Counterpoint (Bridge): Chapter 10

Florid Counterpoint

The student will be able to construct this counterpoint by the aid of the rules already given (see Chapter 5 for the corresponding species in two parts). Florid counterpoint may be written against the cantus firmus in both parts, instead of one being composed of notes of equal value with the cantus firmus. In doing this, care should be taken to contrast the two florid parts. If one is moving rapidly, let the other one syncopate or move by the second species. Contrary and oblique motion between the two will also greatly help the student to write smooth and melodious counterpoints.

The student may combine some one of the previous species with this, instead of having two parts in florid counterpoint.

The 6/4 has hitherto been excluded; it may, however, be used in this species, occurring as the second, third, or fourth crotchet 1), when the bass moves in arpeggio (Ex. 95, a).

The 6/4 at b is, of course, only implied. The passage at a should not be often used, as it transgresses the rule laid down in Chapter 2 - Rule 10 2); that at b may be freely used.

Ex. 97: Two parts are here written in florid counterpoint, care being taken to contrast them as was suggested in the first paragraph of this chapter 3). Dotted minims 4) are also introduced occasionally in one of the parts. These should not be introduced unless there are at least two florid parts.

Ex. 98: The second and fifth species are combined here, the second being of necessity somewhat disjunct.