Counterpoint: Strict And Free
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Let us now put the subject in the treble, and the counter- point in the bass — 1V6 vih i« Notice how at (a) the hidden fifths in the harmony are saved by the second note of the bar, and compare §178. At (b) two chords are introduced against one note of the subject. This is done intentionally, to illustrate its possibility ; it would have been quite easy here to have only one chord. The second chord is marked Yllb rather than 11a, because the former is here better than the latter to precede lb.
...193. Our last example will have the subject in the bass, and the counterpoint in the tenor — (Ufa p- s L ' 1 — w (*) ^ ' " la V* Ilia Via II* U Ha VIIJ la At (a) the root position of the mediant chord is used, because it is possible to follow it by the submediant. Had this not been the case, it would have been better to take the third chord as lb, as F 2 8 4 COUNTERPOINT : in the example to § 190. At (5) we have employed the form of cadence which implies two chords in the bar.
194. We now take the same subject in a minor key.
What to read after Counterpoint: Strict And Free?
You can find similar books in the "Read Also" column, or choose other free books by Ebenezer Prout to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
Let us now put the subject in the treble, and the counter- point in the bass — 1V6 vih i« Notice how at (a) the hidden fifths in the harmony are saved by the second note of the bar, and compare §178. At (b) two chords are introduced against one note of the subject. This is done intentionally, to illustrate its possibility ; it would have been quite easy here to have only one chord. The second chord is marked Yllb rather than 11a, because the former is here better than the latter to precede lb.
...193. Our last example will have the subject in the bass, and the counterpoint in the tenor — (Ufa p- s L ' 1 — w (*) ^ ' " la V* Ilia Via II* U Ha VIIJ la At (a) the root position of the mediant chord is used, because it is possible to follow it by the submediant. Had this not been the case, it would have been better to take the third chord as lb, as F 2 8 4 COUNTERPOINT : in the example to § 190. At (5) we have employed the form of cadence which implies two chords in the bar.
194. We now take the same subject in a minor key.
What to read after Counterpoint: Strict And Free?
You can find similar books in the "Read Also" column, or choose other free books by Ebenezer Prout to read onlineMoreLess
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