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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 [2020/01/28 21:08] (current) – brian
@@ Line 3: / Line 3: @@
 ==== Rule 9 ====
-In this order of counterpoint, two minims ((half notes)) should be placed over every semibreve ((whole note)) of the //cantus firmus//, except for the last bar, where a semibreve ((whole note)) should always be put against a semibreve ((whole note)).
+In this order ((species)) of counterpoint, two minims ((half notes)) should be placed over every semibreve ((whole note)) of the //cantus firmus//, except for the last bar, where a semibreve ((whole note)) should always be put against a semibreve ((whole note)).
 The first part of the bar which is occupied by a minim ((half note)), is called the //accented part of the bar//; and the second part occupied equally by another minim ((half note)), is called the //unaccented part of the bar//.
@@ 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?800 |}}
+{{ :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. It is therefore useless to re-cite them, as the pupil can refer to and consult them, or see by the experience he has already gained, the cases in which these rules serve to guide him.
+Here follows the example of a lesson in the second order ((second species)), that the pupil may perceive, at one view, how he is to proceed:--
+{{ :cherubini_counterpoint_and_fugue:ex048a-1.png?800 |}}
+{{ :cherubini_counterpoint_and_fugue:ex048a.mp3 | :cherubini_counterpoint_and_fugue:ex048a.ogg |}}
+{{ :cherubini_counterpoint_and_fugue:ex048b-1.png?800 |}}
+{{ :cherubini_counterpoint_and_fugue:ex048b.mp3 | :cherubini_counterpoint_and_fugue:ex048b.ogg |}}
+Note in Example 48a, at the passage marked with an asterisk, that instead of placing the discord ((dissonance)) in the unaccented part of the bar, according to Rule 10, it is placed in the accented portion. As I have asserted that this method may be employed, I have introduced it here, expressly, for the sake of giving an example. I might have contrived differently; but, by putting the discord ((dissonance)) in the accented part of the bar, I obtain a more free and elegant melody; and this is one of the objects which may justify this infringement of the rule. In the course of studying, the pupil will meet with other cases in which this method may be employed. Upon going through these examples, it will be seen how the counterpoint should proceed, to be in conformity with all the rules, and to have the melody easy, as well as in the style which suits with this kind of composition.