The art of counterpoint . and three below, subjects 9, 10,1, 39, and 40. ADDITIONAL EXERCISES. A dissonant note taken diatonically, may be skipped from if it isone of the notes of the succeeding implied chord. In such a caseit anticipates the coming chord. The skip should never be greaterthan the interval of a third, and should rarely occur in the bass: H THE ART OF COUNTERPOINT Ex. 30. 5Et =F ^ =$ i =f; EEEEEE =t 1:1 ^i =t E fl In order to gain a more flowing diatonic melody, a dissonance mayappear on the first of the two counterpoint notes. When thisoccurs, the second note should be a conson
The art of counterpoint . and three below, subjects 9, 10,1, 39, and 40. ADDITIONAL EXERCISES. A dissonant note taken diatonically, may be skipped from if it isone of the notes of the succeeding implied chord. In such a caseit anticipates the coming chord. The skip should never be greaterthan the interval of a third, and should rarely occur in the bass: H THE ART OF COUNTERPOINT Ex. 30. 5Et =F ^ =$ i =f; EEEEEE =t 1:1 ^i =t E fl In order to gain a more flowing diatonic melody, a dissonance mayappear on the first of the two counterpoint notes. When thisoccurs, the second note should be a consonance. Note. The author regards the dissonance on the accent, as of the utmostvalue, and recommends the teacher to encourage the student to freely introduce will be seen from the following examples that the vital contrapuntal idea —that of independence of the parts — is here really brought out. The dissonanceshould be continued in the direction started, by enough notes to justify its intro-duction. Ex. 31 Ex. Ex. 33. counterpoint to subjects I to 6 inclusive, 9, 10, n, 37, and39 to 42 inclusive.
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