The art of counterpoint . erpoint which hasindividuality and which stands for something by itself, is betterthan correct counterpoint which is dependent, stilted, and cutup into phrases. And it is generally true that incorrect counterpointwhich is good in outline, and musical, may be easily corrected. subjects 37 to 42 inclusive, and 28 to 36. ADDITIONAL EXERCISES. SUBJECTS OF NOTES OF IRREGULAR LENGTH. So far as possible, keep the character of the counterpoint thesame as the subject, so that if one were heard immediately after theother, there would not be great dissimil
The art of counterpoint . erpoint which hasindividuality and which stands for something by itself, is betterthan correct counterpoint which is dependent, stilted, and cutup into phrases. And it is generally true that incorrect counterpointwhich is good in outline, and musical, may be easily corrected. subjects 37 to 42 inclusive, and 28 to 36. ADDITIONAL EXERCISES. SUBJECTS OF NOTES OF IRREGULAR LENGTH. So far as possible, keep the character of the counterpoint thesame as the subject, so that if one were heard immediately after theother, there would not be great dissimilarity. This may be doneand yet individuality to each part be preserved. The parts shouldcounterbalance each other; when there is much motion in one part,there should be less in the other part. Of the six examples whichfollow, No. 5 appears to the eye to differ most from the subject; butif the counterpoint were joined to the subject, and both heard asone consecutive part, there would be unity in the general design : Ex. 99. ilCTfflfljimjni * -•- This is what composers mean when they speak of unity in di-versity. These exercises are to be regarded as instrumental rather thanvocal. The compass may exceed the limits heretofore may occasionally be introduced. When the subject begins THE ART OF COUNTERPOINT 39 on the dominant, and unmistakably suggests tonic harmony, it shouldnot be employed as a bass, because this would produce the forbiddensix-four chord. A repeated note over a passing note is not to beavoided. ( See measure 5 in Ex. 2.) Here follow six counterpoints under the same subject, giving anidea of what the student should strive for: Ex. 100. ,. S. m *+ SZ3 —11 t -Z5—r#-fl»i » irtfrcirrrJlJiffrlrrsi ? gfe^gg^S^iiii^^B *rr irrr- ffWTrrrl^J n aff 5. mi^m^^m^^^^m m m-~ (3 ,g US? *pE £2_ a EXERCISES, Besides the subjects already given which contain notes of unequalvalue, we add the following
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