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--- cherubini_counterpoint_and_fugue:two_part_counterpoint:second_order [2018/06/16 16:23] – 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//.
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 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.
+> **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.