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Page 17
When the syncopation is a suspension or retardation, it is treated the same
as in harmony.
The retardation should always be prepared by the leading-tone.
When the syncopated note belongs to the harmony of the measure, it may be
left by a skip or stepwise progression. [Fig. 117.]
[Illustration: Fig. 117.]
The third may be omitted on the strong beat in this species, provided the
part having fourth species skips to the missing third, as at Fig. 117_a_.
Consecutive fifths, but not octaves, are saved by the suspension. Whenever
they occur, do not use the note of resolution as preparation of a
suspension, or tie it into the next measure (_a_), since it is really the
passing seventh, and that does not lend itself well to either of the above,
except in sequence as at _b_. [Fig. 118.]
[Illustration: Fig. 118.]
The seventh or ninth of a chord, except the major seventh, may be used as
preparation of a suspension when approached by a skip in an upward
direction, as in Fig. 119.
[Illustration: Fig. 119.]
This species may also be written in triple rhythm. [Fig. 120.]
[Illustration: Fig. 120.]
The cadences in Fig. 121 are good, as well as those of the second species.
[Illustration: Fig. 121.]
EXERCISES
To cantus firmus _a_ write fourth species in one part. Write three
settings, as usual.
To cantus firmus _b_ write fourth species in one part in triple rhythm.
Write three settings, as above.
To cantus firmus _b_ write second species in one part and third in the
other. [Fig. 122.]
[Illustration: Fig. 122.]
CANTI FIRMI
[Illustration: Fig. 123.]
LESSON XVIII
FOURTH SPECIES (Continued)
EXERCISES
Write two eight-measure phrases, using the fourth species mixed in all
parts. [Fig. 124_a_.]
To cantus firmus _a_ write second species in one part and fourth in the
other. [Fig. 124_b_.]
To cantus firmus _b_ write third species in one part and fourth in the
other. [Fig. 124_c_.]
[Illustration: Fig. 124.]
CANTI FIRMI
[Illustration: Fig. 125.]
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