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Page 22
Thus far, all notes in the measure foreign to the harmony on the first
beat were treated as dissonances. Now, the cantus firmus may be harmonized
at pleasure, the only restriction being that any tone foreign to the chord
with which it enters must be treated as a dissonance. [Fig. 152.]
It is not necessary that each part be strictly florid, but that the effect
of the parts as a whole should be so. This applies from this point to the
end of these lessons.
The suspension may now be a quarter-note, or its rhythmic equivalent. It
then comes on the first (_a_) or third (_b_) quarter of the measure, and
the resolution on the quarter following. The preparation should be as long
as, or longer than, the suspension. [Fig. 153.]
[Illustration: Fig. 153.]
The eighth-note as in Fig. 154_a_ is good. It should be used only on the
second half of a weak beat, and be preceded by a dotted quarter-note.
Sixteenth-notes may be used in place of the eighth-note, but should be
approached and left step-wise. [Fig. 154_b_.]
[Illustration: Fig. 154.]
The first species may be employed occasionally in the course of an
exercise.
Make plentiful use of imitation.
When more than one line of a choral is used, it may be treated by having
the other parts continue through the holds, as at _a_, or letting them
rest, as at _b_. [Fig. 155.]
When, in place of the hold, the movement continues, it is necessary to
interpolate a full measure in place of the hold. [Fig. 155 and Fig. 159.]
[Illustration: Fig. 155.]
The note under the hold may be continued the extra measure, or the part may
rest and then re�nter. All that is required is that it begin after the
lapse of one measure, i.e., when the line ends on the accent the next line
begins on the weak beat of the measure following, and if it ends on the
weak beat then on the accent of the next measure.
The interval at any hold except the last of a choral may be either a
perfect (_a_) or imperfect consonance (_b_). [Fig. 156.]
[Illustration: Fig. 156.]
Modulation often occurs at the holds. If so, make it clear.
In this and in succeeding lessons set the cantus firmus in any part, and
transpose if necessary.
EXERCISES
To cantus firmus _b_ write two counterpoints above and two below.
To cantus firmus _a_ write one above and one below, with both parts resting
at the hold. Also do the same _with the counterpoint continuing at the
hold_. [Fig. 155_a, b._]
CANTI FIRMI
[Illustration: Fig. 157.]
LESSON XXXIV
FREE HARMONIZATION IN THREE-PART COUNTERPOINT
When writing in three or more parts, it is well to let a part rest
occasionally, and, when it re�nters, have it imitate one of the other
parts. [Fig. 158.]
[Illustration: Fig. 158.]
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