Counterpoint applied in the invention, fugue, canon and other polyphonic forms : an exhaustive treatise on the structural and formal details of the polyphonic or contrapuntal forms of music, for the use of general and special students of music . This particular passage represents, simply, a continuous scale-passage, with twoshifts to the next higher octave-register, — a device which is very common andeffective in contrapuntal melodies, and possible in either direction. The rule at d,however, applies to other cases also (Ex. 16). Objectionable Skips, and Exceptions. 4. On the other ha
Counterpoint applied in the invention, fugue, canon and other polyphonic forms : an exhaustive treatise on the structural and formal details of the polyphonic or contrapuntal forms of music, for the use of general and special students of music . This particular passage represents, simply, a continuous scale-passage, with twoshifts to the next higher octave-register, — a device which is very common andeffective in contrapuntal melodies, and possible in either direction. The rule at d,however, applies to other cases also (Ex. 16). Objectionable Skips, and Exceptions. 4. On the other hand, skips are distinctly faultya. After any tone which is obviously inharmonic or dissonant, ,foreign to the prevailing chord. To this rule there are two important exceptions: (1) It is always possible to leap a 3rd, from a neighboring-note tothe opposite neighboring-note (of the same essential tone) ; usually, theessential tone follows and concludes the group, — as it also begins it: I Chord c-e-g| etc. ^ That is to say, the figures —m- »— and —#—m~~~~ o o are always correct, in any reasonable movement (fast or slow), at any point in themeasure, and whether the harmony remains the same, or is changed, during thegroup. The figure contains a Double appoggiatura, and results from insertingthe upper and lower neighboring-tones successively between the principal tone andits recurrence. Not infrequently, especially in 3-tone groups, the recurrence of theprincipal tone is dispensed with. The license then consists in leapingdown a 3rd from the upper neighboring-note ; it is rarely applied in theopposite direction (leaping upward a 3rd from the lower neighbor). Par. 4. OBJECTIONABLE SKIPS AND EXCEPTIONS. This is called the unresolved upper neighboring-note. For ex-ample : 3—si m o o o *=3 m -#- r -0- r I I I (2) It is possible to make an indirect or ornamental resolutionof a Suspension, and of similar dissonant tones. Thus:x 1.
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