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--- bridges_counterpoint:simple_counterpoint [2017/07/13 22:44] – brian
+++ bridges_counterpoint:simple_counterpoint [2018/01/18 19:46] (current) – minor typo brian
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 > //Note:// The term "diminished" here includes the fifths and fourths sometimes called imperfect or minor.
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-Consecutive perfect concords are of course forbidden, as are also hidden consecutives, //i.e.// the progression by similar motion to a perfect concord. The rule with regard to hidden consecutives is, however, sometimes relaxed: in the case of the octave if the upper part is approached by a semitone (Ex. 3, //a//), and in the case of the fifth if the hidden fifth be diminished. This is also produced by one part moving a semitone (Ex. 3, //b//), but this progression is hardly admissible in two-part counterpoint.
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+Consecutive perfect concords ((Parallel perfect intervals)) are of course forbidden, as are also hidden consecutives, //i.e.// the progression by similar motion to a perfect concord. The rule with regard to hidden consecutives is, however, sometimes relaxed: in the case of the octave if the upper part is approached by a semitone (Ex. 3, //a//), and in the case of the fifth if the hidden fifth be diminished. This is also produced by one part moving a semitone (Ex. 3, //b//), but this progression is hardly admissible in two-part counterpoint.
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+===== Musical Examples =====
 The following are examples of two-part counterpoint, first species:
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 ===== Observations on Examples 14-20 =====
-**Ex. 14**: The four bars at a answer the first four effectively, and the sequence at //b// is good. The sequential form of the counterpoint justifies the somewhat too frequent octaves.
+**Ex. 14**: The four bars at //a// answer the first four effectively, and the sequence at //b// is good. The sequential form of the counterpoint justifies the somewhat too frequent octaves.
 **Ex. 15**: The leading-tone descends effectively at //a//.
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 **Ex. 20**: This //cantus firmus// begins on the dominant. If the counterpoint were placed above, it would begin on G or D. With the counterpoint below, it is possible in this case to commence //with a fifth//, notwithstanding par. 2, which refers to //Canti Firmi// beginning (as is usual) on the tonic.
-> The student should write similar examples in each species on some of the //canti firmi// given on page 80. FIXME In doing this he should use such clefs as will bring the parts tolerably near together. He is also earnestly advised to write his exercises in open score, //i.e.// giving a separate line to each part. The progression of the individual parts — such an important consideration in counterpoint — will thus be readily seen.
+> The student should write similar examples in each species on some of the //canti firmi// given on [[bridges_counterpoint:canti_firmi_for_exercises|Appendix 1]]. In doing this he should use such clefs as will bring the parts tolerably near together. He is also earnestly advised to write his exercises in open score, //i.e.// giving a separate line to each part. The progression of the individual parts — such an important consideration in counterpoint — will thus be readily seen.
 ^  Navigation  ^^^
 |  << [[bridges_counterpoint:definitions|Definitions]]  |  [[bridges_counterpoint:contents|Contents]]  |  [[bridges_counterpoint:second_species_in_two_parts|Chapter 2]] >>  |