Text-book of simple and double counterpoint including imitation or canon . 85^E -Ha-5»—^-. |a5.^^E3^EH Since all the motives liave masculine endings, we gain thetwo unaccented (juarter notes of the triplet for the up-beat; inmost cases the second quarter note is a passing-note to thechord-tone (a) brought in by the tliird quarter note; sometimesboth quarter notes are chord-tones (b; only three tunes is thethird one a passing-note (c); and once the first note is an accented § 5. SYNCOPATION. COUNTERPOINT USING TRIPLETS, &c. 33 passing-note, the second one overlaps, the third one is a reso-lutio

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Text-book of simple and double counterpoint including imitation or canon . 85^E -Ha-5»—^-. |a5.^^E3^EH Since all the motives liave masculine endings, we gain thetwo unaccented (juarter notes of the triplet for the up-beat; inmost cases the second quarter note is a passing-note to thechord-tone (a) brought in by the tliird quarter note; sometimesboth quarter notes are chord-tones (b; only three tunes is thethird one a passing-note (c); and once the first note is an accented § 5. SYNCOPATION. COUNTERPOINT USING TRIPLETS, &c. 33 passing-note, the second one overlaps, the third one is a reso-lution (d): 08. a) •-»H-*- D D b) -^-.»-+-f- t^ -#-+4 S-f-^ ^^±^ ti2^ 3 d)6 6»- 7 5 #—#- 1 Utt R 3^P The opposite, the writing of a duolet against a triplet issimilar to the counterpoint in longer values written to the aboveexercise (No. 44) in ^notes in triple measure, but is distin-guished from that by the fact that it is not really distinction is more clearly seen when we use the samecantus firmus as a foundation for an example: Problem 11: Two-part writing,

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