|
Main
- books.jibble.org
My Books
- IRC Hacks
Misc. Articles
- Meaning of Jibble
- M4 Su Doku
- Computer Scrapbooking
- Setting up Java
- Bootable Java
- Cookies in Java
- Dynamic Graphs
- Social Shakespeare
External Links
- Paul Mutton
- Jibble Photo Gallery
- Jibble Forums
- Google Landmarks
- Jibble Shop
- Free Books
- Intershot Ltd
|
books.jibble.org
Previous Page
| Next Page
Page 4
The repetition of a note in a lower part should be avoided wherever
possible. In a higher part, repetition to the extent of three notes in
succession is allowed.
Do not use more than three thirds or sixths in succession. [Fig. 8.]
[Illustration: Fig. 8.]
Successive similar skips, except the minor third (_a_), in one direction,
are to be avoided. Successive skips of a fourth are good when the tones are
the fifths of the triads on I, IV and vii�. The last tone should return one
degree (_b_). [Fig. 9.]
Do not move more than an octave in one direction in two skips. [Fig. 9_c_.]
[Illustration: Fig. 9.]
Covered fifths and octaves, except from I to V, or V to I, are forbidden.
[Fig. 10.]
[Illustration: Fig. 10.]
Both parts skipping in contrary motion to a fifth or octave should be
avoided in two-part writing. [Fig. 11.]
[Illustration: Fig. 11.]
Avoid consecutive perfect intervals. [Fig. 12.]
[Illustration: Fig. 12.]
The augmented fourth (Tritone) is not only considered bad as a melodic
interval by some authorities, but its appearance between different parts in
successive intervals is also prohibited. This prohibition, however, holds
good only when the chords in which it appears are in fundamental position,
as in Fig. 13_a_. This is shown by the fact, that if one part skips as at
_b_, there is no unpleasant effect.
[Illustration: Fig. 13.]
Avoid consecutive major thirds in major keys. In minor keys they are good.
[Fig. 14.]
[Illustration: Fig. 14.]
Use adjacent voices in writing, and do not exceed the vocal compass of a
voice.
Modulation may be resorted to within the exercises, but only to nearly
related keys; for example, in C, to G, F, a, e, or d.
At the close parts should proceed stepwise to the unison, or octave. [Fig.
15_a_.]
[Illustration: Fig. 15.]
A close as in Fig. 15_b_ may be used occasionally. In this case the
leading-tone is better in the higher part.
EXERCISES
To each of the following canti firmi write two counterpoints above, and two
below.
CANTI FIRMI
[Illustration: Fig. 16.]
LESSON II
SECOND SPECIES
[Illustration: Fig. 17.]
Previous Page
| Next Page
|
|