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Four-Part Counterpoint
Fourth Order: On Syncopation
Besides the established rules for syncopation in two-part and three-part counterpoint, and which should serve as a guide in the present order, there are other precepts and injunctions to be added to those which have been heretofore laid down with regard to syncopation.
Rule 62
In the first place, the chord should always be complete in a bar, either when the syncopation forms a discord 1), or a concord 2); in the latter case, if the chord be not complete on the accented part of the bar, it must necessarily be so on the unaccented portion.
Rule 63
All the discords 3) may be employed; in what manner is here seen:
Employment of the 4-3 suspension
Employment of the 7-6 suspension
Employment of the 9-8 suspension
Employment of the 2-1 suspension
Observation – It was said in Rule 62 that the chord should be complete, when the syncopation forms a discord 4); and upon examining the preceding examples, it will appear at first that the chords are not complete at the moment of the occurrence of the discord 5); nevertheless, they are so, if it be remembered that discords are merely suspensions of concords 6). According to that, the discord 7) need only be left out, and the resolution substituted, in order to make it clear that the chord is complete upon the accented part of each bar.