The art of counterpoint . 1 67I 3. 1 J £i|SE —^ «TTjr-*-»- =:d: ^5f aFfrf i=P- m CJ ^—7-q Pf^ Muy- ^ IP a Combined counterpoint in four voices is exceedingly difficult. Itrequires the most painstaking perseverance to write it various possible combinations reach into the hundreds. Itmust be left with the teacher to suggest work for each CHAPTER IX. COUNTERPOINT IN MORE THAN FOUR VOICES. Each added part makes the students task more difficult. Forthis reason the crossing of parts, repeated notes, doubling of notes,arpeggio effects, etc., may be more freely introduc
The art of counterpoint . 1 67I 3. 1 J £i|SE —^ «TTjr-*-»- =:d: ^5f aFfrf i=P- m CJ ^—7-q Pf^ Muy- ^ IP a Combined counterpoint in four voices is exceedingly difficult. Itrequires the most painstaking perseverance to write it various possible combinations reach into the hundreds. Itmust be left with the teacher to suggest work for each CHAPTER IX. COUNTERPOINT IN MORE THAN FOUR VOICES. Each added part makes the students task more difficult. Forthis reason the crossing of parts, repeated notes, doubling of notes,arpeggio effects, etc., may be more freely introduced as the numberof voices is increased. When six or more voices are employed,consecutive fifths are allowed when the roots of the chords movea fourth: Ex. 130. ?=£= i a It would be superfluous to give a complete set of examples in allorders of counterpoint in five, six, seven, and eight voices. Thefollowing cover all necessary ground. They have been selectedfrom various sources and should be carefullv examined. 68 THE ART OF COUNTERPOINT FIRST ORDER IN FIVE PARTS. boprano. SEEE - -&- ±&L 1 Bass. 5* ^ .^_ ^2_C^- I Soprano. FIVE ORDERS COMBINED. r=^=*=f=^ }=ii=F !^ — ^#= ^ Alto. K F= ^—^—f#—r m -gi- ±t=t Tenor. 1&- se^: EEE^ ^ t= Tenor. S. Hi1 r-^- Bass. i^E
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