A Treatise On Simple Counterpoint in Forty Lessons
A Treatise On Simple Counterpoint in Forty Lessons
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] The counterpoint may begin on the first or the second half of the measure, preference being given to the second half. When it begins on the first halfit must be a unison, fifth, or octave; when on the second half, it may beany consonance. [Fig. 20. ] [Illustration: Fig. 20. ] After the first measure the interval on the first beat should be animperfect consonance, as in the first species, but the fifth, or octave, may be used occasionally.
In this and succeeding lessons, all notes in the measu...re not belonging tothe harmony implied on the first beat, must be treated as dissonances, e. G. , those belonging to the implied harmony may be left by a skip (_a_) orstepwise progression (_b_) unless dissonant with the cantus firmus; thenavoid their use; if foreign to it, whether consonant (_c_) with the C. F. Or not (_d_), they must be treated as embellishments or passing-tones. [Fig. 21. ] [Illustration: Fig. 21. ] The embellishment may be used as follows: when above the principal tone, itmay be a semitone (_a_) or a whole tone (_b_) distant from it; and whenbelow, a semitone (_c_).
What to read after A Treatise On Simple Counterpoint in Forty Lessons?
You can find similar books in the "Read Also" column, or choose other free books by Lehmann Friedrich Johann to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
] The counterpoint may begin on the first or the second half of the measure, preference being given to the second half. When it begins on the first halfit must be a unison, fifth, or octave; when on the second half, it may beany consonance. [Fig. 20. ] [Illustration: Fig. 20. ] After the first measure the interval on the first beat should be animperfect consonance, as in the first species, but the fifth, or octave, may be used occasionally.
In this and succeeding lessons, all notes in the measu...re not belonging tothe harmony implied on the first beat, must be treated as dissonances, e. G. , those belonging to the implied harmony may be left by a skip (_a_) orstepwise progression (_b_) unless dissonant with the cantus firmus; thenavoid their use; if foreign to it, whether consonant (_c_) with the C. F. Or not (_d_), they must be treated as embellishments or passing-tones. [Fig. 21. ] [Illustration: Fig. 21. ] The embellishment may be used as follows: when above the principal tone, itmay be a semitone (_a_) or a whole tone (_b_) distant from it; and whenbelow, a semitone (_c_).
What to read after A Treatise On Simple Counterpoint in Forty Lessons?
You can find similar books in the "Read Also" column, or choose other free books by Lehmann Friedrich Johann to read onlineMoreLess
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