Text-book of simple and double counterpoint including imitation or canon . )- -^- 67 e+ gft=^Epg»E5E^^Ej=|Eg;E£^=E|E^^ Here also the counterpoint progresses by a harmonious plan. The principal motive is: and its inversion; the voice-part begins on a high pitch, descends to the lower octaveif^-A] by means of two-measure imitations and then projectsitself upward. In order to write an example of counterpoint with four notesagainst one, we select the counterpoint — the strong one fromNo. 31 — which was written note-against-note, and let it bethe lower voice-part: f. Problem 7: Two-part w
Text-book of simple and double counterpoint including imitation or canon . )- -^- 67 e+ gft=^Epg»E5E^^Ej=|Eg;E£^=E|E^^ Here also the counterpoint progresses by a harmonious plan. The principal motive is: and its inversion; the voice-part begins on a high pitch, descends to the lower octaveif^-A] by means of two-measure imitations and then projectsitself upward. In order to write an example of counterpoint with four notesagainst one, we select the counterpoint — the strong one fromNo. 31 — which was written note-against-note, and let it bethe lower voice-part: f. Problem 7: Two-part writing, four notes against one a=^^^p^^^ :^*i;ii= 7 h*!*^- 0-9 ^m __|S. ?i?- iEf£ jH^jSj^ ^^^^^^ 2z: ife I § 4. TWO, THREE, FOUR AND SIX NOTES A&AINST ONE. 29 eW; ii=3^ —?- ^^ m **s pft Finally, we will give an example of six notes against one,and the counteqioint in its improved form (Nos. 39 — 40], whichwe wrote to cantus firmus B in the sentence note-against-note,will serve us as a cantus firmus: Problem 8: Two-part writing, six notes against 11^=^ iT^-^»^. ^i^fe^^i^^^ 9^ -1^- tr- About this there is nothing special to be said; only let itbe remarked that when the cantus firmus is a sequence, thecounterpoint can be written sequentially, but is not recommendedbecause this manner of treatment is too stereotyped. It couldbe sketched so as to have an up-beat before the cantus firmusbegins, thus: 53. B. i A 4^-^^k^ ^•-^a<» ^E -0-^—0- -^^T^- il-i 30 I- SIMPLE COUNTERPOINT. § 5. SYNCOPATION. COUNTERPOINT USING TRIPLETS,DUOLETS, QUATOLETS AND QUINTOLETS. As is well-knowii, syncopation arises from irregular con-traction of notes of lesser value. That counterpoint -which inparticular is called syncopated (the fourth order by the olderterminology) places a counterpoint moving in notes of equalvalue — but with delayed entrance — in antithesis to a cantuslirmus \sTitten in notes of equal value. Since dissonant tonesrequire diatonic progression (by second
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