The art of counterpoint . UNTERPOINT. 59 In the following example, a third voice is simply added to Exam-ple 72, Chapter IV :.. S. Ex. 1 17. :_£2i IeHI -S, h-S>- liis -r—r+—f---|-|—**=^-&-£?-&- ifgn g p-j-g EXERCISES. Counterpoint the subjects given for the second order, and in addi-tion numbers 18, 21, 22, 23, and 25. FIFTH ORDER. No explanations are necessary. We add one voice to Example95, Chapter V: Ex. 1 18. S: w^^mwmmmmm m S. * m the subjects given at close of Chapter V. ADDITIONAL EXERCISES. The teacher here may select combinations of orchestral instru-ments as sugge
The art of counterpoint . UNTERPOINT. 59 In the following example, a third voice is simply added to Exam-ple 72, Chapter IV :.. S. Ex. 1 17. :_£2i IeHI -S, h-S>- liis -r—r+—f---|-|—**=^-&-£?-&- ifgn g p-j-g EXERCISES. Counterpoint the subjects given for the second order, and in addi-tion numbers 18, 21, 22, 23, and 25. FIFTH ORDER. No explanations are necessary. We add one voice to Example95, Chapter V: Ex. 1 18. S: w^^mwmmmmm m S. * m the subjects given at close of Chapter V. ADDITIONAL EXERCISES. The teacher here may select combinations of orchestral instru-ments as suggested in Chapter V. All work from now on, and allillustrations, will be conducted as before, for voices. It is only inthe additional exercises that instrumental work will be suggested,and this must be left to the judgment of the teacher who shouldrealize the needs of the individual pupil. The numerous sugges-tions at the close of the preceding chapter will suggest the wayin which instruments may be CHAPTER VII. FOUR-PART COUNTERPOINT. Few explanations are necessary. The added fourth note givescompleteness to the harmony. In many ways four-part counter-point is easier to write than either three-part, or two-part coun-terpoint. The inside voices have more freedom as their number increases;the occasional repetition of a note, the crossing of parts, the unison,etc., are not forbidden. Similar motion to a perfect octave is allowed between outsideparts moving to a final chord : J tr—s?—?—— Ex. 1 19.
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