A treatise on strict counterpoint . In the illustration marked a the Discord of the Fourth isaccompanied by a Sixth instead of by a Fifth ; in the illustrationmarked b the downward movement of the Discord results in theformation of a Diminished Triad. Neither of these is good. Itis true that some Theorists tolerate the former. They do sohowever without sufficient reason; for any combination of theSixth and Fourth belongs properly to the Free style. At presentit is inadmissible except upon a Pedal-Point; a device now to beexplained. The Point dOrgue. The general rule which requires every Suspen
A treatise on strict counterpoint . In the illustration marked a the Discord of the Fourth isaccompanied by a Sixth instead of by a Fifth ; in the illustrationmarked b the downward movement of the Discord results in theformation of a Diminished Triad. Neither of these is good. Itis true that some Theorists tolerate the former. They do sohowever without sufficient reason; for any combination of theSixth and Fourth belongs properly to the Free style. At presentit is inadmissible except upon a Pedal-Point; a device now to beexplained. The Point dOrgue. The general rule which requires every Suspension to resolveupon a Note consonant with the Lowest Part is set aside whenthe Bass is sustained for several successive bars, :—. The dissonant Syncopations thus introduced are easily under-stood when it is explained that the Part next above the sustainedNote is, for the time being, to be regarded as the Bass of theHarmony. It is necessary, however, that the Lowest Partshould harmonize with the others, both at the beginning and atthe end of what is commonly called a Pedal. It must also bestated that the only notes which can be sustained in this mannerare the Dominant and the Tonic ; and, further, that advantageshould be taken of the former only when a Cadence is approached, STRICT COUNTERPOINT. IOI and of the latter only when an Appendix to the Cadence seemsappropriate, :— iS2 ? w. i w| p Dominant Pedal. r^=n Tonic Pedal. Consecutive Fifths and Octaves. The rules for part-writing which were set forth in Chapter VIare still binding as regards Perfect Concords. One (and only one) exception to the law which forbids Con-secutive Fifths is admissible in Three-part Counterpoint. When Syncopation is employed i
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