other interval, see the paragraph in small
type on page 21, which refers to the use of passing-notes in the 2nd Species.

The foregoing remarks do not entirely apply when the same

harmony is employed in the two bars. In that case a 7th or 9th
from the Canto Fermo at the last part of the bar is not likely to
sound bad, provided it resolve in contrary motion to the Canto
Fermo.
It is then often convenient to have a tied note in the other
part :

All good. 1

i i^i 33ZZZ\

w^ :z;o:
~m
n ^- -
X CJ
1 1

• <"3
Q
W
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1

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m-^y 0—
1

1-
p •
0—
..

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1
 ——

72 COMBINED COUNTERPOINT.

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 some
affinity 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.)
 — f — —

FLORID COUNTERPOINT IN THREE PARTS. 73

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 can be justified on other grounds. Here

at (d)
the upper note of first 5th is unessential to the harmony.
the
Consecutive 5ths with a note intervening are always permissible
when either of the 5ths includes an unessential note.

(a) Bad. (b) Not recommended.

D — <s>
— —r-i — —&-= \-— — —
—'mp-im 1

tfh
w- fj rj ^ r*
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I
1
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(c) Good. (d) Good.

a r- 1 1 1 1
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1

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1

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G. J. Bennett- Combined Counterpoint— Novello—

 ——

74 COMBINED COUNTERPOINT.

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

1
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~W m P~
I

^^=rrf^f=^ v^

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 FLORID COUNTERPOINT IN THREE PARTS. 75

The exercises commencing with a point of imitation are

placed last in each group.

CANTO FERMO IN BASS.

Ex. 53

C.F.

-r *—f ^.zp
b
IW?==
- s>
eg rrrrrp^m^

s
5 6
3

Ex. 54. A.R.C.O., January, 191 7.

e=teE
£3 ^^£
SeSe
C./\
 —
— ^ — ' :

76 COMBINED COUNTERPOINT.

Ex. 55. A.R.C .O., January, 1915.

^
/Pb — r= ———
—h— -r— — —^—
p r
1-
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•
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p- f r
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rf ^ 1 3-
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C..F.

^ =feg=3S=E =£=J^
±=-:=t
=ff=*: ??=Z2=£

5*^= 1^1
Ex. 56. A.R.C.O., January, 1912.

i^^sii -t-
*t«r£:

§ :
r ^~ -<s> ^ T"

cf.

-t— »-r |g LfeSB =^ll

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

CANTO FERMO IN TREBLE.

Ex. 57. A.R.C.O., January, 1913.

-f-
fit)
r~ '
1

— -« —• h
h
•J C.F.

m—
—— —^ —F#—f—
r (2 r_#
."?• «_ r
1£ F m m r* r=
-5 I

-r— =~_J
1

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t^ I 1 1 *j
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L
1

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1

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$
m -£—*-

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

following bar.

Ex. 58. A.R.C.O., July, 1912.

m - i
g"

S^e J 1—
Z*=pE£-
78 COMBINED COUNTERPOINT.

Ex. 59. A.R.C.O., January, 1911.

CANTO FERMO IN INNER PART.

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

m
6 —
 ~ 1 1

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.

5£5
?v
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— p:
^±

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

n? n — 1 F=*=b-» *— -p
— — f
—1—=t=P=

r-i

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te
—
C.F.

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1-,
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1

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d
j-1
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f»fef
-ta-J
 r

«0 COMBINED COUNTERPOINT.

Ex. 63. _A.R.C.O., July, 1916.

m C.F.

fBjJE i=^^=i^
8 6

i -rs- ^ tSF*

B
E E^^ 1
—r-r
IN TRIPLE TIME.

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

^^j=^=jg^^£j=j U-^=^^F^^ai -

6 ^a^r^ s^g
fee

c./\

S=p:

Ift^^^fg
=t^=
>* > * i

B
^n^^ m-rr^-
-U-i—L_
0>
^
^ r-«—
 — 1 ——

FLORID COUNTERPOINT IN FOUR PARTS. 81

FLORID COUNTERPOINT IN FOUR PARTS.

8. —The remarks in section Chapter apply with even

i of this
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 by

quaver 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 :

li
n A ,
—s> 1

#
1 1-, 1
1—
1 1 -1 1
—A ' u
" n
1

1, 1 r—A
*44A
1
1 1

rj J J 1 1

Cr£\-
(W.
\^- *r>
h-n —
The above examples, and similar ones introducing
first of the
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
J- 1
>
-Q*.

SSL
is eat
 — —

82 COMBINED COUNTERPOINT.

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. The
upper 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.
 —

FLORID COUNTERPOINT IN FOUR PARTS. 83

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

Itmay 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 a

Canto Fermo in semibreves, on account of itsstagnant effect.
In a case of extreme difficulty it may be better to repeat the note <sl. J
rather than have an untied semibreve. The repetition of a note at the end of
the 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 notable
illustration of which is found in the second bar of the following theme from
Bach's Canzona for the Organ :

12. —
The value of an occasional rest in a 5th Species part has
been 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 works
of the great masters —
especially of Bach's " Das Wohltemperirte
—
Klavier " 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 some
musical interest into his contrapuntal work.
 —— — 11 — — r ——

84 COMBINED COUNTERPOINT.
Ex. 65. CANTO FERMO IN BASS. F.R.C.O., July, 1910.

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

ii==^ s r— ff==2^

&»l
cf.

1*4-^—m -1 — -P- r =*=£=] | ( —<s> —\

-4
-*--*- :(5

-f-F —1 -p- F —<s> H

pfg= =f= 1
" -y
—» —1—
—r =f=
— -

—
1*' 1«—
-T^f-
|£= —n
1

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—s> a St

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

"
-1-
 r

FLORID COUNTERPOINT IN FOUR PARTS. 85

Ex. 67. F.R.C.O., January, 1907.

i
3=T
-r-ar
Z&r
1—
m r 1-

r * £==^c ?=
i i-

-r~p-
r-
'
ff^ -H— :|—
iczp:

£
c^.

p-
-<— g-
i EZ^J^Uf^g
T=? r *
U :p=F=^

- * r
*—P- 3=1= =5=P= »=R= E:

:| t

fezZZ^

F.R.C.O., January, 1912.

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.
 r — r —— — —— '

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

~fiP —
r-=^-
~
h- * —^=iKJ—d
4 s)
r --T r-
p -t^
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*-^-r — * —Fr » P~
l - -j- — \- c
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— _ U „_

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7*-jjT?3r

^^
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r-ry -r— w
£» i=t B

x
Ex. 70.

^ — ——^=3— —— ——
=j=
^ *- J
1

r~i
.
w -
g 1
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ZJ~
es, ~—
C.F. by Cherubini.

3=3=
-r
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r
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—H uj=i.
=f^
f
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= (» -—f 7m—
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urn— ?\V—\ "i"

r kizh^^i £=p^ £
E f$5== E=frg=gfc
S^
g^=
 — r y

FLORID COUNTERPOINT IN FOUR PARTS.

I* -!-r
J J • * it=P=P=*=
^=¥* *3t I

I
I
*-
^^«S
fe-3
rbltsi l^S a^g

wm
^
CANTO FERMO IN TREBLE.
Ex. 71. F.R.C.O., July, 1916.

gill

m 4=t r r A I .J JB ?*
*=:=^

K"- S—H g =£=

g q=^=
^Se b *
1

1T=:C
—
ffr

£ ^ +
E§=^=rE -r —
i^g^^^^p =^=k
p=g *==^: 1
^ Note. —With
-I—

reference to the 5ths between the Treble and Bass at the

beginning of bars 4-7, seeparagraph at bottom of page 24.
 — —
88 COMBINED COUNTERPOINT.
Ex. 72. F.R.C.O., July, 1914.

Ex. 73. Another working of the same.

l h
fr
^
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ft*~h*
i^
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— ^
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= =1=
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Note. 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.
 I — Q —

FLORID COUNTERPOINT IN FOUR PARTS. 89

Ex 74. F.R.C.O., January, 1911.

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Exercise 74 might also commence as follows:

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if* E 3=t

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

go COMBINED COUNTERPOINT.

CANTO FERMO IN ALTO.

Ex. 75. London Final Mus. B., 1906.

I 3=r£
gg^jgjf^^^igg^ t=-

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 — —

FLORID COUNTERPOINT IN FOUR PART? 9'

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Ex. 77.

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92 COMBINED COUNTERPOINT.

CANTO FERMO IN TENOR.

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

«=--
I £ ±=t:
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F.R.C.O.. July, 1015.

 J ' — 1

FLORID COUNTERPOINT IN FOUR PARTS. 93

i i-

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Ex. 8o, F.R.C.O., January, 1910.

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 —

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 example
might be considered fairly strict
:

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Bpp^^jg^^fp^Eg^EEEEpEf^gipg^l
 — E —

APPENDIX 9 5

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

lateJoseph Rheinberger at the Munich Royal School of Music,
and exemplify the type of Counterpoint taught by him. They
are for strings, and the upper parts can in either example
be inverted in any position :

Choral, "Christus, der ist mein Leben.'

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 —

96 APPENDIX.

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

 ) .

ORGAN TRANSCRIPTIONS
BY

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 minor

Tscha'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 (>

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

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