The art of counterpoint . mate connection between all keys. These keys may be established by the diatonic notes of the scalesignature. If the subject is in C, modulations may be made to G,£, a, F, and d. The tonic triad of each of these keys may be es-tablished by notes in the diatonic scale of C: Ex. 18. fl^^^^^^H The key of the seventh degree is excluded because its tonic minordemands an F sharp, and its tonic major, both an F sharp and a Dsharp; neither of these notes occurs in the scale of C. Of thesefive keys, those of the subdominant and its relative minor are themost remote, and should
The art of counterpoint . mate connection between all keys. These keys may be established by the diatonic notes of the scalesignature. If the subject is in C, modulations may be made to G,£, a, F, and d. The tonic triad of each of these keys may be es-tablished by notes in the diatonic scale of C: Ex. 18. fl^^^^^^H The key of the seventh degree is excluded because its tonic minordemands an F sharp, and its tonic major, both an F sharp and a Dsharp; neither of these notes occurs in the scale of C. Of thesefive keys, those of the subdominant and its relative minor are themost remote, and should be used sparingly. Note. The key of the subdominant demands a note which destroys theleading-tone of the principal key, while the relative minor of the subdominant de-stroys both the leading-tone and the tonic. In the following illustration, modulations are made to nearly re-lated keys. It will be seen that the counterpoint may anticipate amodulation which later is affirmed in the subject: THE ART OF COUNTERPOINT Ex. r£=s: ^ s. ^._^_ E2=F- -f2-«S>- =P-F: ^Eg^; -- ?? .^ pPffg I *= -(=—«- HE Sfl^li^^^ -2^—^ 9t i -f^-Hfe* =1==|: 2^- £^ if £ t=f -9—(sa- & f^ 1 Counterpoint subjects 18 inclusive. MODULATION: MINOR MODE. Modulations from the minor mode should, for the present, bemade to the nearest related keys only. If the subject is in #, mod-ulations may be made to C, F, d, and e. The relative major is themost natural modulation, and the other keys, if introduced at all,should, as a rule, be reached after first modulating to C, and usingthis as a bridge, over which to pass to the other keys. In the following exercises the student should keep in mind that: The counterpoint may anticipate a modulation ; No chromatic interval is to be used; A major close may be introduced. EXERCISES. Counterpoint subjects 22 to 27 inclusive. The letters above these subjects signify keys to which modula-tions may naturally be made. _J 1 L CHAPTER II. SECOND ORDER: MAJOR MODE.
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