The art of counterpoint . BDJJ -gjr-70->-&- i-t P3=g^g= z±=± -g*-<g- -^—i S. ^ -f2-^- X&-&1 -- 62 THE ART OF COUNTERPOINT III & i=lp m & I ^n3ijjjrirrff4-^ Ex. 124. i (2 (2—g—^ ^=^ 4=1 F=^=FP=^=FF P t±=t==ti==t= i -$,- i * ^ ^ill Ex. 125. i n, ^pjbl-* -II• * I 1 u+=51 --^ 1 is:^^ ._<2_ iH s. Counterpoint subjects 1 to 11 inclusive; and 37 to 42. CHAPTER VIII. COMBINED COUNTERPOINT. In this scheme, any, or all of the different orders which havebeen described, may be combined; i. e., each separate part may beemployed in a different order. The one important rule to keep in mi
The art of counterpoint . BDJJ -gjr-70->-&- i-t P3=g^g= z±=± -g*-<g- -^—i S. ^ -f2-^- X&-&1 -- 62 THE ART OF COUNTERPOINT III & i=lp m & I ^n3ijjjrirrff4-^ Ex. 124. i (2 (2—g—^ ^=^ 4=1 F=^=FP=^=FF P t±=t==ti==t= i -$,- i * ^ ^ill Ex. 125. i n, ^pjbl-* -II• * I 1 u+=51 --^ 1 is:^^ ._<2_ iH s. Counterpoint subjects 1 to 11 inclusive; and 37 to 42. CHAPTER VIII. COMBINED COUNTERPOINT. In this scheme, any, or all of the different orders which havebeen described, may be combined; i. e., each separate part may beemployed in a different order. The one important rule to keep in mind is this: The lowestmoving part is considered the subject, and no combination may ap-pear above that note, which might not appear were it the real means that no combination may appear above this note, whichviolates previous rules regarding voices above a subject note. Ex. At a the G would not be allowed, because the lowest movingnote is D, and for the moment is to be regarded as the subject,above which a fourth is forbidden. The passage at b is correct,because the D and B are consonant with one another. Passing notes may be introduced in any number of voices, pro-vided they make harmony among themselves, and follow previousrules; i. e., they should not be skipped to or from, and no intervalsabove the lowest movi?ig part should be permitted, which wouldnot be allowed over the real bass : Ex. 127. -- m 1 63 64 THE ART OF COUNTERPOINT. The second chord in Ex. 127 would not be allowed, because theintervals form a six-four chord. Starting with a consonance, it is correct to move diatonically incontrary motion until another consonance is reached, and this with-out regard to ensuing dissonances: Ex. 128. J-J-,. 1 i r r r r I I !-*-»-s<- J—I—l- 3=5=3: r 1 J=* m I! EXERCISES. Write combined counterpoint to subjects 37 to 42 follow
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