A treatise on strict counterpoint . anyinterval wider than an Octave. (b) The two lower voices may, occasionally, be separated byan interval wider than an Octave, on condition that the twoupper voices are at that moment in Close Harmony with oneanother, :— _£2_ :zsi Good. Good. Not good. Very bad. The crossing of Parts. The two upper voices may pass over or below one anotherwith freedom. For the present, however, it will be wiser toavoid carrying the lowest voice above either of the others. 82 STRICT COUNTERPOINT. The Major Sixth of the Minor Scale. In Chapter IV stress was laid upon the f
A treatise on strict counterpoint . anyinterval wider than an Octave. (b) The two lower voices may, occasionally, be separated byan interval wider than an Octave, on condition that the twoupper voices are at that moment in Close Harmony with oneanother, :— _£2_ :zsi Good. Good. Not good. Very bad. The crossing of Parts. The two upper voices may pass over or below one anotherwith freedom. For the present, however, it will be wiser toavoid carrying the lowest voice above either of the others. 82 STRICT COUNTERPOINT. The Major Sixth of the Minor Scale. In Chapter IV stress was laid upon the fact that the realSubmediant of a Minor Scale is the Minor Sixth above the Tonic It is as important that the student should recognize this truthin Three-part writing as it was in Two-part work. Nevertheless, when a cadence (in the First Order) is approached,the Major Sixth of the Minor scale may sometimes come intouse in such a manner as to produce exceptional Harmonies, Let the following progressions be attentively examined .—.
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