Two-Part Counterpoint

In this order ¹⁾ of counterpoint, each of the two portions of the bar – the accented as well as the unaccented – are divided by two crotchets ²⁾.

To be in conformity with the style of the ancient composers, it is necessary, respecting these crotchets ³⁾, to employ, as much as possible, conjunct movement, in preference to disjunct movememnt.

The first crotchet ⁴⁾ in the accented part of the bar should always be a concord ⁵⁾; the second, the third, and the fourth crotchet ⁶⁾ may be alternately consonant and dissonant, provided each discord ⁷⁾ come between two concords ⁸⁾, and that the melody progress by conjunct movement, as well ascending, as descending.

When the counterpoint is made to proceed by disjunct movement, the sounds which progress by this movement must all be consonant:–

Upon examining these examples, they will be found twice to contain the unison; this seems at first sight a fault, but in the present order ⁹⁾, the unison is tolerated, on account of the slight value of the notes – excepting, however, at the commencement of each bar.

Supplementary digression – When the second crotchet ¹⁰⁾ of the first portion, and even of each portion, is dissonant, the ancient contrapuntists occasionally passed to the concord ¹¹⁾ by a movement of a third, ascending or descending.

By the multiplied examples of this exception to the rule met with in classical authors, and the reiterated use made of it by them, there is warrant for thinking that this license may be converted into a precept. But what end would the present rule serve, were a method admitted that should destroy its effect? Better far, that such a license should neither be admitted nor tolerated in strict counterpoint. These different passages from the old composers are submitted for the inspection of the pupils, in order that they may know what to believe, when, in examining the works of the Classics, they come to passages where this license has been practised. There is no tradition which transmits the reason why these same Classics thus faultily deviated from the rule. There is no comprehending why, instead of doing thus:–

as in this case:–

In this latter example are two discords ¹²⁾ which succeed each other, and which brave the rule; but it is permitted in certain cases to use them thus, provided these discords ¹³⁾ succeed each other by conjunct movement: occasionally, similar passages will be met with, where it is necessary to introduce two discords ¹⁴⁾ in succession. To return to what has been said above, there is no reason which may excuse the classics for having employed discords by disjunct movement, if it be not that, for the sake of greater variety, and in consideration of the small value of crotchets ¹⁵⁾, they caused the discord ¹⁶⁾ to leap by the interval of a third, which is the smallest – with the exception of a second – and consequently easier of intonation.