Part 2 (1/2)

[Ill.u.s.tration: Fig. 23.]

The unison is permitted on the weak beat. [Fig. 24.]

[Ill.u.s.tration: Fig. 24.]

Avoid broken-chord effects, that is, do not use more than three tones belonging to the same chord in succession. [Fig. 25.]

[Ill.u.s.tration: Fig. 25.]

Avoid frequent skipping of parts. [Fig. 26.]

[Ill.u.s.tration: Fig. 26.]

Parts may cross occasionally, but should return immediately [Fig. 27.]

[Ill.u.s.tration: Fig. 27.]

Consecutive fifths or octaves on consecutive strong beats are bad; but they are good on the weak beats _if the second fifth or octave is approached in the opposite direction from the first_. [Fig. 28.]

[Ill.u.s.tration: Fig. 28.]

In minor the sixth degree may occasionally be raised on the strong beat, if it is desired to proceed upward to the raised seventh degree. [Fig. 29.]

[Ill.u.s.tration: Fig. 29.]

In the last measure but one, both the supertonic and leading tone should appear. [Fig. 30.]

[Ill.u.s.tration: Fig. 30.]

_Three_ notes may be written to one of the cantus firmus, as in Fig. 31.

For this no new rules are required.

[Ill.u.s.tration: Fig. 31.]

The cadences in Fig. 32 are good. It will be seen that the cadences of the first species may also be used.

[Ill.u.s.tration: Fig. 32.]

EXERCISES

To cantus firmus _a_ write two counterpoints above and two below in the first species.

To cantus firmus _b_ write two above and two below in the second species.

CANTI FIRMI

[Ill.u.s.tration: Fig. 33.]