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--- cherubini_counterpoint_and_fugue:two_part_counterpoint:second_order [2018/06/16 15:59] – brian
+++ cherubini_counterpoint_and_fugue:two_part_counterpoint:second_order [2018/06/16 16:22] – brian
@@ Line 119: / Line 119: @@
 ==== Rule 14 ====
-In this order of counterpoint, whether the //cantus firmus// occur in the upper part, or the lower, a minim ((half note)) rest instead of a note
+In this order of counterpoint, whether the //cantus firmus// occur in the upper part, or the lower, a minim rest ((half rest)) instead of a note may be placed in the accented part of the first bar, provided the unaccented part is a perfect concord ((consonance)):--
+{{ :cherubini_counterpoint_and_fugue:ex045-1.png?400 |}}
+{{ :cherubini_counterpoint_and_fugue:ex045.mp3 | :cherubini_counterpoint_and_fugue:ex045.ogg |}}
+This method is more elegant than if the two parts commenced at the same time.
+==== Rule 15 ====
+In the first order ((first species)), the disjunct movement of a minor sixth is permitted; in the second order ((second species)), it should be employed only when the parts, by the nature and pitch of the //cantus firmus//, approach each other too nearly, and that there would be a difficulty in preserving their mutual distance otherwise than by this movement. It is likewise permitted in similar cases, as in the first order ((first species)), to cross the parts -- that is to say, to let one part pass above or below the other.
+All the other movement, permitted in the first order ((first species)), are retained in the present order.
+> **Observation** -- The leap of a minor sixth is here in a measure prohibited, because this interval being more difficult of intonation than all the other permitted intervals, particularly in ascending, it becomes still more so in this order, where notes of the smallest value occur, which leaves less time for preparing the intonation than notes of greater value.
+==== Rule 16 ====
+When the //cantus firmus// lies in the lower part, and that it terminates, descending, from the second of the key and the tonic (D to C in the key of C), the counterpoint at the penultimate bar should be (if possible) a fifth in the accented part, and a major sixth in the unaccented part of the bar:--
+{{ :cherubini_counterpoint_and_fugue:ex046-1.png?400 |}}
+{{ :cherubini_counterpoint_and_fugue:ex046.mp3 | :cherubini_counterpoint_and_fugue:ex046.ogg |}}
+And when the //cantus firmus// lies in the upper part, the counterpoint should be (if possible) a fifth in the accented, and a third in the unaccented part of the bar:--
+{{ :cherubini_counterpoint_and_fugue:ex047-1.png?400 |}}
+{{ :cherubini_counterpoint_and_fugue:ex047.mp3 | :cherubini_counterpoint_and_fugue:ex047.ogg |}}
+This rule forms a sequel to what was said respecting the last two bars of a //cantus firmus// in the observations which conclude the portion that treats of counterpoint of the first order ((As in, the cadence formulae near the end of Rule 8.)).
+> **Observation** -- All the other rules of the first order ((first species)) which may be necessary to the present order, are retained here in all their rigour.