| Next revision | Previous revision |
| bridges_counterpoint:fourth_species_in_three_parts [2017/07/24 03:59] – created brian | bridges_counterpoint:fourth_species_in_three_parts [2017/07/27 17:37] (current) – brian |
|---|
| ==== Rules 11-14 ==== | ==== Rules 11-14 ==== |
| |
| The syncopation may be broken, as in the corresponding species in two parts, and the second species may be interpolated, or even a rest introduced. This should not be longer than half a measure, unless at the commencement, when an additional measure's rest may sometimes be necessary to enable us to begin with syncopation on the second half of the second measure. | The syncopation may be broken, as in the corresponding species in two parts, and the second species may be interpolated, or even a rest introduced. This should not be longer than half a bar, unless at the commencement, when an additional bar's rest may sometimes be necessary to enable us to begin with syncopation on the second half of the second bar. |
| |
| Passages involving hidden consecutives ((parallels)) must be avoided, even if they occur between the inner and one of the extreme parts. | Passages involving hidden consecutives ((parallels)) must be avoided, even if they occur between the inner and one of the extreme parts. |
| |
| The rule which requires a concord ((consonance)) to prepare a syncopation may be dispensed with if the bass remains stationary for two or more measure (Ex. 88, //b//). This "pedal", as it is termed, is best when used just previus to the cadence, the dominant being sustained in the bass, although it may be effectively introduced in other places. The first discord ((dissonance)) on a pedal must, however, be prepared as usual by a concord ((consonance)), and the last must also resolve on a concord. | The rule which requires a concord ((consonance)) to prepare a syncopation may be dispensed with if the bass remains stationary for two or more bars (Ex. 88, //b//). This "pedal", as it is termed, is best when used just previus to the cadence, the dominant being sustained in the bass, although it may be effectively introduced in other places. The first discord ((dissonance)) on a pedal must, however, be prepared as usual by a concord ((consonance)), and the last must also resolve on a concord. |
| |
| During a pedal the part next above the bass may be dissonant with it (see Ex. 88, //a//); but it must be borne in mind that this part, during the continuance of the pedal, is after all the real bass, and the laws of strict counterpoint hold good between it and the upper part or parts. | During a pedal the part next above the bass may be dissonant with it (see Ex. 88, //a//); but it must be borne in mind that this part, during the continuance of the pedal, is after all the real bass, and the laws of strict counterpoint hold good between it and the upper part or parts. |
| This species may be written in triple meter as in two-part counterpoint, and the second or third species may also be combined with this (see Ex. 92). | This species may be written in triple meter as in two-part counterpoint, and the second or third species may also be combined with this (see Ex. 92). |
| |
| | ===== Musical Examples ===== |
| |
| {{ :bridges_counterpoint:09-ex90.png?800 |}} | {{ :bridges_counterpoint:09-ex90.png?800 |}} |
| ===== Observations on Examples 90-94 ===== | ===== Observations on Examples 90-94 ===== |
| |
| **Ex. 90**: The //cantus firmus// commences on the dominant, rendering the progression to measure 2 somewhat awkward, if the syncopation commence as usual in measure 1. Advantage has been taken of rule 11 ((The syncopation may be broken, as in the corresponding species in two parts, and the second species may be interpolated, or even a rest introduced. This should not be longer than half a measure, unless at the commencement, when an additional measure's rest may sometimes be necessary to enable us to begin with syncopation on the second half of the second measure.)), the syncopation entering on the second half of measure 2. In measure 3 the dissonance of the second is accompanied by a fifth, in measure 6 the same dissonance is accompanied by a fourth. | **Ex. 90**: The //cantus firmus// commences on the dominant, rendering the progression to bar 2 somewhat awkward, if the syncopation commence as usual in bar 1. Advantage has been taken of rule 11 ((The syncopation may be broken, as in the corresponding species in two parts, and the second species may be interpolated, or even a rest introduced. This should not be longer than half a bar, unless at the commencement, when an additional bar's rest may sometimes be necessary to enable us to begin with syncopation on the second half of the second bar.)), the syncopation entering on the second half of bar 2. In bar 3 the dissonance of the second is accompanied by a fifth, in bar 6 the same dissonance is accompanied by a fourth. |
| |
| **Ex. 91**: In measure 2 the sixth may be looked upon as a suspension of the fifth. In measure 11 the fifth is a retardation of the sixth. | **Ex. 91**: In bar 2 the sixth may be looked upon as a suspension of the fifth. In bar 11 the fifth is a retardation of the sixth. |
| |
| **Ex. 92**: The third and fourth species are combined here. In measures 10 and 13 the fifth is taken by skip, against the seventh suspending the sixth. As will be seen in four-part counterpoint, the fifth often appears as an accompaniment to a suspended seventh. | **Ex. 92**: The third and fourth species are combined here. In bars 10 and 13 the fifth is taken by skip, against the seventh suspending the sixth. As will be seen in four-part counterpoint, the fifth often appears as an accompaniment to a suspended seventh. |
| |
| **Ex. 93**: An example in triple meter. In measures 3 and 8 the suspensions are resolved ornamentally (as discussed in [[bridges_counterpoint:fifth_species_in_two_parts|Chapter 5]]). ((To insure sufficient variety it will be well not to use one species for more than two successive measures; and the first species should be used only at the last measure. This rule does not apply to the fourth species, provided that we avail ourselves of the ornamental resolutions... their judicious use will add greatly to the effect of florid counterpoint.)) | **Ex. 93**: An example in triple meter. In bars 3 and 8 the suspensions are resolved ornamentally (as discussed in [[bridges_counterpoint:fifth_species_in_two_parts|Chapter 5]]). ((To insure sufficient variety it will be well not to use one species for more than two successive bars; and the first species should be used only at the last bar. This rule does not apply to the fourth species, provided that we avail ourselves of the ornamental resolutions... their judicious use will add greatly to the effect of florid counterpoint.)) |
| |
| **Ex. 94**: In measures 3 and 5 occur the somewhat unusual suspensions of a ninth and fourth on a chord of the sixth, alluded to in rule 8. ((We may also suspend the third in a chord of the sixth (by a fourth), and the octave in a chord of the sixth (by a ninth), but the effect is not always good, and the syncopations given above should be preferred.)) In measures 7 and 8 a "pedal" is used. | **Ex. 94**: In bars 3 and 5 occur the somewhat unusual suspensions of a ninth and fourth on a chord of the sixth, alluded to in rule 8. ((We may also suspend the third in a chord of the sixth (by a fourth), and the octave in a chord of the sixth (by a ninth), but the effect is not always good, and the syncopations given above should be preferred.)) In bars 7 and 8 a "pedal" is used. |
| |
| ^ Navigation ^^^ | ^ Navigation ^^^ |
| | << [[bridges_counterpoint:third_species_in_three_parts|Chapter 8]] | [[bridges_counterpoint:contents|Contents]] | [[bridges_counterpoint:fifth_species_in_three_parts|Chapter 10]] >> | | | << [[bridges_counterpoint:third_species_in_three_parts|Chapter 8]] | [[bridges_counterpoint:contents|Contents]] | [[bridges_counterpoint:fifth_species_in_three_parts|Chapter 10]] >> | |