Text-book of simple and double counterpoint including imitation or canon . t ^- ^-^ -f-^- 46 I. SBIPLE COUNTERPOrNT. E. =?^fp=^^ =]=—± S^itS^ S^ fl¥*i^^£^ r^ES^^g^ SifeE^-BEeEfE^ Throughout these exercises there is nothing to be explainedbut there is much that must be practised. The natural musicalinstinct can here display its whole faculty in the avoidance offaulty parallels and ugly tonal effects. § 8. CANTUS FIRMUS AND COUNTERPOINT DEVELOPEDRHYTHMICALLY THROUGHOUT. Before we can give the most unconstrained rh)i,hmical formsto the counterpoint, we must busy ourselves wi
Text-book of simple and double counterpoint including imitation or canon . t ^- ^-^ -f-^- 46 I. SBIPLE COUNTERPOrNT. E. =?^fp=^^ =]=—± S^itS^ S^ fl¥*i^^£^ r^ES^^g^ SifeE^-BEeEfE^ Throughout these exercises there is nothing to be explainedbut there is much that must be practised. The natural musicalinstinct can here display its whole faculty in the avoidance offaulty parallels and ugly tonal effects. § 8. CANTUS FIRMUS AND COUNTERPOINT DEVELOPEDRHYTHMICALLY THROUGHOUT. Before we can give the most unconstrained rh)i,hmical formsto the counterpoint, we must busy ourselves with those whichare stereotyped and similar to those in our previous practice,namely, the development of a pregnant rhythm in both thecantus firmus and the counterpoint. The most of the rhythmi-cal pairs thus amalgamated are complemental in character, that § 8. CANTUS FIRMUS AND COUNTERPOINT &c. 47 is, they usually supplement one another in such a manner thattheir union produces a smooth, continuous motion in notes oflesser value. The simplest complemental rhythms * of this kindare: • i •• &c. ^ • •• J J J- 4 \ »^ * * N I0 I «• 0 0 0
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