The art of counterpoint . c* W=P= i LLT ^fgtgg^ THE ART OF COUNTERPOINT 23 ( s. ^i-6:g p-f r f» .b» ? r r p-f >-f i*-p4s Fl \ ^»I? L_L_bj- v rr~j~ * I T EXERCISES. Counterpoint subjects i to 6 inclusive, 9, 10, 11, 37, 38, 39, and40. Alternate between major and minor. Write three versionsabove, and three below, choosing for each version a different key. ADDITIONAL EXERCISES. Counterpoint subjects 18, 21, 22, 23, and 25. Use no chromaticinterval. THREE NOTES. Only one chord may be used against each subject note. Chang-ing notes may be employed. Here the third note would be disso-nant, resolv
The art of counterpoint . c* W=P= i LLT ^fgtgg^ THE ART OF COUNTERPOINT 23 ( s. ^i-6:g p-f r f» .b» ? r r p-f >-f i*-p4s Fl \ ^»I? L_L_bj- v rr~j~ * I T EXERCISES. Counterpoint subjects i to 6 inclusive, 9, 10, 11, 37, 38, 39, and40. Alternate between major and minor. Write three versionsabove, and three below, choosing for each version a different key. ADDITIONAL EXERCISES. Counterpoint subjects 18, 21, 22, 23, and 25. Use no chromaticinterval. THREE NOTES. Only one chord may be used against each subject note. Chang-ing notes may be employed. Here the third note would be disso-nant, resolving on the next accent: Ex. 58. \ m <$._! 1 ^ ±. m S. ^ EEEFEEfEEE <^— I I In this combination arpeggios are less objectionable. Counter-point Nos. 28, 29, 30, 31, and 32. SIX NOTES. Six notes to one is only a development of the preceding. Coun-terpoint Nos. 33, 34, 35, and 36. EIGHT NOTES. Xo explanations are necessary. Counterpoint Nos» 37 to 42 CHAPTER IV. FOURTH ORDER. SYNCOPATION. MAJOR MODE. The first beat in a measure usually receives the strongest the strong accent is thrown on any other beat, the rhythm issaid to be syncopated. Syncopation may be defined as a displace-ment of what tradition has taught to be the natural position of accent. In this fourth order two notes are to be written in the counter-point against one in the subject. The counterpoint and subject should always form a consonanceon the second half of the subject note. The first half of the note may be either a consonance or adissonance. If the first half be a consonance, the counterpoint may skip fromthis note. If the first half be a dissonance, the counterpointshould (with one exception) descend one degree. In the follow-ing illustration, note that each syncopation is prepared by a con-sonance on the weak part of the measure preceding; this shouldalways be observed : I £L -P-—6 pi ffi; --^ s. 9± ~t: ia THE ART OF COUNTE
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