a treatise on simple counterpoint in forty lessons by friedrich j. lehmann

5/25/2018 A Treatise on Simple Counterpoint in Forty Lessons By Friedrich J. Lehmann

1/55

SEVENTH EDITION

A Treatise on

Simple Counterpoint

in

Forty LessonsBy

Friedrich J. Lehmann

Instructor of Theory in the Oberin !onser"atory of #usic $uthor of %Lessons in Harmony%

&. S!HI'#E'( IN!.

NE) *O'+

ii

PREFACE

The ,ur,ose of this -or is to su,,y the need in the Oberin !onser"atory of #usic of a te/t0boo

on Sim,e !ounter,oint containin1 a definite assi1nment of essons( and affordin1 more ,ractice

than usua in combinin1 s,ecies.

It is a treatise on strict counter,oint( but strict in a imited sense ony. In t-o0,art counter,oint -ith

other than the first s,ecies in both ,arts( dissonances are ,ermitted under certain conditions( and in

three0 and four0,art -ritin1 the un,re,ared se"enth and ninth( and the si/0four chord( are ao-ed in

certain -ays.

)hie the iustrations ha"e been -ritten in cose score( it is ne"ertheess ur1ed that a e/ercises be

-ritten out in o,en score( as the mo"ement of the different ,arts is thus more ceary seen.

The use of the !0cefs is eft o,tiona -ith the teacher.

$ no-ed1e of harmony is ,resu,,osed( hence nothin1 is said ,ertainin1 to it.

The author -ishes to e/,ress his indebtedness to 2rofessor $.E. Heaco/ for his he, and ad"ice.

F.J. LEH#$NN.

Oberin( Ohio(Jan. 6, 1907.

3"4

T$BLE OF !ONTENTS

2$&E

SIMPLE COUNTERPOINT

LESSONI.Definitions and Iustrations. 506

SIMPLE COUNTERPOINT IN TWO PARTS

First S,ecies7 Note a1ainst Note. E/am,es and E/ercises. 809

LESSONII.Second S,ecies7 T-o Notes a1ainst One. E/am,es and E/ercises. :0;

LESSONIII.Second S,ecies in Both 2arts. E/am,es. Second S,ecies #i/ed in Both

2arts. E/am,es and E/ercises. ;055

LESSONIV.Third S,ecies7 Four Notes a1ainst One. First S,ecies a1ainst Si/ Notes. 55059
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2$&E

Second S,ecies !ontinuousy in Both 2arts. E/am,es and E/ercises.

LESSONV.Third S,ecies in Both 2arts< #i/ed. Third S,ecies !ontinuousy in Both 2arts.

T-o Notes a1ainst Four< T-o a1ainst Si/< Three a1ainst Si/. E/am,es and E/ercises.5905=

LESSONVI.Fourth S,ecies7 T-o Notes Synco,ated a1ainst One. Three Notes Synco,ated

a1ainst One. T-o Notes a1ainst Four< T-o a1ainst Si/< Three a1ainst Si/. E/am,es andE/ercises. 5=05;

LESSONVII.Fourth S,ecies >continued?. #i/ed( in Both 2arts. Three Notes Synco,ated

a1ainst One. E/am,es and E/ercises.5;06@

LESSONVIII.Fourth S,ecies >continued?. T-o Notes Synco,ated a1ainst T-o< T-o

a1ainst Four< T-o a1ainst Si/< Three a1ainst Si/. E/am,es and E/ercises.6@066

LESSONIA.Fifth S,ecies7 Forid !ounter,oint. E/am,es and E/ercises. 6606

LESSONA.Forid !ounter,oint >continued?. !ombinin1 Fifth S,ecies -ith Second< -ith

Third< -ith Fourth< -ith Fifth. E/am,es and E/ercises.6069

SIMPLE COUNTERPOINT IN THREE PARTS

LESSONAI.First S,ecies in $ 2arts. E/am,es and E/ercises. 6:06CLESSONAII.Second S,ecies in One 2art. E/am,es and E/ercises. 6C085

LESSONAIII.Second S,ecies in T-o or #ore 2arts. First and Second S,ecies #i/ed in

$ 2arts. Second S,ecies in $ 2arts. E/am,es and E/ercises.85088

3"i4

LESSONAIV.Third S,ecies in One 2art. Second S,ecies in $ 2arts. E/am,es and

E/ercises.

8808

LESSONAV.Third S,ecies in T-o or #ore 2arts. First and Third S,ecies #i/ed in $

2arts. E/am,es and E/ercises.808:

LESSONAVI.Third S,ecies >continued?. #i/in1 First( Second( and Third S,ecies in $

2arts. Third S,ecies in $ 2arts. E/am,es and E/ercises. 8:08=

LESSONAVII.Fourth S,ecies in One 2art. Three Notes Synco,ated in One 2art.

!ombinin1 First( Second( and Third S,ecies. E/am,es( and E/ercises.8=08;

LESSONAVIII.Fourth S,ecies >continued?. #i/ed in $ 2arts. !ombinin1 First( Second(

and Fourth S,ecies( and First( Third( and Fourth. E/am,es and E/ercises.@05

LESSONAIA.Fifth S,ecies in One 2art. E/am,es and E/ercises. 5

LESSONAA.Fifth S,ecies >continued?. !ombinin1 First( Second( and Fifth< First( Third(

and Fifth< First( Fourth( and Fifth< Fifth in T-o 2arts. E/am,e and E/ercises.608

LESSONAAI.!ombinin1 the Various S,ecies7 Second( Third( and Fourth< Second( Third(

and Fifth< Second( Fourth( and Fifth< Third( Fifth( and Fifth< Fourth( Fifth( and Fifth.E/am,es and E/ercises. 09

LESSONAAII.Fifth S,ecies in $ 2arts. E/am,es and E/ercises. 9

SIMPLE COUNTERPOINT IN FOUR PARTS

LESSONAAIII.First S,ecies in $ 2arts. E/am,es and E/ercises. :

LESSONAAIV.Second S,ecies in One 2art. E/am,es and E/ercises. =

LESSONAAV.Third S,ecies in One 2art. Second S,ecies #i/ed in Three 2arts. E/am,es

and E/ercises.=0C

LESSONAAVI.Third S,ecies >continued?. #i/ed in Three 2arts. Second S,ecies

!ontinuousy in T-o 2arts. E/am,es and E/ercises.C0;

LESSONAAVII.Fourth S,ecies in One 2art. $ !antus Firmus -ith First( Second( and

Third S,ecies in the Other Three 2arts. E/am,es and E/ercises.;09@

LESSONAAVIII.Fourth S,ecies >continued?. $ 1i"en !antus Firmus( -ith First( Second( 9@095
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3/55

2$&E

and Fourth S,ecies< -ith First( Third( and Fourth< -ith Fourth S,ecies #i/ed. E/am,es

and E/ercises.

LESSONAAIA.Fifth S,ecies in One 2art. E/am,es and E/ercises. 96

LESSONAAA.Fifth S,ecies in T-o 2arts. #i/in1 Second( Third( and Fourth S,ecies in

$ 2arts. !ombinin1 First( Second( Third( and Fourth S,ecies. E/am,es and E/ercises.

9609

LESSONAAAI.Fifth S,ecies in Three or Four 2arts. E/am,es and E/ercises. 9099

LESSONAAAII.Fifth S,ecies in $ 2arts( -ith Imitation. E/am,es and E/ercises. 99

[ii!

FLORI" MELO"IES AS CANTI FIRMI

LESSONAAAIII.T-o0,art Forid !ounter,oint. Free Harmoniation. E/am,es and

E/ercises.9909C

LESSONS AAAIVand AAAV.Three0,art Forid !ounter,oint. Free Harmoniation.

E/am,es and E/ercises.9C09;

LESSONAAAVI.Three0,art Forid !ounter,oint >continued?. E/ercise in Ori1ina

)ritin1. 9;LESSONS AAAVIIto AL.Four0,art Forid !ounter,oint( E/am,e and E/ercises. :@

354

SIMPLE COUNTERPOINT

LESSON I

!ounter,oint is the art of combinin1 t-o or more meodies of eua meodic indi"iduaity.

In sim,e counter,oint a ,arts must remain in the same reati"e ,osition to one another.The !antus Firmus is a 1i"en meodic ,hrase that is to recei"e contra,unta treatment( that is( one or

more ,arts are to be added abo"e or beo- it.

The !ounter,oint is any ,art other than the !antus Firmus.

Inter"as are harmonic or meodic.

$n Harmonic inter"a is the difference in ,itch bet-een t-o tones soundin1 at the same time.

$ #eodic inter"a is the difference in ,itch bet-een t-o tones sounded in succession by the same

"oice. 3Fi1. 5.4

Fi1.

5.

Harmonic inter"as are di"ided into !onsonances and Dissonances.

!onsonances are cassed as ,erfect or im,erfect.

The 2erfect consonances are the nison( Fifth( and Octa"e. 3Fi1. 6a.4

The Im,erfect consonances are the #aGor and #inor Thirds and Si/ths. 3Fi1. 6b.4

$ other inter"as are dissonances.
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Fi1.

6.

364

$ Diatonic ,ro1ression is one in -hich both name and ,itch are chan1ed. 3Fi1. 8a.4

$ !hromatic ,ro1ression is one in -hich the ,itch is chan1ed a semitone( -hie the name remainsthe same. 3Fi1. 8b.4

Fi1.

8.

2ro1ression from one chord to another is caed Harmonic ,ro1ression< from one tone to another(

#eodic ,ro1ression.

In meodic ,ro1ression a maGor( minor( ,erfect and diminished inter"as are ao-ed e/ce,t the

maGor and minor se"enth. The minor se"enth may( ho-e"er( be used -hen harmony does not

chan1e >a?. 3Fi1. .4

Fi1.

.

In counter,oint there are Fi"e S,ecies( or orders. )hen the counter,oint has one note for each note

of the cantus firmus( it is of the First S,ecies >a?< if it has t-o notes for each note of the cantusfirmus( it is the Second S,ecies >b?< if four notes( the Third S,ecies >c?< if t-o notes synco,ated( the

Fourth S,ecies >d?< and a mi/ture of these s,ecies is the Fifth S,ecies( or Forid !ounter,oint >e?.

3Fi1. 9.4

Fi1.

9.

384

SIMPLE COUNTERPOINT IN TWO PARTS

FIRST SPECIEST-o0,art counter,oint com,rises a cantus firmus and a counter,oint. 3Fi1. :.4
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Fi1.

:.

$thou1h in t-o0,art counter,oint -e ha"e to dea -ith inter"as( rather than harmonies( sti the

harmonic ,ro1ressions re,resented by these inter"as shoud be re1arded.

The e/ercises shoud be1in and cose -ith tonic harmony. $t the be1innin1 the unison( fifth or

octa"e( and at the cose the unison or octa"e( are ,ermitted. 3Fi1. =.4

Fi1.

=.

$fter the first measure it is better to use im,erfect consonances ony. The ,erfect consonances(

ho-e"er( may be used s,arin1y -hen a more meodious counter,oint is thereby obtained.

The unison may be used in the first and ast measures ony. 3Fi1. =.4

$ ,ro1ressions must be diatonic( and ,arts shoud not cross.

The re,etition of a note in a o-er ,art shoud be a"oided -here"er ,ossibe. In a hi1her ,art(

re,etition to the e/tent of three notes in succession is ao-ed.

Do not use more than three thirds or si/ths in succession. 3Fi1. C.4

Fi1.

C.

34

Successi"e simiar si,s( e/ce,t the minor third >a?( in one direction( are to be a"oided. Successi"esi,s of a fourth are 1ood -hen the tones are the fifths of the triads on I( IV and "ii. The ast tone

shoud return one de1ree >b?. 3Fi1. ;.4

Do not mo"e more than an octa"e in one direction in t-o si,s. 3Fi1. ;c.4

Fi1.

;.

!o"ered fifths and octa"es( e/ce,t from I to V( or V to I( are forbidden. 3Fi1. [email protected]

Fi1.

5@.

Both ,arts si,,in1 in contrary motion to a fifth or octa"e shoud be a"oided in t-o0,art -ritin1.

3Fi1. 55.4

Fi1.

55.
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6/55

$"oid consecuti"e ,erfect inter"as. 3Fi1. 56.4

Fi1.

56.

The au1mented fourth >Tritone? is not ony considered bad as a meodic inter"a by some

authorities( but its a,,earance bet-een different ,arts in successi"e inter"as is aso ,rohibited. This,rohibition( ho-e"er( hods 1ood ony -hen the chords in -hich it a,,ears are in fundamenta

,osition( as in Fi1. 58a. This is sho-n by the fact( that if one ,art si,s as at b( there is no

un,easant effect.

394

Fi1.

58.

$"oid consecuti"e maGor thirds in maGor eys. In minor eys they are 1ood. 3Fi1. 5.4

Fi1.

5.

se adGacent "oices in -ritin1( and do not e/ceed the "oca com,ass of a "oice.

#oduation may be resorted to -ithin the e/ercises( but ony to neary reated eys< for e/am,e( in

!( to &( F( a( e( or d.

$t the cose ,arts shoud ,roceed ste,-ise to the unison( or octa"e. 3Fi1. 59a.4

$ cose as in Fi1. 59b may be used occasionay. In this case the eadin10tone is better in the hi1her

,art.

Fi1.

59.

E#ERCISES

To each of the foo-in1 canti firmi -rite t-o counter,oints abo"e( and t-o beo-.

Canti Firmi

Fi1.

5:.

3:4


7/55

LESSON II

SECON" SPECIES

Fi1.

5=.

$ rues for the first s,ecies must be obser"ed.

T-o notes are -ritten in the counter,oint to one of the cantus firmus( e/ce,t in the ast measure.

3Fi1. 5Ca.4 In the ast measure but one the first s,ecies may sometimes be used. 3 Fi1. 5Cb.4

Fi1.

5C.

'e,etition of a note in any but the first s,ecies is forbidden. 3Fi1. 5;.4

Fi1.

5;.

The counter,oint may be1in on the first or the second haf of the measure( ,reference bein1 1i"en to

the second haf. )hen it be1ins on the first haf it must be a unison( fifth( or octa"e< -hen on the

second haf( it may be any consonance. 3Fi1. [email protected]

Fi1.

6@.

$fter the first measure the inter"a on the first beat shoud be an im,erfect consonance( as in the

first s,ecies( but the fifth( or octa"e( may be used occasionay.

In this and succeedin1 essons( a notes in the measure not beon1in1 to the harmony im,ied on the

first beat( must be treated as dissonances( e.1.( those beon1in1 to the im,ied harmony may be eft

by a si, >a? or ste,-ise ,ro1ression >b? uness dissonant -ith the cantus firmus< then a"oid their

use< if forei1n 3=4 to it( -hether consonant >c? -ith the !.F. or not >d?( they must be treated as

embeishments or ,assin10tones. 3Fi1. 65.4

Fi1.

65.

The embeishment may be used as foo-s7 -hen abo"e the ,rinci,a tone( it may be a semitone >a?

or a -hoe tone >b? distant from it< and -hen beo-( a semitone >c?. 3Fi1. 66.4
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8/55

Fi1.

66.

)hen the counter,oint is beo- the cantus firmus( the fifth of the chord needs s,ecia treatment. It

is ,ermitted on the -ea beat -hen the o-er is treated as an harmonic ,assin10tone.

$n harmonic ,assin10tone is the second of three tones beon1in1 to the same chord. 3Fi1. 68a.4)hie the third tone shoud be a member of the chord containin1 the fifth as an harmonic ,assin10

tone( the chord abo"e it may chan1e as inFi1. 68b.

The fifth is ,ermitted on the stron1 beat -hen it is ony an im,ied fifth >si/0four chord?< that is( the

third and fifth a,,ear on the stron1 beat( and the root does not come in unti the second haf of the

measure. 3Fi1. 68c.4

Fi1.

68.

The unison is ,ermitted on the -ea beat. 3Fi1. 6.4

Fi1.

6.

3C4

$"oid broen0chord effects( that is( do not use more than three tones beon1in1 to the same chord in

succession. 3Fi1. 69.4

Fi1.

69.

$"oid freuent si,,in1 of ,arts. 3Fi1. 6:.4

Fi1.

6:.

2arts may cross occasionay( but shoud return immediatey 3Fi1. 6=.4

Fi1.

6=.

!onsecuti"e fifths or octa"es on consecuti"e stron1 beats are bad< but they are 1ood on the -ea

beats if the second fifth or octave is approached in the opposite direction from the first. 3Fi1. 6C.4
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9/55

Fi1.

6C.

In minor the si/th de1ree may occasionay be raised on the stron1 beat( if it is desired to ,roceed

u,-ard to the raised se"enth de1ree. 3Fi1. 6;.4

Fi1.

6;.

In the ast measure but one( both the su,ertonic and eadin1 tone shoud a,,ear. 3Fi1. [email protected]

3;4

Fi1.

8@.

Threenotes may be -ritten to one of the cantus firmus( as in Fi1. 85. For this no ne- rues are

reuired.

Fi1.

85.

The cadences in Fi1. 86 are 1ood. It -i be seen that the cadences of the first s,ecies may aso be

used.

Fi1.

86.

E#ERCISES

To cantus firmus a-rite t-o counter,oints abo"e and t-o beo- in the first s,ecies.To cantus firmus b-rite t-o abo"e and t-o beo- in the second s,ecies.

Canti Firmi

Fi1.

88.
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10/55

LESSON III

SECON" SPECIES IN $OTH PARTS[A!

Fi1.

8.

3$4In this and simiar cases the term %s,ecies% -i be understood as referrin1 sim,y to the number

of notes( or to the note0combinations( of the contra,unta ,art or ,arts in uestion. %Second s,ecies

in both ,arts% means( therefore( that both ,arts ,ro1ress in haf0notes.

35@4

)hen -ritin1 second s,ecies in both ,arts no cantus firmus is used( both ,arts bein1 ori1ina. One

,art be1ins on the first beat( the other may be1in on either the first or second beat. 3Fi1. 89.4

Fi1.

89.

The inter"a formed by the t-o notes a,,earin1 on the second beat shoud be a consonance( or one

of the foo-in1 dissonances7 The au1mented fourth( the diminished fifth( the minor or diminished

se"enth -hen ,ro,ery reso"ed( and the ,erfect fourth -hen a,,roached in contrary motion.

$ tones not beon1in1 to the harmony im,ied on the first beat( must be treated as dissonances.

3Fi1. 8:.4

Fi1.

8:.

The se"enth or ninth of the im,ied harmony of a measure( -hen a,,roached in an u,-ard

direction( may be used in either ,art( ,ro"ided it is consonant -ith the other ,art( or comes -ithin

the reuirements of the e/ce,tions. 3Fi1. 8=.4

The ,assin1 maGor se"enth and its root may a,,ear on the -ea beat( e"en -hen a,,roached in

simiar motion as in Fi1. 8=a. The se"enth must then be treated as a ,assin10tone.

Fi1.

8=.

The cadences in Fi1. 8C are 1ood -hen -ritin1 second s,ecies in both ,arts. Those ha"in1 the

second s,ecies in one ,art ony( may aso be used.

3554
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11/55

Fi1.

8C.

)ritin1 the second s,ecies in both ,arts -i( in this esson( be confined to a mi/ture of the first and

second s,ecies( as in Fi1. 8;.In this do not use the second s,ecies more than four measures continuousy in one ,art. It -i be

noticed that the second s,ecies may occasionay be used in both ,arts. In ater essons o,,ortunity

-i be 1i"en to -rite it continuousy in both ,arts.

Fi1.

8;.

E#ERCISES)rite t-o ei1ht0measure ,hrases mi/in1 the first and second s,ecies. 3Fi1. 8;.4

To cantus firmus a-rite one counter,oint abo"e and one beo-( three notes to the measure.

3Fi1. 85.4

To cantus firmus b-rite one abo"e and one beo-( in the second s,ecies.

Canti Firmi

Fi1.@.

LESSON I%

THIR" SPECIES

Fi1.

5.

3564

In this s,ecies( four notes are -ritten in the counter,oint to each note of the cantus firmus. The

counter,oint may be1in on the first( second( or fourth uarter. The second uarter is( ho-e"er( the

most usua. 3Fi1. 6.4
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12/55

Fi1.

6.

The e/ercises shoud be1in and end -ith tonic harmony.

)hen the counter,oint be1ins on the first uarter it must form a ,erfect consonance -ith the cantus

firmus. )hen on the second or fourth uarter( any consonance may be used.

$ ,re"ious rues are to be re1arded( uness e/ce,tions are made.

$t east one of the first three uarter0notes of a measure shoud be eft de1ree-ise. 3 Fi1. 8.4

Fi1.

8.

The ast uarter of a measure is usuay eft de1ree-ise. If a,,roached by a si, or by a de1ree-ise

,ro1ression of at east t-o uarter0notes( it may be eft by a si, in the o,,osite direction from

-hich it -as a,,roached. $ si, of a third in the same direction is aso 1ood -hen this si, is,receded by a si, of a third >d?. 3Fi1. .4

Fi1.

.

2arts may cross occasionay.

The use of non0harmonic tones( as in Fi1. 9(is 1ood in either ,art. $t athe ,assin10tone( instead of,ro1ressin1 directy to the adGacent chord0tone( si,s a third to the other side of it and then returns.

The embeishment is treated in the same -ay( but 3584 is most effecti"e -hen the ,rinci,a tone is

the eadin10tone( as at b. In both cases the counter,oint shoud continue de1ree-ise throu1h the

chord0tone. 3Fi1. 9.4

Fi1.

9.

The fifth( -hen in the o-er ,art( may be used on any but the first uarter( ,ro"ided it is treated as a

,assin10tone( e.1.( a,,roached and eft by ste,-ise ,ro1ression in one direction.

Fi1.

:.

!onsecuti"e fifths and octa"es are forbidden -hen a,,earin1 on the accented beats of successi"e

measures< bet-een ,rominent notes of successi"e measures not more than four uarters a,art< and

bet-een a ,rominent note of one measure and the first uarter of the ne/t. 3Fi1. =.4
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13/55

Fi1.

=.

Obiue motion to the unison is bad. It is ,ermitted if it continues in the same direction throu1h the

unison. 3Fi1. C.4

Fi1.

C.

The unison may be used on any but the first uarter of a measure.

Freuent re,etition of a fi1ure as in Fi1. ; is not 1ood.

Fi1.

;.

354

The embeishment may be used either abo"e or beo-( -hether a semitone or a -hoe tone< but

-hen it is a -hoe tone beo-( it is most satisfactory as the ninth of the im,ied chord. 3Fi1. [email protected]

Fi1.

9@.

In minor the si/th and se"enth de1rees of the scae are raised both ascendin1 and descendin1( -hen

used in harmonies containin1 the eadin10tone as a chord0tone. They are unatered both ascendin1

and descendin1 in harmonies containin1 the si/th de1ree of the scae as a chord0tone. In other

harmonies they are raised in ascendin1 ony.

The si/th or se"enth de1rees may be chromaticay atered -ith ony one note inter"enin1. 3Fi1. 95.4

Fi1.

95.

Si/ notes may be -ritten to one of the cantus firmus( as in Fi1. 96.

Fi1.

96.

The cadences in Fi1. 98 are 1ood.
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14/55

Fi1.

98.

E#ERCISES

To cantus firmus a-rite three counter,oints abo"e and three beo-( in the third s,ecies.

)rite t-o ei1ht0measure ,hrases( usin1 second s,ecies continuousy in both ,arts. 3Fi1. 8.4

3594

Cantus Firmus

Fi1.

9.

LESSON %

THIR" SPECIES IN $OTH PARTS

Fi1.

99.

The su11estions 1i"en for -ritin1 second s,ecies in both ,arts a,,y here( e/ce,t that -hen both

,arts mo"e de1ree-ise( any inter"a may come on the second and fourth uarters( ,referaby a

consonance. The third uarter is treated the same as the second haf -hen -ritin1 the second

s,ecies in both ,arts.

The au1mented fourth( and diminished fifth and se"enth( may be a,,roached in simiar motion.

3Fi1. 9:.4

Fi1.

9:.

The au1mented fourth foo-in1 the ,erfect fourth( as in Fi1. 9:a( is 1ood.

The minor se"enth( and the maGor and minor ninth of a chord( may be used freey on any but thefirst uarter( but must be consonant -ith the other ,art. 3Fi1. 9=.4
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15/55

Fi1.

9=.

35:4

The first and third s,ecies may be mi/ed( as in Fi1. 9C.

Fi1.

9C.

The second s,ecies may be used in one ,art and the third in the other( aso si/ notes in one ,art and

t-o in the other( and si/ in one and three in the other. $ tones a,,earin1 simutaneousy( must

com,y -ith the su11estions for tones a,,earin1 on the -ea beat 1i"en in ,re"ious essons( -here

both ,arts ha"e other than the first s,ecies. 3Fi1. 9;.4

Fi1.

9;.

The cadences in Fi1. :@ are 1ood( and -i su11est others.

Fi1.

:@.

E#ERCISES

To cantus firmus a-rite one counter,oint abo"e and one beo-( in the third s,ecies.

To cantus firmus b-rite counter,oints in si/ notes( one abo"e and one beo-. 3Fi1. 96.4

)rite one ei1ht0measure ,hrase( mi/in1 the first and third s,ecies. 3Fi1. 9C.4

)rite t-o ei1ht0measure ,hrases( usin1 third s,ecies in both ,arts. 3Fi1. 99.4

35=4

Canti Firmi


16/55

Fi1.

:5.

LESSON %I

FOURTH SPECIES

Fi1.

:6.

This s,ecies is the same as the second( e/ce,t that the ast note of the measure is tied to the first

note of the ne/t( formin1 a synco,ation. $s in the second s,ecies( the first note of the counter,ointshoud form a unison( octa"e or fifth( and -hen the counter,oint be1ins on the second haf it may

aso be an im,erfect consonance.

)hen the counter,oint be1ins on the first haf( the second haf is treated the same as the second haf

of succeedin1 measures( described in the ne/t ,ara1ra,h.

$fter the first measure( the second haf of the measure shoud contain a consonance > Fi1. :8a?( the

first haf a consonance >b?( or dissonance >c?( ,referaby the atter( in -hich case a sus,ension is

formed. This is the most desirabe form of synco,ation. )hen the first haf contains a dissonance(

the counter,oint must descendor ascend in retardation >d?one de1ree to an im,erfect

consonance >c?. )hen the first haf is a consonance( it may be eft by a si, to some other chord0

tone >e?( or by de1ree-ise ,ro1ression >f?. In the atter case the second note is non0harmonic( andtherefore shoud not be used to ,re,are a synco,ation e/ce,t as in Fi1. :8d >'etardation of the root

in I:?.

Fi1.

:8.

35C4

)hen -ritin1 three notes to one in the fourth s,ecies( the sus,ension may reso"e on the second

beat >a?( or the third >b?. In the atter case( the sus,ension si,s >c? to some other chord0tone( beforereso"in1. The resoution to the eadin10tone >d? forms an im,ortant e/ce,tion to this rue. 3Fi1. :.4

Fi1.

:.

The fifth may be used in the o-er ,art if it becomes the ,re,aration of a sus,ension > Fi1. :9a?. It

may aso be used in the o-er ,art( as in Fi1. :9b(,ro"ided it reso"es by si,,in1 to the third of thechord.

In si,,in1 from the fifth to the root( or the re"erse( in the o-er ,art( do so in an u,-ard direction.
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17/55

The fifth( -hen treated as an harmonic ,assin10tone( may( ho-e"er( be a,,roached either ascendin1

or descendin1.

Fi1.

:9.

The retardation shoud be used ony -hen ,re,ared by the eadin10tone. It rises a semitone in

reso"in1. 3Fi1. ::.4

Fi1.

::.

The foo-in1 dissonant inter"as may be used on the first haf of the measure7)hen the

counter,oint is abo"e( the fourth and se"enth in sus,ension( and second and fifth in retardation< and

-hen beo-( the second in sus,ension( and the fourth and se"enth in retardation. 3Fi1. :=.4

35;4

Fi1.

:=.

!onsecuti"e fifths on consecuti"e stron1 beats of the measure are 1ood -hen one of the tones of the

second fifth is ,re,ared( as in Fi1. :C.

Fi1.

:C.

The foo-in1 cadences are 1ood7

Fi1.

:;.

E#ERCISES

)rite one ei1ht0measure ,hrase -ith t-o notes to the measure in one ,art and si/ in the other< one

-ith three notes in one and si/ in the other< and one -ith t-o notes in one ,art and four in the other.>Fi1. 9;.? In combinin1 the s,ecies in this and succeedin1 essons the student may ,ace any s,ecies

in any ,art.
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18/55

To the cantus firmus -rite t-o counter,oints abo"e and t-o beo-( in the fourth s,ecies.

Cantus Firmus

Fi1.

=@.

LESSON %II

FOURTH SPECIES &Continue'(

The first and fourth s,ecies may be mi/ed as in Fi1. =5. 'ues for -ritin1 other than the first s,ecies

in both ,arts are to be re1arded.

36@4

Fi1.=5.

E#ERCISES

To cantus firmus a-rite t-o counter,oints abo"e and t-o beo-( in the fourth s,ecies.

To cantus firmus b-rite t-o abo"e and t-o beo-( three haf0notes to the measure( -ith

synco,ations.

)rite t-o ei1ht0measure ,hrases( mi/in1 the first and fourth s,ecies.

Canti Firmi

Fi1.

=6.

LESSON %III

COM$ININ) THE FOURTH SPECIES WITH THE OTHERS

$ ,re"ious rues for combinin1 s,ecies sti a,,y.

In combinin1 the fourth s,ecies -ith other than the first( the foo-in1 inter"as may be used on the

first haf of the measure( in addition to those mentioned in Lesson VI7 )hen the counter,oint is

beo-( the fourth( fifth and se"enth in sus,ension( and the ninth in retardation< and -hen abo"e( the

fifth in sus,ension( and the se"enth in retardation< but in e"ery such case the ,art ha"in1 other than

the fourth s,ecies must si, to some other chord0tone before reso"in1 the sus,ension. 3Fi1. =8.4
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19/55

Fi1.

=8.

3654

The eadin10tone may be doubed as in Fi1. =. Here the eadin10tone that is ,re,ared si,s to some

other chord0tone( -hie the ne- eadin10tone remains stationary.

Fi1.

=.

The minor or diminished se"enth( maGor or minor ninth( may be used as ,re,aration of a sus,ension

in either ,art( ,ro"ided it is a,,roached by a si, in an u,-ard direction( and is consonant -ith the

other ,art( or is one of the ,ermitted dissonances. 3Fi1. =9.4

Fi1.

=9.

The fourth s,ecies may be combined -ith the second or third s,ecies( and t-o or three notes

synco,ated may be -ritten in one ,art -ith si/ in the other. 3Fi1. =:.4
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20/55

Fi1.

=:.

3664

E#ERCISES

To the cantus firmus -rite one counter,oint abo"e and one beo-( in the fourth s,ecies.

)rite one ei1ht0measure ,hrase each( of the foo-in1 combinations7 The fourth s,ecies -ith the

second< the fourth -ith the third< t-o notes synco,ated a1ainst si/ notes< and three notes

synco,ated a1ainst si/ notes. )rite some in maGor and some in minor. 3Fi1. =:.4

Cantus Firmus

Fi1.

==.

LESSON I#

FIFTH SPECIES* FLORI" COUNTERPOINT

Fi1.

=C.

Forid counter,oint is a mi/ture of the second( third and fourth s,ecies.

In addition to these s,ecies ei1hth0notes may be used in 1rou,s of t-o on the second and fourth

uarters of the measure. Both notes shoud be a,,roached and eft ste,-ise( -ith the e/ce,tion that

the first may be taen by a si,. 3Fi1. =;.4


21/55

Fi1.

=;.

Not more than one and one0haf measures of any one s,ecies shoud be used continuousy in one

,art. 3Fi1. [email protected]

3684

Fi1.

C@.

In the use of uarter0notes it is necessary to e/ercise care. They may be used on the first haf -hen

,receded by uarter0notes( -hen the entire measure is fied( or -hen they ,recede a haf0note

-hich is the ,re,aration of a sus,ension. On the second haf they are a-ays 1ood. 3Fi1. C5.4

Fi1.

C5.

For the ,resent the sus,ension shoud not be ess than a haf0note or its rhythmic eui"aent in the

ornamenta resoution.

In this s,ecies the sus,ension may reso"e ornamentay( that is( it may ha"e some note or notes

inter,oated bet-een the sus,ension and its resoution. The reati"e ,osition of the sus,ension and

its resoution must remain the same as in the re1uar resoution. 3 Fi1. C6.4

)hen the sus,ension is eft by a ea,( the note si,,ed to shoud be consonant -ith the other ,art

>b?. )hen ei1hth0notes are used( as at a( they must be a,,roached and eft ste,-ise.The sus,ension( instead of bein1 sustained as a haf0note( may be re,eated on the second uarter( as

at c. In this case it is best to continue ste,-ise throu1h the tone of resoution.

$t dthe resoution( instead of comin1 on the second haf( a,,ears on the uarters on either side.

This is 1ood.

364
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Fi1.

C6.

The ornamenta resoution may be used in either ,art.

se the sus,ension freey.

The soutions shoud be musica( and are to be -ritten o"er and o"er a1ain unti such are secured.

$ cadences of the second( third and fourth s,ecies( or any combination of these( may be used.

E#ERCISES

To canti firmi aand b-rite t-o counter,oints abo"e and t-o beo-( in the fifth s,ecies

Canti Firmi

Fi1.

C8.

LESSON #

FLORI" COUNTERPOINT &Continue'()hen forid counter,oint is combined -ith other than first s,ecies( the dotted haf foo-ed by a

uarter0note >a?( or t-o 3694 ei1hth0notes >b?( is 1ood. $so( a rhythmic fi1ure( as at c( -here a haf0

note occu,ies the second and third uarters( may be used. 3Fi1. C.4

Fi1.

C.

E#ERCISES

)rite one ei1ht0measure ,hrase( each( of the foo-in1 combinations7 The fifth s,ecies -ith the

second< the fifth -ith the third< and the fifth -ith the fourth. )rite aso t-o ei1ht0measure ,hrases

-ith fifth s,ecies in both ,arts. 3Fi1. C9.4


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Fi1.

C9.

36:4

SIMPLE COUNTERPOINT IN THREE PARTS

LESSON #I

FIRST SPECIES

Fi1.

C:.

'e1ard a rues for t-o0,art counter,oint( uness other-ise mentioned.

If ,ossibe( each measure shoud contain a com,ete chord. )hen in the first s,ecies it becomesnecessary to doube an inter"a( et it be ,referaby the root. The third shoud be doubed ony -hen

a decidedy smoother meodic ,ro1ression is thereby obtained< and -hen both thirds are in outer


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,arts( each shoud be a,,roached and eft ste,-ise in one direction >Fi1. C=

?. The doubin1 of the

fifth is( of course( im,ossibe( since it necessitates the omission of the third.

Fi1.

C=.

$ triads may be used in their first in"ersion.

Diminished and au1mented triads( ho-e"er( are best used in their first in"ersion.

The si/0four chord may be used at the cose as the cadencin1 tonic si/0four chord. Do not a,,roach

the root and fifth in simiar motion( as at b. 3Fi1. CC.4

Fi1.

CC.

36=4

The dominant se"enth may be used in any but its second in"ersion( the fifth bein1 omitted.3$4The

se"enth reuires no ,re,aration. Other chords of the se"enth are better not used unti second s,ecies

and ater.

If ,ossibe( et the chord in the first measure a,,ear com,ete. The ast chord but one shoud be

com,ete( uness some form of V or V=is used. 3Fi1. C;.4

Fi1.

C;.

!onsecuti"e maGor thirds may be used -hen three or more ,arts are em,oyed. 3Fi1. ;@.4

Fi1.

;@.

$ note may no- be re,eated in the o-est ,art -hen it becomes the se"enth of a dominant se"enth0

chord. 3Fi1. ;5.4

Fi1.

;5.

In -ritin1( use so,rano( ato and tenor( or ato( tenor and bass< and do not se,arate u,,er ,arts more

than an octa"e. For a chord or t-o they may >for the sae of better "oice0eadin1? se,arate a tenth.

$ hidden fifths and octa"es are bad( e/ce,t bet-een I and V and V and I. 3Fi1. ;6a( b.4

3$4In se"erey strict counter,oint a ,arts abo"e the o-est must be consonant -ith it.Dissonances( -hen enterin1 simutaneousy -ith it( must be treated as sus,ensions( and -hen used

in the ,ro1ression of a ,art from one chord to another( shoud be treated as ,assin10tones or
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embeishments. This e/cudes the use of the un,re,ared se"enth and ninth< a diminished and

au1mented triads e/ce,t in their first in"ersion< and a si/0four chords( e/ce,t -hen the o-est ,art

is treated as a ,assin10tone.

36C4

The ,erfect fifth foo-in1 the diminished fifth is 1ood -hen taen in an u,-ard direction ste,-ise

in the hi1her ,arts. 3Fi1. ;6c.4

Fi1.

;6.

$ cadences used in harmony are 1ood.

ness other-ise mentioned( ,ut the cantus firmus in any ,art( but a"oid its continued use in thesame ,art.

E#ERCISES

To canti firmi aand b-rite the first s,ecies in a ,arts. )rite each three times( settin1 the cantus

firmus in a different ,art in each soution. This necessitates trans,osin1 the cantus firmus( -hen

settin1 it in the other ,arts.

Canti Firmi

Fi1.

;8.

LESSON #II

THE SECON" SPECIES

Fi1.

;.

The second s,ecies is -ritten in one ,art and the first in the other t-o.

36;4

$ su11estions made for the second s,ecies in t-o0,art counter,oint are to be obser"ed( unessother-ise mentioned. Those re1ardin1 consecuti"e ,erfect inter"as are es,eciay to be obser"ed.

The fifth( -hen in the o-est "oice( shoud be used as in t-o0,art counter,oint( e/ce,t -hen used in
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V8 or the cadencin1 tonic si/0four chord.

The V8 chord may be used on the -ea beat( necessitatin1 the omission of the third. 3Fi1. ;9a.4

The third may be omitted >b?( or doubed >c?( on the -ea beat in this and succeedin1 s,ecies.

3Fi1. ;9.4

Fi1.

;9.

The minor or diminished se"enth may be a,,roached by a si, in an u,-ard direction on the -ea

beat in any ,art. This usuay necessitates the omission of some other chord0member on the -ea

beat.

The maGor or minor ninth may aso be used in the same -ay( e/ce,t in the o-est ,art( ,ro"ided it isat east a ninth abo"e the root. 3Fi1. ;:.4

Fi1.

;:.

38@4

The ,ro1ression from "ii: to V in root0,osition or any in"ersion in the same measure( is 1ood.

3Fi1. ;=.4 se band cony -hen usin1 other than first s,ecies in t-o or more ,arts.

Fi1.

;=.

Each measure shoud usuay contain a com,ete chord. If not com,ete on the first beat( brin1 the

missin1 inter"a in on the second. 3Fi1. ;C.4
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Fi1.

;C.

The cadences in Fi1. ;; are 1ood( and -i su11est others. The use of the fourth s,ecies is ,ermitted

as at a. $ note may be re,eated in the fina cadence in a s,ecies as at b.

Fi1.

;;.

3854

E#ERCISES

To cantus firmus a-rite the first s,ecies in a ,arts( as ,re"iousy directed.

To cantus firmus b-rite second s,ecies in one ,art. )rite three times( chan1in1 cantus firmus and

counter,oint about so that they -i a,,ear in each ,art in turn.

Canti Firmi

Fi1.

5@@.
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LESSON #III

SECON" SPECIES IN TWO PARTS

Fi1.

5@5.

The su11estions for second s,ecies in both ,arts( in t-o0,art counter,oint( a,,y for the t-o ,arts

ha"in1 the second s,ecies in three0,art counter,oint.

$ccidenta harmonies sometime

a treatise on simple counterpoint in forty lessons by friedrich j. lehmann

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partsfirst s

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