'm\\v'.
CORNELL UNIVERSITY LIBRARY
MUSIC
Cornell University Library
MT
55.B85D7
3 1924 021
750 934
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http://www.archive.org/details/cu31924021750934
SIXTH THOUSAND.
NOVELLO,
EWER AND
MUSIC PRIMERS.
JOHN STAINER.
Edited by Sir
Double
CO.'S
Counterpoint AND
CANON BY
J.
FREDERICK BRIDGE HUS. DOC, OXOM,;
ORGANIST AND MASTER OF THE CHORISTERS OF WESTMINSTER ABBEY; PROFESSOR OF HARMONY AND THE ORGAN AT THE NATIONAL TRAINING SCHOOL FOR MUSIC, KENSINGTON, AND AT THE CRYSTAL PALACE SCHOOL OF ART; LATE ORGANIST OF THE CATHEDRAL, AND LECTURER ON HARMONY AND MUSICAL COMPOSITION AT THE OWENS COLLEGE, MANCHESTER; EXAMINER IN MUSIC TO THE UNIVERSITIES OF OXFORD AND CAMBRIDGE (x888).
PRICE
TWO
In Paper Boards,
Two
SHILLINGS. Shillings
and Sixpence.
loo LONDON & NEW YORK NOVELLO, EWER AND CO.
LONDON KOVELLO, EWER AND -PRINTERS.
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INTRODUCTION. Those who propose
to
study Double Counterpoint and Canon
should already have acquired the art of writing the various species of Simple Counterpoint in four or five parts, together with a
There seems no reason why the
good knowledge of harmony.
who has been through
student
this preliminary work, should
debarred the use of the resources of modern harmony writing his examples.
Counterpoint, with
mony, he far as is
many
he has diligently worked
will not fail to feel its
at
when
Simple
progressions of melody and har-
good influence, and
consistent with the greater ireedom he
to apply, as
now
enjoys,
its
valuable precepts.
The
application of Double Counterpoint and
writing will, in
student will
choose
many
Although is
all
make
With
the art.
point
If
its restricted
be
probability, be the
the
first
this in
view the Author has thought
references to
it
well to
of his examples from works of a fugal character.
it is
in
to fugal
which the
use of his knowledge of this branch of
in this style of
composition that Double Counter-
most used and most necessary, yet
employed
Canon
direction in
it
has often been
music not of a fugal character, examples of and
which are g^ven
many
opportunities for
those
who
its
in the course of this work,
happy introduction
will be
and
found by
take the pains to master a subject so necessary and
so useful to the true musician.
iv
INTRODUCTION.
An rules;
justify
same
but at the
necessary,
him
made
has been
effort
all
useless and pedantic
time, for the student, rules are absolutely
he -has acquired the
until in
to avoid
departing from the
knowledge which
strict letter
while he
is
will
observing
the spirit.
The Author's
best thanks are due to Miss Smart, for kindly
allowing him to insert the interesting canon by Mendelssohn, hitherto unpublished (No. ip of Appendix)
;
to F. Locker, Esq., for
bringing to his notice and permitting him to copy from the ginal MS., the canon by J. S.
Bach (No. 9 of Appendix)
;
and
to
to
many
valuable
James Higgs, Esq., Mus. Bac,
for kind
Dr. Gladstone for Example 128, together with suggestions
ori;
assistance and most useful advice which his well-known acquire-
ments and
special studies in this branch of the musical art
rendered invaluable.
The Cuoistees, Westmifstbf Aensr. Septemoer, ibSi.
hav;
CONTENTS. CHAPTER
—
PAOB
I.
—
Double Counterpoint General rules Double Counterthe octave Examples Double Counterpoint in the fifteenth Examples Subjects to which Double Counterpoints may be added Examples of models derived from simple phrase
Definition of point in
—
—
— —
—
.
CHAPTER in the tenth
Double Counterpoint
in the twelfth
CHAPTER
thirds
,
-
•
.
•
.
l6~a4
III.
— Examples
CHAPTER Added
— 15
II.
—Examples
Double Counterpoint
i
25
—
^33
IV.
—Examples
—3S
34
CHAPTF" " Counterpoints invertible in various intervals
— Examples
CHAPTER Triple and quadruple counterpoints point Example
—
—
and
Strict
— Examples— Quintuple counter-
— —
—
CHAPTER
— Examples— Chorales
imitation imitations
Partial
—5a —57
VIII.
—
—
46
53
CHAPTER
^45
VII.
— Examples
free
— —
—
—
Free Examples Strict by contrary movement By diminution By Imitation by augmentation Examples augmentation and contrary motion By diminution and con. . . trary motion With reversed accents Examples
Imitation
—
39
VI.
CHAPTER Imitation
.
.
on
—
58
—63
IX. vifhich
are constructed
64
CHAPTER
X.
Canonicalimitation— Origin of term— Examples
....
—75
76—79
CONTENTS.
VI
CHAPTER
XI.
PAOE
—Infinite— Finite by augmentation — Infinite by augmentation — By diminution— Retrograde — Circular— Examples
Canons
:
Finite
CHAPTER Polymorphous canon
CHAPTER
80
—gi
.
92
—96
97
— 100
XII.
—Examples— Sequential canon—Example
Methods of exhibiting canons
.
XIII.
—Open—Close—Canon
four in two
Round
CHAPTER Hints to the Student
XIV.
—To compose a canon— Modulation in canon
.
loi
— 102
io'>
—12a
APPENDIX. Examplef) of Double Counterpoint
INDEX.
Paraoraph.
free parts to model for Double Coun. terpoint in tenth . . . | Added thirds to models for Double Counter- \ . point . j Addition of accidentals in inversion of model Addition of accidentals in inversion in the]
Added
.
.
.
„
circular (per tonos)
„
close
„
by diminution
„
enigmatical
,,
finite
,
.
by augmentation infinite by augmentation infinite or perpetual
„ „ open polymorphous
„
retrograde sequential
.
•
.
.
.
.
.
.
107,
.
136, 14a
137 '33 124, 125
129 130. 131 126, 127
128
99.
.... ....
117
no to
.
103 to 105
137 to 143, 133 to 135..
"5
H3
I
13
9329.
progressions
.
.
.
..... ....
Clefs prefixed to a close canon Contracted parts subjects ,,
118, 124 3 (notes to Sec. i) 3 (Sec. 3)
.
!
oblique motion generally 1 employed f Contrary in Double Counterpoint at the)
Contrary and
tenth ,,
39. c; 40, e
.
Canoni Chromatic notes „
•
•
108 117 to 124 102 109 96, 97 100 lOI
with coda
'
'
30
29.
(g6 (note ,106,
.
....
.
finite
„
68 to 74
80 91
Canon
„ „
42; 51,6
59, a, b, c; 60, 61, 62, 63, 64
J
Antecedent
„ „ „ „
35-
43
tvirelfth
-
EXAMPLB.
....
34
•
J
motion
3 (Sec. 3)
Counterpoints invertible. in various intervals
Consequent Crossing of parts . . Double Counterpoint . Double Counterpoints most used
3 (Sec. 3)
65 to 71 81 3 (Sec. 2)
•
1
.
.
2
.
75 to 81
INDEX.
VI 11
Paragraph.
15 to 24
Double Counterpoint in the octave „
„
„
„
„ „
„
„
„
II
11
1,
iifteenth
Example.
25 to 30
7 (note), 21
.
octave displayed 1 at the doubleSve J octave inverted I at the fifteenth J
19.
tenth
3 (notes to Sec. i),]
twelfth-
3 (notes to Sec.i),]
25 .
.1
I.
II
„
„
„
„
„
„
tenth,modeland'
I,
inversion at the time. thireleventh,
41
(
tenth combined with thatintheSve
.
461050; 76,4 62 to 69, 78, 79
59-
40.
same
„
,,
...
and fourteenth Example of simple model elaborated Expansion of parts Fourth, augmented Fifth, dimmished or minor Figures denoting the interval in which a) canon is made J teenth,
58. 37, u, b,
.
.... ....
Fugue in epidiapason Fuga ligata
.
.
.
„ „
by augmentation „
.... .... .... ....
and diminution,!
combined with contrary motion J by diminution
,.
canonical . . on a chorale by contrary motion
„ „
free or irregular in two parts, with independent)
„
„
accompaniment
„
partial or periodical
>
.
.
.
.
.
.
34
(Sec.
41 144, u, b
119
122, b
i2g (Sec 126 (Sec,
I,
2 3.4) 127
4),
76. 83-
III
85,
"3.
84. 88,91 90.
112
81
.
79
•
"4
iig to 121 105 to no 96 to 99
100 to 104
J
88, 8g, g
.
...
87.
....
86. 87. 77.78 89.
retrograde {per rede ei retro} or cancrissans J reversed accents (per arsin ei tkesin) „ reverse retrograde ,, strict or regular ,, on a theme or canto fermo „ Methods of exhibiting canons when written
„
d, t
93>94
.
„
8, 10,
.
General rules Hints to attain clearness in canonic writing How to avoid modulation in a canon Imitation
c,
3 (note to Sec 8, 10, 34 (Sec.
.
Model Modifications of terminations in Double) Copnterpoint in tenth and twelfth J Octave on gccented beat Qniission of accidentals in inversion ofmodel for Pe»ble ConjiteFpoipt in tenth /
.... .
117 3 (Sec.
"5 90 to 95 116 to iiS i)
29 (note) 14.
29.
39. 6
INDEX.
!x
Example.
Paragraph.
Origin of the term " canon " . . Partial or periodic imitation. Preparation and resolution of seventh in Double Counterpoint at the twelfth Progressions by similar motion in Double Counterpoint at the tenth PiOposition
.....
Quadruple Counterpoint Quintuple Counterpoint Reversed clef and time signature Riddle
Canon
Round
93
51,52
58,59
.
34 (Sec.
41
I, 2, 3)
80 72 to 74 .
88 8g 133
75 103 log 126
....
Rule for discovering the inversion of any| interval (Sir J. Goss) Seventh diminished Simple model from which others are derived
16
.
.
Sixth augmented Sixths in Double Counterpoint at the tenth twelfth ,> >, » I. Solution Stretto
Subjects to which counterpoints may be added Suspension of the second . fourth „ ,, seventh . „ „ ninth ,, ,, Table of inversions in the octave tenth . „ „ twelfth ,, „ Third, diminished Thirds in Double Counterpoint at the tenth . Triple Counterpoint
To compose a canon
Two ways
.
..... ....
of inverting in the tenth
Unessential note
Unprepared discords
Use of three staves in inverting exercises Usual method of describing canons .
i2>
13.34 (Sec, 1.3
24. 11,34 (Sec. 2, 31 to 33 47. 48, 51 log 116
36. 36. 37.
53.54
3).
50
41 37, a, b, 41. 57
c,
32 to 36 43 44, 60, 61
37
44. 47. 49
38,54 16.
45,61
27
d,
.
43.44 31 to 33 72 to 74 126
28,30
81 to 87 (38, a,b,c; 40, a. 6, c
\ 7
•
4 22
.
9a.
DOUBLE COUNTERPOINT & CANON. i^se;^-!
CHAPTER I.
A
TWO-PART phrase
is said to be in double counterpoint admit of double employment, i.e., when either act as upper or lower part in other words, when they
when both
may
I.
subject's
;
will invert
:
F*^=r= Ex.
I.
DOUBLE COUNTERPOINT AND CANON.
General Rules. for inversion, which together model a convenient term which will be used henceforth in this work must never be separated by a greater interval than that into which fhey are to invert.
The two phrases intended
(i.)
—
constitute the
—
In Ex. I the phrases are never more than an octave apart, because they are designed for double counterpoint in the octave. If this interval were exceeded the parts would not invert. In Ex. 3, a, the interval of an octave is exceeded, and at b is given what should be the inversion of the same.
Ex.
3.
a
=PI
n i <;r-:J**-
^SiP^ 10 II 13
^ S P^3
^
m
It will be seen that at Ex. 3, i, * * * no inversion takes place ; the parts are merely contracted, and the effect of both passages, so far as the last two chords
are concerned,
is
essentially the
same (Ex.
IZ3Z
4, a, b).
ma
Ex.4.
m10 II
'
m 13
3
4
Ex. 5, a, is a model for double counterpoint in the tenth (see page 16), in at T * this interval (a tenth) is exceeded. An inversion of the model is given at b. It will be seen that the faults in the model result in the parts being merely contracted, not inverted, at the places marked * •.
which
Ex. N
3.
Model for
a
d.c. in
tenth
Hi \- rj *-# \
II la
m
m
-•-
^
GENERAL RULES. Inversion.
b
m
-^2 Lower
>!--
part of model a tenth higher.
'^J
JjJJN^^ij.jjL a
I
For a corrected form of the above example see page i8. Ex. 6, a, is a model for double counterpoint in the twelfth (see page 25) witK similar faults. At b it is inverted with the same results.
Ex.6. M a Model for d.c. in twelfth.
*
•
'
--.
y
J=¥=f
Q ^. ^.
13 14
:$=&:
6
^m^=^^
:t=E
Inversion.
pr^r
i
:$: Lower
^ (2.)
The
^P
It part of
-»-f^
model a twelfth higher. &c.
^
'
-.°
o
<-J
-
parts should not cross in the model.
It will be seen- in Ex. 7, a, b, that the effect of the -intervals marked * * • is rpractically the same. In this case the intervals marked * * ' in the model a are expanded, not inverted, at b.
Ex.
7.
gS m g^=^
n a^
T^"jyr
—
rs*
»!-
^Si ^^B *
I
I
DOUBLE COUNTERPOINT AND CANON.
4
subjects forming the model should be well conas to length of notes and melodic progression, contrary motion being always preferable to similar motion ; the two parts will thus possess individuality and be easily distinguished from one another. It is well that they should not begin together, but that one should enter after a short rest (see
The two
(3.)
trasted both
preceding examples). of course, be understood from the Introduction is not confined to the progressions and chords used in simple counterpoint in the strict style. While, however, chromatic progressions and unprepared discords are available, it must be remembered that the model will probably be heard alone {i.e., without accompanying parts), and therefore a somewhat strict rather than free use of such discords is advisable. It
4.
to this
will,
work that the student
DOUBLE COUNTERPOINT
IN
THE OCTAVE.
5. The intervals of the fifth and fourth are those which will most require the student's care when constructing the model. 6. The perfect (or major) fifth, although consonant in the This model, becomes by inversion a discord, viz., a fourth. condition must therefore be provided for, and as a fourth will seldom appear upon the accented beat without preparation, the Upon the unacfifth must conform to this usage (Ex. 8, a, b). cented beat fifths and fourths are of course often taken without preparation, especially when they occur as passing notes (Ex. 8, c), or by conjunct movement in at least one of the parts (Ex. 8, d).
Ex.8.
a
i
3±L
uaz =pzz
^C2=
The bar marked d
is
=g=
=r
T=^
not very good in two-part writing.
Even upon the accented beat cases may occur where these maybe used without preparation, particularly when one of the notes forming the interval is an unessential note. At Ex. 9. a, is an unprepared fourth upon the accented beat, the E in the upper of the two parts being clearly an unessential- note,— 7.
intervals
an appoggiatura.
INVERSION IN THE OCTAVE.
^^^1 Ex.
^
g.
The above
is
double counterpoint in the fifteenth or double octave (see
par. 2i). 8. The augmented fourth (Ex. lo, a, b,c) and its inversion, the diminished (or minor) fifth (Ex. lo, d, e, /), may be freely used on either accented or unaccented beats.
Inversion.
g. The avoidance of consecutive major fifths is of course necessary, and the student will understand that consecutive major fourths are equally objectionable.
lo. Some authors allow a major fourth, followed by an augmented fourth (Ex. II, a), resulting, when inverted, in a major fifth, followed by a minor (or diminished) fifth (Ex. ii, b); but these fourths should be avoided unless the model is accompanied by another part, which renders such harmony unobjectionable
(Ex. II,
Ex.
II.
c).
gfF^;
ll
f_tf-H=^^-ljl
l
;'-<^;
ll
were dotted, all objection would would then be a passing note (Ex. ii, d).
If the first note of the lower part at Ex. ii,b,
be removed, as the
G
The augmented sixth (Ex. 12, a) cannot be used because inversion, a diminished third (Ex. 12, 6), must be avoided in • two-part writing. II.
its
a Ex. 12.
"^
h
-P"
jlBSl
DOUBI-E COUNTEJlPOmX AND C^NON.
6
The diminished seventh may be used
12.
if
care be taken in
resolution, as, for example, if one of the notes forming the interval be resolved before the other (Ex. 13, a b), or if, resolving on a fifth, such resolution falls on the unaccented beat ; but this is not recommended (Ex. 13, c). its
Ex. 13.
r^rW^fZ
'I
iri-
"p^^^~p"
I i
The diminished seventh should
13. fifth
H
A=[^A
i
on the accent (Ex.
14, a),
not be resolved upon a because in its inversion a fourth
results (Ex. 14, b).
Ex.
•'$
-W=^
14. The octave becomes by inversion an unison, and in this species of double counterpoint should be .used sparingly, except at the beginning and end of the model, or perhaps occasionally as an unaccented note. It should not be taken by a skip on the accented beat, especially by similar motion. 15. With the exception of the fourth and fifth, to which special attention has been called, those intervals which are discords in the model (the seconds and sevenths) are discords in the inversion (becoming sevenths and seconds respectively), and the concords in the model (the thirds, sixths, and octaves) are concords in the inversion, becoming sixths, thirds, and unisons respectively.
The
16.
octave
following table ..shows the result of inversion in the
-.
Model
...
Inversion
It
may
Goss
perhaps be useful to mention the rule given by Sir J. Rudiments of Harmony," for discovering the inver-
in his "
sion of any interval [in the octave] by referring to the number g, " since each interval when added to its inversion will make up that
number."
This rjile may, of course, be expanded to apply to inversion in other intervals, the principle being to add one to the number of the interval in which the inversion is to be made. Thus, for inversion in the tenth (see par. 27)- each interj^al added to its inversion will make 11, and for inversion in the twelfth
INVERSION IN THE OCTAVE. (see pars. 43 and 44) each interval added to its inversion will the addition of one is necessary, because the central 13
make
;
note on which the inversion turns
is
counted twice, thus
:
i f3 +
6 = g. Examples of double counterpoint in the octave
are give»' of the inversions do not appear in the compositions from which they are extracted, in the keys here given. The inversions of the first few examples which follow are, however, given in the same keys as their respective models, in order that each counterpoint and its inversion may be more readily seen by the student. It is not thought necessary to adhere to this plan throughout the work. 17.
Some
below.
Ex. 15.
Handel,
Model.
a
i r=^ i s^
^'--L^r
^m
• d *
^
Inversion.
b
$ I^E t=^ p=s=
16.
Handel.
Model.
$m ie^ 6
PH * P
gjj -2_g=
^i
tr
Te Deum
^ in B|?.
^
atl^i^p^z^izhzi
T3i
Inversion.
T^Tm ?
^
#-»-
E^ Ex. a
Oboe Concerto,
s
?3=
^
izi:
^
DOUBLE COUNTERPOINT AND CANON. Ex. 17. a
lit:
^
3^ ^^
s
i^
lit
« i i
GusTAV Merkel.
Model.
*
I
<>•
-a 3z^
:e
=PP
1:!?::?^:
Leo.
p
-^ •r
m fTf
=^^
-r,
P
i Inversion.
i^
^. *
!">
t^*
& Ex
^±
ig.
a
Kyrie.
^
Model.
fe^ .WIl
p
&^
g
Ex. 18.
^
^
.JTJPrl^^J
M^ a
Organ Fugue.
"rrrcriTi
=t=
Inversion.
6
*
•
Model.
^^kmxTjVj
~7rr
f frn*
^S i
1=4
^
?^^^^
^
f->
•
n
r?
Haydn.
=^
#
^^4 r
o
i
Creation,
i
JNVERSIDN IN THE OCTAVE
—
•jg
Inversion.
6
:
-\i
m^
m
^^ s
^,-r-n-
35ES
^^^
f=w^
SI
i8. The inversions of the models which follow are given as they stand in the compositions from which they are extracted.
Ex. 20. a Model.
h
KiRNBERGER.
Inversion.
i»
:t-
The skip of a third at * * is necessary for " tonal " reasons. See Primer on " Fugue," par. 34. The C at is replaced by B in the movement from which this is taken, for contextual reasons. ig. The following model is also double counterpoint in the octave, although it is, so to speak, accidentally displayed at the double octave, but that it is not truly in the .fifteenth: is evident from the fact that the upper part maybe brought down an octave; In or vice versd, without involving any crossing of the parts. practical composition it frequently happens that double counter^ point, essentially in the octave, is exhibited both in the model and its invfersion at the distance of two or even -three octaves. The difference between this and double counterpoint in the fifteenth will be seen further on.
DOUBLE COUNTERPOINT AND CANON.
10 Ex. 21. a Model.
pig
From PoRPORA.
r
rjcsz
\ \
u^
\
f^i±^
#r-=^^^rcr^nr'' M "
H '1
Inversion
6
^^
Sfe
r? iR ^
aii
f7t:frrir-G^f-|f ii
20. Still more often, when the model is within the octave, the inversion is exhibited at the double octave (fifteenth), the upper part being transposed two octaves lower, or the lower part two octaves higher, or both parts an octave in opposite directions. The following (Ex. 22 to 24) are inverted on the latter plan.
Ex. 22. a Model, ,
|iS
-P
— —^-F^
^ %
P
r f
i
f
:t
j^r,
^
i
m
Inversion.
M^ b
^
From an Organ Fugue by Albrechtsberger.
;C_i:
f
I
r
r-^^F
"
INVERSION IN THE FIFTEENTH. Ex. 23.
a
Bach.
Model.
6
6»
Ti
:ii>^
Inversion.
^^m ^ a
^^Jf¥=^
^
W^^Si^
Ex. Z4.
a
GusTAv Merkel.
Model.
^ b
-
-ti
I
Organ Fugue
in
A minor.
^m
Inversion.
• -<'
Art of Fugue.
^^M ^rrmrr-n^m
I ^^ ^
i ^E
II
i-
I*.
f =B:
^g^
i
S^^ F yi t
DOUBLE COUNTERPOINT
IN
r
THE FIFTEENTH.
21. Double counterpoint in the fifteenth (double octave) is essentially the same as double counterpoint in the octave, except that the wider interval (two octaves instead of one) allows Although, as greater scope for the two parts forming the model. was said in par. 20, double counterpoint in the octave is often
inverted at the double octave (fifteenth), the upper part of the model being transposed two Octaves lower, or the lower part two octaves higher, or both parts an octave in opposite directions, it
DOUBLE COUNTERPOINT.
fz
ANt> CANiON.
should be observed that a model for double countei point in the fifteenth cannot be contracted so as to invert in the octave^ Some examples of double counterpoint in the fifteenth are given
below
:
Ex a
25.
000
i te^SE
^
o
\i
r}
:Phe:
3E^
r f f f f
\'
m-^W^
fi
fi
f-i
Arv ff ^
r
I
M
r 1^^
^^
Ex. 26.
M ^^ ^i>
;
-J-h
Requiem.
f=r=mi ¥=F^
Inversion.
J
:k
JOMELLi.
Model.
a
I
D.
F4=4=±
i^# J
in
-rj-
Inversion.
b
m
Et vitam, Mass
Beethoven.
Model.
^^
^F=F=*:
i ^^
ss
32=
=t=F ^
°v_^ *
'
g>
-
=pz;
fefc^ Ex. 27. a Model.
Marthji.
INVERSION IN THE FIFTEENTH Inversion.
6
J -•i.
I
i
I3k
1
•
*
!
:ft
.
i
T =F+=F
Pi^^ s
m
pn^^t--^ 'r t=i=t
*
i
-ftr
t=& ^a
=t=t=
&c.
^
^
^rrrl^"-^
D
The rest at • takes the place of the note in the model, Martini evidently regarding the figure given in the inversion as the real counter-subject. The appears in another part when the model is inverted.^
•
D
Ex. 28.
Model.
a
,
Handel.
$ g^
m
^^r^rif-H &c.
42-
s-
b y>
r
-*
^
pc
i
Inversion.
6
:?2Z
=k
i
:^
:^E
:?2-
^ &ci
^^
r
fe^
r- 'h^Um r
Ex. 2g.
^ o
i
Haydn.
Model.
-f3-
n^^rf ^^"X^
fr^^^j:^ r-rr( J
Inversion.
^b''(M,rjj-^feff^^^
^^ ^ ^^
Hrufc
:^
^£^
3
H
DOUBLE COUNTERPOINT AND CANON. Ex. 30. a Model.
^ n
^^
-^-
,
Martini.
.
.rjj
.
I
a
i
B^a
i
^fe 1^ b
^^^^ffil r""£r^-'^'
Inversion.
^el^g
^
At * a slight alteration of the counter-subject leads to a contraction of the paits, the lower being brought an octave nearer the upper than its proper position by inversion in the fifteenth. The possibility of this arises from the fact that the model was at this point within the limit of an octave. 22. The Student should now construct models of double counterpoint in the octave and fifteenth by the aid of the precepts and examples already given. It will be found advisable to use three staves in the way indicated in Ex. 31, as we are thus enabled to see readily what the intervals in the model become when inverted. The two uppier staves of Ex. 31 contain the model the two lower its inversion in the octave :
;
i EE Model.
^^
Intervals ] in the Model.
i ^S
3
^
=F7=P
Inversion.
Intervals inverted.
4
7
Subjects to which Double Counterpoints may be added. 23. For those who at first find it difficult to construct 6o
Ex. 32.
_
J.
F. B.
SUBJECTS, AND VARIED MODEL. Ex. 33-
15
Albrechtsbeeger.
Telemann.
Ex. 34.
-^
S
i ^i^
Albrechtsberger.
Ex. 35.
Handel.
Ex. 36.
^U^rrHc^r u
T ^'
^
f p f =t
24. When first constructing original models the student need only venture upon simple phrases, to be afterwards ornamented and elaborated in various ways. Ex. 37, a, is a very simple model for double counterpoint in the octave. Ex. 37, h, c, d, e, are model* in all essential particulars derived from Ex. 37, aa Ex. 37. J.
a
i iE
iS
-77-
3!
^P^=f=
T
te^ ^^^ tfT^'^uirrir^ r-T u-^-
Tf
r
-
r f-^
=E±f
r
i
tf
i=t^ -p—
^ r
aj
is formed chiefly by the by adopting a sequential form in the a chromatic note in the lower part; at d and e the original model, and in the latter case also ^bminant at bar 2. The models at b and c axe those at d and e for inversion in the fifteenth.
The
notes
;
varied model at b at
F. B.
<:
r
I-
r
^
7^
_P
<>•
aid of passing and auxiliary upper part, and introducing by exceeding the limits of by modulating to the subfor inversion in the octave,
CHAPTER DOUBLE COUNTERPOINT
II,
IN
THE TENTH.
Although taken next in order, this counterpoint by itself by no means next in value, inversion in the twefth being used far more frequently. There is, however, an incidental variety of double counterpoint in the tenth, combined with that in the octave, of considerable value and interest, which will be fully, treated of further on. (See par. 59.) 26. The general ruleson pages2,3,and4 must be borne in mind. 27. When the subjects are inverted in the tenth above or below, the consonances in the model change into other consonances, thus 25.
is
:
Model
8 3
10
Inversion
i
and the dissonances
6
5
3
I
5
6
8
10
into other dissonances, thus
Model
g
7
4
Inversion
2
4
7
:
2
g 28. By the use of three staves as suggested in par. 22, the student will easily discover the inversions which the intervals in the model involve (see also par. 16). This method, however, will show only one inversion, whereas there are two ways of inverting a model for double counterpoint in the tenth, the two This will be inversions differing considerably in their effect.
best seen from an example. Ex. 38, a, is a model b shows the inversion of the upper part a tenth below, c the inversion of the lower part a tenth above, both inversions being rendered in accordance with the signature of the model. ;
Ex. 38. M
a
^ b
i
i;
Albrechtsberger.
Model.
t
sr
dLi^
)
I*
^
3
t
Inversion.
E Upp^ paTt a*ten^ bllow^
i1
i
INVERSION IN THE TENTH.
i
J7
^
14;=^ Lower
part a tenth above.
i =e=q^-
E
=p=i= ii;;^
^
29. Such inversions will often be satisfactory enough, but if the model contains chromatic notes, or notes inducing modulation, the result in the inversions will generally be that some modification of one or other of the parts will be necessary. In some cases this may be by the omission of an accidental employed in the model, in others by the addition of an accidental.
Ex. 39,
a, is a
G by the F
model commencing in C major and modulating to, 6 is one of the inversions, the accic is another inversion containing an
sharp marked * dental being omitted at * ;
additional accidental at *. Ex. 39.
a
Model.
^^
;
DOUBLE COUNTERPOINT AND CANON.
i8
At par. 28
30.
it
was
said there were two
ways of inverting
a
higher part being But .put down a tenth lower, or the lower part a tenth higher. these inversions may be arrived at by other processes, some subjects inverting more agreeably in one way than in another. Ex. 40, a, is a model for inversion in the tenth
model
for double counterpoint in the tenth, the
:
Ex. 40.
P«-r
3=P
'
» s »
^Jlj^ -*-»-
i
^
^g
-i-r-r
At
h the model (a) is inverted by taking the lower part an octave higher and the upper part a third lower : h
s
fs
» » Lower
^^
part an octave higker.
Upper part a
At
t the
£=
third lower.
^^
t-^-^ * d
same model
third higher
K
is inverted by taking the lower part a and the upper part an octave lower :
^^ Lower
part a third higher.
Upper part an octave
¥
m
lower,
^ W^
s
fe
^
F=^
Notice the numerous accidentals necessary to render the inversion satisThe usefulness of this method of inversion for the purposes of
factory.
modulation in
fiigal
writing
is
obvious.
31. As thirds become octaves when inverted, they must not be used consecutively. Sixths become fifths and follow the same rule, but in some cases (see par. 34 (3), and Ex. 41, A, t, f) consecutive sixths are possible.
INVERSION IN THE TENTH.
'9
Even
single thirds and sixths must be used with judgment, in the inversion they become octaves and fifths respectively, and, however taken, they of necessity render the harmony somewhat bare. reference to Ex. 40 will show 32.
remembering that
A
this.
33. in
We
should not approach these intervals by similar motion if by inversion objectionable hidden octaves and are produced.
two
fifths
parts,
34. It is apparent from par. 31 that contrary and oblique motion must be generally employed. A few progressions, however, where the parts niave by similar motion may be used, viz. (i) A wwyB i fourth, followed by an augmented fourth (Ex. 41, a), becoming in the inversion, by the aid of accidentals (see par. 29), a minor seventh, followed by a diminished seventh (Ex. 41, b, c).
A perfect «)Mttfi^r fifth, followed by a diminished owiminor (Ex. 41, d), becoming in the inversion a major sixth, followed by an augmented sixth (Ex. 41, e), or a minor sixth, followed by a major sixth (Ex. 41,/) : (2)
fifth
Ex. 41.
^Lower
U
'^
^
part a
tenth above.
Model.
Upper
part a tenth below.
^m ^-l^lMs^jp r
Observe the different
effect
T
l
f-
produced by the two inversions (see par.
28).
(3) It is obvious that a minor seventh, followed by a diminished seventh (Ex. 41, b and c), producing the fourths at a, and the sixths at e and/, producing the fifths at d, are equally allowable.
35. In a two-part phrase these progressions, particularly the fourths, should be avoided. If, however, other parts are pro-
ceeding at the same moment with the counterpoint, they may niore readily be admitted, their imperfections being at least hidden if not made good. The questionable progressions in Ex. 41 are given in Ex. 42 with an added free part.
DOUBLE COUNTERPOINT AND CANON.
20 Ex. 42
Fifths with lower
Fourths with lower
Sevenths with inner free part
free part.
free part.
36. The suspensions of the second and fourth occur only in the lower part, i.e., the note causing either discord must be prepared and resolved in the lowest part. The second must not be prepared by a third as at Ex. 43, a, or hidden octaves \yill be produced when the passage is inverted (b). The second may be prepared by the unison (c), fifth (rf), or sixth {e). The hidden octaves produced by the inversion of d and e could be softened (See small in effect by suitable accompanying harmonies.
notes.) Ex. 43.
m
m^m
Inversion.
i
^
1
<^
Model.
i
3E
^
^
37. As has been seen in Ex. 41 certain fourths and sevenths are admissible without preparation, particularly the dominant and diminished sevenths, with their inversions the major and
But a suspension of the fourth takes place fourths. only in the lower part (as was said in par. 36), and is generally resolved into a fifth or sixth (Ex. 44, a, b, c). The suspension of the seventh will occur in the upper part, and will resolve into a sixth or fifth (Ex. 44, d, e,f):
augmented
^ ,6,
.
—
...
-^Q-ljT^ujm^j
f^rn^rj^rr1 4
5
4
&
4
76
73
&
75
38. The progressions contained in the two upper staves of Ex. 43, c, d, e, show the preparation and resolution of the suspended ninth. It should be added that when the ninth falls to its note of resolution, the lower part
may
rise a third
{i.e.,
to
INVERSION IN THE TENTH.
21
inversion of the chord on which the ninth would resolve, a), or a fourth {i.e., to another chord a triad on the fourth above Ex. 45, b):
the
first
Ex. 45,
—
—
—
Ex. 45.
± zpz^-b
r
T
r 9
39.
The
the tenth
following are examples of double counterpoint in
:
Ex. 46.
Schneider.
W'T'~=rf^~w~i Model.
\
T
T
\
^
T
^
r~r
DOUBLE COUNTERPOINT AND CANON.
22 Ex. 48.
A. F. C. KoLLMAtW.
Model. O -e-
a
^i
I
[
&c.
^^
c
*
^
b-
^ ^L
s I I
-i Lower
-*-
^
=1=
part a tenth higher.
c:Sja^,St
^^ ::^czK
P =g
I
Inversion,
Upper part a
third lower.
Ex. 49. u. Model..
^^ E
A. F. C. KOLLMANN.
^ -p^^ir^trrr r=^^
'f
i
>
>
^^
r*^^
Inversion.
=FFF=
BS Lower
L
In Ex. 49,
I
,
:^^=F
6
TT5T1 ai^TK;
Inversion.
6
iH
^^ S :^^^
a, the
fifth (see par. 37).
r
^
i
r
-
P =t=t:
T<* •
-TT m'»
i
part a tenth higher.
suspended seventh at
• is
resolved (ornamentally) \ ii into a
INVERSION IN THE TENTH. Ex. 50.
^
Albrechtsberoer.
=P2=
m^
-0—0-4-
±3z iF=F
;
The
^F=r
r
(',
m^
-m—J
:4=r:
—
^
^-
I
»
I
•
Inversion.
b
i b'
S.2?-
^
Model,
a
83
q?=«:
rf-P^-d:
=1=1=
=tii
^
-m—0-
±
move in thirds here (Ex. 50, a, when the parts are inverted, to
parts
alteration
zs:t:
=!=iiB
* *)
which necessitates a
slight
avoid consecutive octaves (see
par. 31).
I
40. In double counterpoint at the tenth
often possible to use an inversion of one of the subjects at the same time with the model, thus giving a three-part phrase. Here follow some
examples
it
is
:
Schneider.
Ex. 51.
t=t= MODEI..
Inversion.
wrrH-\m
&%
=r^:pa
=1=1=
Ex. 52.
a
^
Reicha.
^
:f^-0-
Model.
^m Inversion.
J * p" I
i
I
ZC2Z
'
DOUBLE COUNTERPOINT AND CANON.
24
^
g^g^ $
=P=P 1
I
I
n=t:
^
II
=P=I?:
I
=l=t
The following inversion is obtained by taking the lower part a third higher^ and the upper part an octave lower. An added part, such as is suggested in small notes at * would remove all objection to the inversion :
^ b
^
Inversion.
1^1;
(:
-
r^H^^
T3~
4=t =P-
%
^
r
»
I
ip=t:
^m
-p-
I
Another important example of this counterpoint
will
be found in Ex.
76,
c.
CHAPTER DOUBLE CpUNTERPOINT
III.
IN
THE TWELFTH.
41. Double counterpoint in the twelfth is, in point of usefulness, next to double counterpoint in the octave.
42.
The
rules
on pages
2, 3,
and 4 must be remembered.'
When
the subjects are inverted in the twelfth above or 43. below, all the dissonances change into other dissonances except the seventh, which becomes a sixth. Model
4
9 Concord
Inversion
4
consonances change into other consonances except which becomes a seventh.
44. All the
the sixth
9
6
Model
DOUBLE COUNTERPOINT AND CANON.
26
46. As the third becomes a tenth, and vice versa, these intervals can be readily used, and may be taken by similar motion. For the other intervals contrary and oblique motion will be found
generally necessary. 47. The sixth when inverted becomes a seventh, and will often require preparation. The preparation and resolution must be in the lower part, as this becomes the dissonance when inverted (Ex. 54, a,b). Ex. 54,
'
a
b
m
znt:
Model,
-
Inversion.
^ ^
~r?~
32 7
IZSZ
6
^
4:
When, however, the sixth inverts into a dominant or diminished seventh, preparation is not necessary. It may also be used as a yassing note. ,
48. Two sixths (Ex. 55, a) which by inversion produce a minor -seventh followed by a diminished seventh (Ex. 55, b) may
be used.
From Marpurq, b
^^=i= Ex. 5S.
ed.
by Choron.
INVERSION IN THE TWELFTH. 50.
-
The augmented
sixth producing
27
by inversion; a dimit)ished
seventh needs no preparation (Ex. 57).
^ e $ S
Ex. 57.
„
^
Inversion.
Model.
mz =t= 51. The sixth does- not usually (see, however, next paragraph) prepare a seventh in the upper pari, as it is itself a discord when
The seventh maybe prepared by any concord except
inverted.
by the third, fifth, octave, or tenth), and the note which the seventh falls generally rises a second (Ex. 58, a) or fourth (Ex. 58, 6), i.e., it takes the usual progression of the bass of
the sixth
{i.e.,
to
chord of the seventh, which Ex. 58.
it
becomes when inverted.
t
-rr-
I
Inversion.. -
.
(
Model.
S
m 7
zz 7
7
-e»
32:
zz:
The
i
6
2z:
following example (from Kirnberger) shows that a occasionally prepare a seventh. In this case, the latter being resolved ornamentally, does not follow the progression suggested in par. 51, 52. sixth
may
Ex. 59.
Model.
^m^
i -^ Inversion.
^
'
^
J
Kirnberger.
1.J-
w
p
DOUBLE COUNTERPOINT AND CAKON.
as S3.
The suspended
fourth (in the upper part),
when
inverted,
becomes a suspended second. Ex. 60.
^
.g
-
-^
^i
Model.
$ Inversion.
-cr-
-
m54. The suspended ninth (also in the upper part) becomes by inversion a suspended fourth, falling to a iifth (Ex. 61, a). This harmony is so bare that the suspension is best avoided in the model unless there are accompanying parts. If this be the case, the ninth may sometimes be taken without preparation. (Ex. 61, b.c.)
Ex. 61.
,^1
-«t-
RiCHTER. H
J J
s
^
INVERSION.
8
9
Model.
55.
Some examples
of double counterpoint in the twelfth are
given below. Ex. 62. a Model.
^
KiRNBERGER.
m
^^
^S
=S=p:
qtqt
I
I
I
I
N»J-
!
INVERSION IN THE TWELFTH.
^
Inversion.
b
^
29
m^ f
=PC5:
,
pr^^=p
\
^
Ex. 63.
f^ i^^^ Lower
\
\
Reicha.
^f — ^a :*
part a twelfth higher.
I-
Inversion.
5.V ^'tvSJ-^ J
Model.
There
is
y
T=p:
which Reicha has omitted to
:—
give
m c
'^
also this inversion,
i
SI
i:
rt
1=t±
2-
_
Inversion.
V,
^S
:p=f=
*=t: r r r
rrr :rir
fJTr. r
F
n
^^
=*^ r ip^
rH^lf
Ex. 64.
^a it
a
aap P
^m b
No. 47 of Bach's 48 Preludes and Fugues.
Model.
f^T ?=e:
h
^
Inversion.
•M.
3Z
Lower part an octave higher. Upper part a
^fttt
fifth
lower. '^
DOUBLE COUNTERPOINT AND CANON.
30 Ex. 63.
Handel.
Model.
a
liA m-0 =^*
—
HS
'
^^£B
P=e=p^ The
sequential sevenths
at*
*
become
sixths in the inversion (see par. 49).
Inversion.
b
t\U'. .^"^"Ti^^
-^=w^ '
!
I
Ex. 66.
a
Model.
Handel.
•
i
i 'is
J
r-
1
^ £-^ Ui'iLBt-TV?
m
@f3^ b
Inversion.
i^
i=i:
The two sixths in the model (Ex. 66, a, * *) would produce consecutive', sevenths in the inversion. Handel, however, departs from the strict inversion of the model at this point (Ex. 66, 6, * *). 56. Ex. 67 "counterpoint. type.
is
an interesting specimen of the use of
The model and
its
inversion are
shown
this
in lai^e
INVERSION IN THE TWELFTH.
5.1
From " The White Delightsome Swan,"
Ex.67.
^
Madrigal by Orazio Vecchi (1589).
S and
vine,
I
and har
-
mo-ny
'
\
and
di-vine,
te W^
X
\
har
-
;t vme.
^^ har
and
har
•
mo
•
mdi
3:
j-
»
^
W
mo-ny
har
ISE \
-
mo-ny
di
e£ -
ny
di-vine,
=t: -
mo-ny
di-vine,
blest
vine,
i
d
d
vine,
and
1=
I
m har
^3
vine,
and
-mo-ny r
har
-mo-ny
^^
di-vine blest thoughts in
-
spi
di-vine blest thoughts in
-
spi
life
i
-J31
thoughts
-rr-
ppi
mf
and.
'
DOUBLE COUNTERPOINT AND CANON.
32
i
blest
ring,
Mf
i w
=^=^
^
^ ^
i
^
har
and
ring.
-
and
har
mo
-
-
mo
-
ny
-ny
di
vine,
-
and har
vine,
di -
di-vine,
di
mo
;fe¥^ and
nng.
har
mo-ny
-
and
di - vine
^
^
-p-^r har
-
mo-ny
di
-
and
vine.
har
-
mo - ny
-i<=^ di
-rr
i thoughts
spi
=^
I
^=X
i and har
Efe
-
^ ny
-
mo - ny
di - vine
:t di-vine
and
har
-
mony
di
-
vine
=p=^
i
^^ har
vine
- mo-ny
and
har
di-vine
-
mo-ny
-
and
har
-
mo - ny
^ divine blest
thoughtg
^= di
INVERSION IN THE TWELFTH.
P
m
ring
33
nng.
spi
^
^
blest thoughts
in
-
«-
gi
I
spi
ring.
g blest
thoughts
blest
thoughts
in
spi
ring.
spi
nng.
^^
i
spi
in
-
ring
" Requiem") also shows an ad57. Ex. 78 (from Mozart's See also Ex. 79 (Albrechtsmirable use of this counterpoint. berger). 58. Double counterpoint in the remaining intervals, viz., ninth, eleventh, thirteenth, and fourteenth, being of little or no but the student can of course work out use, is not treated of here such exercises if he so desires. If the plan of using three staves (par. 22) be followed, he will readily perceive what is possible in a model designed for inversion. ;
CHAPTER
IV.
ADDED THIRDS. triple and quadruple counterpoint, eq subjects capable consisting respectively of three or four different parts of a model the supplementing of method a inversion, of This consists of a for double coUntetpoirit must be coifsidered. or some duplication of one or both subjects in the third above, addition cases below. In order that the model shall allow of the of thirds, the following precautions will be necessary in its :— original construction, in addition to the rules already given (fl.) Use only oblique or contrary motion. Dissonances can only occur as passing notes, not as
Before proceeding to
m
.
(6.)
essential notes. (c.^
The same kind of interval must not occur upon
successive ac-
thirds, sixths (also fifths for inversion in the tenth twelfth), and octaves being taken, as far as possible, alternately.
cented notes
and
;
60. In double counterpoint in the octave, thirds above or sixths below, either subject may. be used. According to. Albrechtsberger, thirds helow are also available but the effect is not very good, qn account of the uncertain tonality induced. Ex. 68, a, b, c, d, e, f, is, a model for inversion in the octave, thus treated. Of course sixths below, instead of thirds above, might be written, and the student may so arrange it. ;
^^- ^8-
Albrbchtsbergeh.
Model.
iS W
i
3=C
FF
^f
6
S
c
i
t
:P=
=Ui:
^ ^1 ^
:^i?E V,
^
=p=
Thirds added to the upper part
EE
T^
^:^ * s
V*
o
^S:
S
Inversion.
T!=P-
i ;
-•^•4=
=P2=
r f f
:
:g=
Bz S=P:
«=g-4-"pl-i-^
—IS —
W
I
i
1
£^
ADDED THIRDS.
35
Thirds added to the lower part. (For an explanation of the altered position of the lower part, see par. 64.) d '
^cgz
is
rj
3=±:
I
The following shows tlie previous example in another and perhaps more effective position :
^^e^
=p=i=
i=t
i
It
m E ^EE
»
^
Thirds added to both parts
\
^^
f m
^T^
'.—^
'
f
i
EEE
¥=^
t
n^^rn
^
£:
i^
w
=Pi=
?
-m^
tfe=e
U^^M^^—^ -I
—
^
p
-p,
61. In double counterpoint in the tenth and twelfth, thirds below the upper part or above the lower may be freely used. 62. In double counterpoint in the tenth, thirds added according to par. 61 are simply the^ inversion of the original parts in the tenth put back an octave. have seen that in double counterpoint in the tenth and 63. tSveifth both the fifth' and sixth may be used as essential notes but if thirds are to be added below the upper part or above the lower, to he subsequently inverted with the model, the fifth should
We
DOUBLE COUNTERPOINT AND CANON.
36
Ex. 69, shows a sixth be used in preference to the sixth. which produces a tenth, the in inverted third) added its (with seventh.* Ex. 69.
Model.
Inversion in the tenth.
P ^ i
-A
^
Inversion in the tenth.
1
Model.
a
^^1 r
I
6
7
Ex. 70, shows a sixth (with twelfth producing a ninth.
its
added
third) inverted in the
Ex. 70.
Model
i
rJz
Inversion in the twelfth.
^
4 Inversion in the twelfth,
f^^
f^
7
Model.
|^P=B ^ G
1T The
I
'9
crotchets in the above examples
show the added
thirds.
64. It will be gathered from what has been already said, that the addition of thirds to the subjects combined in double counterpoint may be effected in a variety of ways. The precepts given by different authors are exceedingly diverse and perplexing, although possibly applicable under various conditions. If to the three important rules for the addition of thirds already given (see par. 59, a, h, c) we add a fourth, viz., " the general use of conjunct movement in the model," we shall find ourselves free to make the addition in question in almost any position, since every discord will be approached and quitted by step of a second. The positions of the various subjects and their duplications will depend upon the particular voices or instruments employed, some positions being more effective than others. All possible superpositions of the parts will scarcely be required in the actual composition forwhich the model is intended, and therefore those inversions; which are least effective, or which entail objectionable points, may be avoided. The author does not think it necessary to go, * It is obvious that the addition of a third above the upper or below the lower part of any model containing a fifth also at once produces a sevenths
ADDED THIRDS.
37
into this matter at greater length, since after all only incidental It is also somewhat use is made of this method of adding parts. opposed to the spirit of good counterpoint, which delights in Nevertheless, as will be seen from a few examples contrast. appended, occasions may offer for the effective use of the subjects (or
when
portions of the subjects) in thirds, particularly added to parts inverting in the octave.
the
thirds are
Ex. 71.
No. zo of Bach's 48 Preludes and Fugues.
Model,
Inversion of the above in the fifteenth with thirds added below the (original) upper part and above the (original) lower part.
In the following example the lower part is the imitation of the The upper part has added sixths upper by contrary movement. below it (the inversion of thirds above) for the first two bars, then thirds below. The lower part has added thirds abpve :
Ex. 72.
i
l^a
-^
r=
r -J
u
^ -^
m
—
J. S.
Bach.
O =1
J-
^
DOUBLE COUNTERPOINT AND
38'
Ex. 73, a,
expanded
is
a model for inversion in the octave at 6 it and thirds added to the lower part. ;
From an Anthem by
.
fe
=f2=
^^$-<.
* ^ ^4M m—t=t
J
^=?«=
.
-?-rnr
Ii?3
I
1
^S
J
—— L-
~T
.TT^g
—
li*^t^ i^^
f
'-J
^
•
Mozart. Variations in A.
^= ^f
I
i
y>
?gi
^h^^^^trf-ra j;j»**'*^ frri-s -
I
— S^^^
#
Greene.
m-teB ^v *^-A-. < p ^ *
Ex. 74.
^
Dr.
o —A-^
W
hF
1,
frfe
is
in the fifteenth,
Ex. 73.
^
CANON'.
^
**** pTi Ll Tl|
I
III'
k
:g-
-^
-1*
^^
CHAPTER COUNTERPOINTS INVERTIBLE
V.
IN VARIOUS INTERVALS.
65. Bv the addition of thirds to a model for double counter point in the octave (see par. 60) such model becomes available for inversion, either in the octave or the tenth. It is possible also to construct models which will invert in the octave and twelfth, and even in the octave, tenth, and twelfth. 66. If a model is to invert in both octave (or fifteenth) and tenth, the rules in par. 59 (for the addition of thirds) will We may, however, depart slightly from the strict rule apply. For instance, a third may be against using similar motion. followed by a sixth, entailing a hidden fifth when the subjects (Ex. 75, a, b, * *,) are inverted in the tenth. Ex. 75.
a
Model.
^^
.
Inversion in the octave.
i^
izzfc
Inversion in the tenth.
"pc
DOUBLE COUNTERPOINT AND CANON.
40
can be easily 67. But anything objectionable in this point mitigated by the accompanying parts, and one of the two subjects may be placed in an inner part, where hidden fifths are of little (Ex. 75, c.) or no consequence. Free Part.
PT^-r w
Sfc i*
m
=p=
^fc
Inversion in the tenth.
See also tlie following example, which inverts in the The sixth at the beginning of bar 2 is and tenth. practically approached by-similar motion from a third, the E in the lower part in the previous bar being a passing note, (Ex. 76, B8.
fifteenth
«. * *
•)
Ex. 76. a Model.
rrr}rj^l^^ £^i^ J 5ts* w^"— fp F
Bach.
4
.
BB
i—
=t:
i
Inversion
6
iB
•
iS
^ '
b
in the fifteenth.
g
=0
S^ * afei I
(:rjj
T1^*:• * s p ±^
!
Inversion
«
'
<'
rv
I
=t =f -^^^
i=^ I
I
?«^©= r
=i^5t
-#-s-»
r
—
zz
^
in the (double) tenth.
33=
-
H
a
^
nr»-
*±^
The effect of the hidden fifth at Ex. 76, c, Test at the beginning of the second bar.
• *, is
much
When
f^ -I*-©-
a '
softened by the interposed is accom-
also the inversion
INVERSION IN VARIOUS INTERVALS.
41
panied by free parts every objection to the progression is removed. See the following example of the use of the above double counterpoint in Bach's !' Art of Fugue":—
Bach.
Ex. 77.
i
S^^
"i
I
I
^=5=
:^-^
fe ^EEB |Q_
^ J J ^ J !
^S
!
.rr M \
-I
^
-±-^r
^^ffli^B
3=4=1:
-H'4=
it
m
-f-M-
-•-P-
^
Ea
Observe the accidental (not to be found in the model) before the
first
note in
the tenor.
fifteenth) and 69. In a model for inversion in the octave (or Welfth, consecutive thirds and tenths may be used. Here is a " Requiem " (Ex. 78, a.) fine example from Mozart's
DOUBLE COUNTERPOINT A«D CANON.
42
Mozart.
^^
i MS tfnr
3=^
^^ J.
r r r r r
N-
r-
^
i
N:
ii=t^
-^
J-
Sit=n
tI^^^t^
:^==4- 1
^^ ^^ ^
;;
/J
;
iT
^u
-I
=p^
>
j >
c/
*
^u,
H^h
g
—
::P=:J^ *-•
p
r~r^^
INVERSION IN VARIOUS INTERVALS.
The whole passage
43
however, inverted in the twelfth in the key of the relative major. (See d.) is,
d
^
$ n^=F-=fM ±
s SF^SF^^^r
z3z*
^
P=i^i^!^^-i^:^
^^
.
g^^^
Itat
The student should observe the sixth (*) in the model, resulting in an unprepared (dominant) seventh when inverted in the twelfth (Ex. 78, d, ')tEx. 78, c. Notice'also the accidentals introduced in the inversion given
m
70.
The
following is a good example of a model for inversion and twelfth :
in the fifteenth
Albrechtsberger.
Ex. 79.
m m
Mbfi Inversion
in
Inversion
f-
^J 4 f
mI
r^r r^fCr\jr
the fifteenth.
££:
^^
i
feE
r~rr ^rn^i
I
p>
in the twelfth.
^
J4^B^^i ^[
I
p.
^p
DOUBLE COUNTERPOINT AND CANON.
44
in the octave (or fifteenth), tenth, consist exclusively of contrary or oblique motion. The effect of the inversions in the three intervals may not be equally good, but as we should probably only use those in the tenth and twelfth when accompanying parts are present, objectionable points may be softened, if not entirely hidden. Few subjects are capable of such manifold inversion without free use of accidentals. Subjects which move conjunctly will be the In any case both parts of the best for these various inversions. model should not move by skip at the same moment, even in opposite directions. Here are some examples of models which (Ex. 80,. invert in the octave (or fifteenth), tenth, and twelfth.
Models
71.
and
twelfth,
a, b, c, d,
for inversion
must
and Ex. 81,
a, b, c, d.)
Ex. 80.
a
Model.
eS s i r i
f?f'
.
Tt-j:
-n~n
A
Lobe.
J
=^=T^
Inversion
in the fifteenth
J--
>
').
^^-TT^
'txrr e
d
is
Inversion
in the tenth,
jaiTn
Inversion in the twelfth.
-i-
J^. i
tisr s^f^SzJ T'
^^
INVERSION IN VARIOUS INTERVALS. Ex, 8 1.
Inversion In the octave.
I
45 KOLLMANN;
^
1^
iJT-^ .'.iTTta
:ft
.
m^
t=zz:
-m
— ^^^^rrrr
rjif
i
Model.
EE
2tl33:
~=~F~
g^^^feff^^
:
Inversion. in the tenth.
^'-Jj; J^-Ji^r rj.' i
Inversion. in the tvrelfth. .
'iri
CHAPTER VL TRIPLE AND QUADRUPLE COUNTERPOINTS. 72. Triple" and quadruple counterpoints in their mo'st effective forms result from the combination of three or four distinct subjects, each standing to each in the relation of a double counterpoint in the octave, and therefore ekch available as an upper, inner, or lower part. The combined subjects forming the model may appear altogether, but the most effective plan is to introduce the various subjects singly from time to time in the course of the composition, fresh interest being imparted with every new subject, and the hearer being familiarised with each preparatory to their ultimate employment in combination and inversion. 73. To construct a model such as this, the rules already given for double counterpoint in the octave must be observed, especial care being taken to (a.) Contrast the subjects as enter one after another.
much
as possible, letting them
(6.) Generally we should avoid the fifth from the root of a tfiad or chord of the seventh, because when in turn it appears in the lowest part, the resulting | or ^ is likely to be embarrassing. If the fifth be used it must progress in a manner proper to the bass of a second inversion {i.e., a | or |), which it may
ultimately become.
The above rule also applies to the third in a chord of the sixth, which course, the fifth from the root. (c.) The rule (page 3) against crossing the parts regarded for the sake of a good vigorous subject.
may
is,
of
be dis-
74. Three subjects designed for inversion in the octave will allow six different combinations of the parts. Four subjects will give twenty-four different combinations. All may not be equally effective, but all will scarcely be required. The best method of testing such models is to place each subject in turn in the bass.
This most readily discloses
Some examples
taults.
are appended.
TRIPLE AND QUADRUPLE COUNTES.POINT.
47
Ex. 82, a, b, c, d, e,/, shows the subjects, and all the possible inversions, of Bach's fugue in C|: minor, No. 4 of the 48. In the original the various inversions are not always in the positions and keys here given, but this form will, perhaps, make the matter clearer to the student. Ex. 82.
No. 4 of Bach's 48 Preludes and' Fugues.
111
i
lis st* #-nr
I^J
rjj
ps «BE I
l\
p
^
HT. II^lXIirXj^^TS i
^I
^^ iS ^rimLm
4— * ^
r
&c.
^ i 'r-d^
s
^S
ii:
M^ll
Hi
&c.
&c.
^
221
Is/
fct
&c.
¥^m^ f » mW
lifri^
i IS
^^-
i
f~l-f=l
r
rij
nrrrrrrr'n
.T^^.JJJ1
J ,
r
^
i &c.
DOUBLE COUNTERPOINT AND CANON.
4a
inversions of the following It is not thought necessary to give all the possible examples indeed, as vifas suggested in par. 74, all have not been used by the several composers in the compositions from which these extracts are taken,. The student may with advantage work out those inversions not given. ;
Ex. 83.
i
^ ±
i
Handel.
Chorus
firom
Anthem, " The Lord
is
my light.'
p p
^\^-^/^ And speak
prais
[t,.>,.rf.|^tr,-frrr.r|7rr. rfr l
^s
And speak
,
^
.^^^
prais
i
rt
Un
the
to
Lord,
un
to
the
Lord.
i
^r[rfi^
I
a^g^a I
i B
^
?^r^ d=b
r-rr-r. l£=e:
^
^ *
In the original there
this point.
^£^^£^
is
a slight variation from the
:ft=pj
^ strict
inversion at
TRIPLE COUNTERPOINT. Ex. 84.
m
^
iS
i>=^^
Bach. '
#^iM> ^
Organ Fugue
m-m~m
J
221
4.9
i^s
i=t
¥=^^¥^ ^j
etfc
I
G
'
'—^-
%-^^^
-rfrf-f I-
^
^r ^^
^=ii
I
I
I
*i £j'[-y
r-
'i
"r^
mTiuim^^=^^
^^^^^^^^^^r^ f# -U—
i
^
'
^ S-lj:^ ^
f.
f
3tz:4z
C£ifrL^r
^>
^
:?2Z
^^HF
frVf^rJ^^TT^Jr
t>'^
^E ^
mloWk
— :3i=Kxr.
—
^^==t ^?:f-:r :t:-
in
-1
i
^
r—
^
'
-r
f^
T=¥=
DOUBLE COUNTERPOINT AND CANON.
5° Ex. 8s. a
i T^=^
J.
ijj
^^^
'J
/:3i''-
r
dSi
i-ir
i m
^
T
F
r
^^
'^ -»
i^
i
J-
43:
^=^z:
F. Bridge.
s
i
TRIPLE COUNTERPOINT.
51 -Pi.-
=?2=
-.^—
I
r1
=4
-* '
V:^
—^
•-
PP^
:t=t
'^^m
^ ^^ i
T
n-J
r~g
i^ Ex. 86.
gasii
^
*
I
No.
^
3 of
f
»
J:
M
Bach's 48 Preludes and Fugues.
DOUBLE COUNTERPOINT AND CANON.
52
Cherubini.
Ex. 87.
i $^
-^
en
f
» Ex. 88.
Quadruple.
m
CHAPTER VIL IMITATION. 76.
The
frequent
interest imparted to music by imitation, and the and happy use of it by all good composers, will not have
The ancient contrapuntists escaped the notice of the student. devoted much study to this branch of their art, and have left many excellent examples, though some of them may be looked upon as specimens of intricate and clever wforkmanship rather than as satisfactory and interesting musical compositions. That all these properties may exist in one and the same composition will be apparent from the study of some of the canons appended. Imitation is an essential of all Fugal Counterpoint and that most important part of a Fugue, the Stretto, affords an opportunity for the introduction of devices drawn from the subject and answer by the use of imitation more or less intricate. This is so fully treated of in the Primer on Fugue * that it would be superfluous to give any great consideration to it, or examples of it, An explanation of the terms applied to the different here. varieties of imitation, with short examples of each, is all that will be necessary, particularly as specimens of most, if not all, of them will be found among the canons which follow.
The same melodic figure may be imitated, Le., repeated, in unison, or in any other interval, above or below, by another When the steps of the melody part, or by any number of parts. are unchanged, the imitation is called Strict, or Regular. Imitation in the unison, or octave, is of this character: 77.
-the
^
Ex. go.
i
^m
r
r
1-
J.
s
F. B.
-+i^
St
rfft
Ete
=ts
78. Imitation in the fourth or fifth (above or below) is easily strict, the scales differing but in one note.
unade
See Primer on Fugue, by James Higgs.
DOUBLE COUNTERPOINT AND CANON.
54 Ex. gi.
For imitation
For imitation
in the fourth or eleventh above.
—*-
-»
in the fifth or
twfelfth below^.
=^
For imitation
in the fifth or . twelfth above. ^—
in the fourth or eleventh below.
For imitation
=*:=«=
i
-*--
* zMzSat
Ex. g2 to 95 show Ex. 92.
HflF
In the
strict imitation in fifth
above.
the above intervals. J. F. B.
IMITATION. Ex. 94.
FfF"
In the fourth above.
55 J. F. B.
DOUBLE COUKTERPOINT AND CANON.
56 Ex.
.97.
J. F. B.
In the third above.
E
=t=
Ss
p J »
m
.^J ^
o~
In the sixth above.
J.
F. B.
J.
F. B.
53: I
I
i
-i
'
I
I
I
In the seventh above.
Ex. gg.
.
=Pl=t± rEitt
I
-^-•-
^^^^=1=
?2=
:t3Cj3t
i
•
?2=
^
Ex. g8.
=1=
*3*
-#-T»
=?3=
^
^*-r«^r-^
t'^pftrffitr^n .
The following examples of imitation in various intervals between two parts, while a third has an independent accompaniment, cannot fail to interest the student.
Ex. 100.
am
From Bach's 30
Imitation in the octave below.
^^
J' J
•
r
r
."r±Vlr JV 'iU L
1
.^i?,-'^
zSz
^
rM
-f
^rtijr- -^ J
Variations.
r2v
r=W^j
Ji r
-1
r
&C,
IMITATION.
57
Ex. roi. In the second above. 1—
i
«^
-a:
fcrrCi
±:^^Sl^
-H-;fflg
Ex. 102. In the third below.
iq=ZTi
_-i:^rj3j_
-•— ^-
?^
^
=^g^
Ife
I?-
lazfjE
^
,^^
&c. 4-=r-.- -fI
p—
g-
Ex. 103. In the sixth above.
.JT":^
b.L&
^
:?^-Lpi
^
&c.
:i£fc_
r?=&^
^
H*-
Ex. {04. In the seventh above.
&s^ ^W^==p
?
^
^
i:r
CHAPTER
VIII.
IMITATION (continued). 80. Imitation does not merely include the reproduction of the antecedent or proposition the term applied to the whole part sung by the leading voice* on the same or dif5ferent notes of the scale, in notes of the same value, moving by similar degrees, and in the same direction though this is the most simple, common, and useful kind of imitation, and is that, as a rule, implied when we speak of Imitation by similar motion. Modiiication of one or more of the features characteristic of a melody enumerated above, viz., its rhythmical contents [i.e., the time value of the notes), the steps by which it progresses (seconds, thirds, or larger intervals), and the direction it takes (whether up or down) will introduce various forms of imitation which will now be explained.
— — ;
imitation by contrary movement.
Every movement of the antecedent is here reversed. Where ascends the imitative part (or consequent, as it is termed)
81. it
descends, or vice versa.
There are two methods of
effecting
this imitation. (i.)
It
may
moving by
be
beginning at any interval, and simply
free,
similar degrees of the stave in contrary motion to the
antecedent. In Ex, 105, the imitation
Ex. 105.
i IE
P P*^
is
^
by contrary motion
at the octave below.
^ J.
-"—
r-
=g
F. B.
=p=f
'4m ^ r
=t=
nr^'J
IMITATION BY CONTRARY MOVEMENT. In Ex. 106, the imitation
is
by contrary motion
59
at the fourth below.
From Bach's 30 Variations.
Ex. 106.
^^^ ^n^]^
m PR^ ^^ t)
feSE
f »
WmM-
may
be strrct^-semitone answering to semitone, and In the following scales, the semitones coincide; and whichever note of either scale begins the antecedent the companion note in the other scale will begin the consequent. {2.) It
tone to tone.
PI
i i^
T=t Or an octave
The scheme
following
is
an example of
strict
lower.
^
imitation according to
Ex. 107.
i
the above
:
J.
=t=t=
i
?z
t==^ Z!±
it4=t:
F. B.
M-i-rT
HI
^PP
DOUBLE COUKTERPOINT AND CANON.
6o
Ex. io8 is another example of imitation according to the. above scheme. Being in A major it is of course founded upon the scales given above, trans> posed to that key, thus :
=P
¥
*
J
j
:!**=
i
^
J-
J-
! I
^
>
Or an octave
^^ 1
I
lit—
lower.
Cherubini remarks that " each time there is a change of key these given must be taken in the key in which the imitation is made, both for major
scales
and minor modes."
Ex. io8.
^^m
y e sempre legato.
m^ ^^
Clementi.
Gradus ad Parnassum.
^cst
^^^
^^^^^g
,
IMITATION BY CONTRARY MOVEMENT.
82. Imitation
by contrary motion
generally be strict, but scales
is
in
minor
6i
keys
cannot
best effected by the aid of the following
:
Ex. log.
a
I
=t
j=J^=4^t^B
L-i-j_J- l--^aJB
be seen that the semitones do not exactly coincide in In the descending scale the first semitone is found between the third and fourth notes, in the ascending scale between the second and third. Whenever, therefore, the third note of either scale is used, the imitation ceases to be strict. It will
the above scales.
The following is an example of imitation founded upon the scale given above (Ex. log, i), transposed to G minor, thus :
i
^
m^
j_
?=^«t:
J
J
r
^
1^
From Bach's 30 Variations,
DOUBLE COUNTERPOINT AND CANON.
63
IMITATION BY AUGMENTATION. 83. Here the consequent is in notes of augmented value. Minims for crotchets, semibreves for minims, &c., or sometimes minims for quavers, &c. Ex. in.
J.
F. B.
IMITATION BY DIMINUTION. 84. Here the consequent is in notes of diminished Minims for semibreves, crotchets for minims, &c. Ex. 112. Jf
it
—rs—
value.
Lobe.
IMITATION BY DIMINUTION, ETC.
63
IMITATION BY DIMINUTION AND CONTRARY MOTION. Ex. 114.
J.
r mz
/SJ^ P
-^ ,
o-
-^i^^ ^7:
1^
IMITATION WITH REVERSED ACCENTS.
Here the consequent enters upon a different beat from that on which the antecedent began, i.e., unaccented for accented, or vice versa. This is said to be per arsin et thesin.* 86.
Handel. Amen
Ex. 115.
^
5t=^
in the
Messiah.
?=1=t &c.
e
§lp
-•-F-^
^*^^
"
'
"i^-
87. There is also retrograde imitation, in which the conser quent takes the antecedent backwards, i.e., from end to beginning, termed per recte et retro, or cancrizaris (crab-like), and reverse retrograde a combination of retrograde and contrary motion but little practical use can be made of these forms.
—
;
* Canons which answer by inversion («'.«., the consequent ascending where the antecedent descends, or vice versd) are also said to be ^er arsin et thesiitt, (See Appendix.)
CHAPTER
IX.
PARTIAL IMITATION. 88. These various methods may be used to effect Luth partial (also called periodical) and canonical imitation. Partial imitation is when only a certain strain or period of a preceding melody is Canonical imitation is, strictly speaking, when the imitated. Partial or whole preceding melody is imitated throughout. canonical imitation is conperiodic imitation is intermittent ;
tinuous. 8g. Partial imitation
is
now used
far
more frequently than cano-
nical, the introduction of short points of imitation
often adding
which might otherwise be
interest to a composition
insipid or
In vocal music much use is made of it in choruses, which, without being strictly fugal, are by this means made more contrapujital in character. The various kinds of imitation already explained may be combined, one or more of the parts imitating by contrary motion even when the others have answered by similar motion or some may enter by augmentation or diminution. If it is not possible for every part to imitate the complete phrase, yet all may often enter with the first few notes, and thus preserve a semblance of imitation. Frequently also, though the general form of the phrase is preserved, the intervals are much altered, thirds answering seconds, fifths answering sevenths, &c. these variations from the exact repetition of the phrase of course rendering the introduction of so-called points of imitation more easy. dull.
;
The student should practise the working out of various imita^ tions in two parts, afterwards passing on to three and four parts. good method of practising imitation is by working on a theme or canto fermo. Ex. ii6, 117, 118, are quoted from Cherubini's Treatise on Counterpoint and Fugue. The student should endeavour to construct other imitations on these two subjects.
A
Cherubini.
Ex. 116.
S
»•:>
^^
P » Imitation in
i
=^=-^ *
t^-
^^
*3S=
^
*#:
|
tlie
J
=?i=i= it=z|=
unison.
^=
f^
BiE
-»-*-
IMITATION ON CANTI FERMI.
[
|d3E^
p
-jzr
—
65
t^
'g-
eE^
^^ ?-ri*~
i
^
dist
i|=*;
j-j-|^i.a^ =H!=tt :|1°ft:
Free part.
Ex. 117.
£: 9-» m
m iMr
Cherubini.
^^^
o
o
=i=F=
•
I
I
I
^
J^=2lJ-
?2Z
-•-F4=t:
i
-Hsfr
Imitation in the second above.
s
-!S
S^-
T'
'
•
»:
Z2Z
W:
IM
I
:tl=tt
^E
DOUBLE COUNTERPOINT AND CANON.
66
*fr
-g3
•
F
t=t^ F ' m F
i
ICZiL
*it
I
I
!
i
I
g
ri~~rrrrrrr^
^
flgfF
^
i
^
41*:
4^
=P=S:
i
-HeH-
©3=
**:
^Mi
dM^
^
^
4Pit
P
rj
1
|eff
*=tt=
=P[f
Ex. Ii8.
!
Cherubini.
^m
ferrrrr ^ Imitation in the
fifth
below.
± T^
i^ Imitation in the seventh below.
=pa=
m^ m^ '
I
NI
^
Ty =fHt
tf^ ^
IMITATION ON CHORALES.
^^
i
-
r^
^ -
67
iwt
-^—f=^
•-*=-
i
IZ2I
^ ^
Mh
jj^^tfrrj; i± •-P-
liMz
tHt
^
-^ =H=*:
**
Chorales are very suitable as themes on which to construct The chorale may be placed in any part, and the imitations. imitations may be founded on some part of tho subject, or on an The chorale may enter at the beginning of the original theme. movement, or after a bar or two. A break may be made between the phrases of the chorale, the imitation being thus at these points brought into greater prominence. The point to be imitated need not be of great length indeed it will be found that a phrase of a short distinctive character will more readily lend itself to the kind of work proposed for the student. Ex. 119 is a specimen of this method of imitation, the point go.
;
1=
S^ appearing frequently both above and below the canto fermo, sometimes also by inversion,
i^S
^
and even being introduced between the phrases of the canto See Ex. 119, a, b, c, d.
fermo.
pm^m-T\ ''^[ Cc^ Ex. iig.
Rink.
"
^-
m
Canto fermo.
^^
}=^
tr
^ ^^^ 5^
I*
DOUBLE COUNTERPOINT AND CANON.
68
^g
j
^^1
^ * j-^*=
^M^TT^^r
i
:t:
=F=^
^^'^"T-F=^^^^ ^Frf=^=f[^=q=F^
I
•
.
I
—
p-
*J*
I
f If
•
^
= 1
1
>
^ 3t
^—P^-F^ FTTf ip»i^r
^ '^J^J,J
^
r
ffi
^
I
r
1
r
^
r
*f7
^^
IMITATION ON CHORALES.
Seltefe:
ige:
i^sz
1^
i"^
i
p
,
—r^
^ni!5
•!•
^
-f^-^-
m^
@i?
69
1
^^^ *-"-»
'r^=r I
I
r-
^^^^^^^=^^^^^ ^^
^i
*
=t=t*z
Ex. 120 is a good specimen of Bach's treatment of a chorale with imitations. Each phrase of the canto fermo (in the soprano) is taken as a " point " for imitation by the other parts, the method pursued being that referred to in the early part of par. 90.
DOUBLE COUNTERPOINT AND CANON.
70 Ex. 120.
Bach.
Canto fermo. =P2=
arFjFfF
I
^
m
^
1"
^
_f
-m
M'^^r^^r
r
I
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l-r^Mrf^ ]^B
i
>
1
r
• f
=t=t:
^
^-
3=1=3= he:*: -i— !—I-
^
fc^^:j:4]= uij^^^
i&
^
rPfTPf BE ^JJJT^^TO
i g^ffr^ ifcufe
^H-ft^
fi^^^r sismzf
^ ^b'j,
r ^-^ \ ?=i^ ^^55
!
^^ ^ i^
—
i^
*
^
zar
^
::?sp
atitat
fTW
H,'-rT-t^=^
=it:it
I
I
i35t
, r-p=
^* ^^p^.^^^il>^^g^-rrg^^^
IMITATION ON CHORALES.
i
w-
n
*=?
J-'
bJ
3tjt
j-
i^iSt
T=t:
r-j-r-
^
f
q*=P=
-^J^=feEJE
ei=t
i
=H:
ii^^
H*-!*-
fcufe
S
71
-P
fcfc
i^
N T ^*'^
it*:=t
feufe
'
!
:
P^^gr'^rf
nL^rarTL'
gs ^
^^
^^J
^:ri:r
i
^
'
3Ci3t:
^
r r
r'i,'=r=^
i"hJ
^' [Tj-
I
if;f=f=
^^^^^^^^^^^^g -r
ZSZM.
^
^^ '
I
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,
r
1
1
——u=t
.K<
"•
I
I
\
f
>
lS'
i
uP
^5^
DOUBLE COUNTERPOINT AND ^ANON.
72
^ j:P\FTh
p'Ki}.^. M=^
n;
fttVj
^
i
]
^ rt^
? ^^T^ 1 r
^3
i
11
i>
ji
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-
1^
-t^^^g:^:^
^ ^^
b ," r
^^
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1
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a^ ^5:
'
I
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^ *
l
gfcE i>
r
:^
=f2=
s6¥
i^
^ i
I
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#J
—
I
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i
I
^
p
i^
u
5^ ^^~^^=^\
^
n
^ ^
IMITATION ON CHORALES.
rt
73
T?~
r-
d
*=^
I^ ^ is
S
^
^P » P
«^
^^=F
itii*
•
-d
^
>1 l-J^
i£at:
=1=3=
i
Ex. 121
-8
—
^i=q=
;
1
:t=tFt =fc=fi»
S
*-
a portion of another chorale (too long for quotation
in its entirety),
accompanied by many interesting points of imi-
tation.
Ex. 121.
Bach.
Soprano.
Alto.
P
i
Tenor.
-pc
fe
J
J
I
t=^ J-- ^J =?^
3i:
Bass.
-f^-T^ Basso Continuo. •S
^
E&
H
DOUBLE COUNTERPOINT AND CANON. Canto fermo.
^
i i—
tf
^=t
=#»^=t
^>-
^
=r=t
^
^^1 /'-a^
Fr=?=
-•—!«-
4=t
@=
S
^^
3=F
^
»
-^—»-
i °
^F
- -J
^
-i^—*-
^^1
^i=»=p= 4=t:
^
e^
i i
q=^
3±:
-
.
^ ^^
-7-j-
f r> =n=i
tr-t^
f
-P-iM-
EEE
IMITATION ON CHORALES.
75
=t=t:
^^ i
-^
^iiS
-f3-
»
„
W
I
'
•
2:1:
^
J^r
itatit:
I .
I
*
I
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I
f a P F=rT^
-p-
T7-
^^
P =
>
f
^ H
gj -
I
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^
^^^^ ^
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-
^
a^ 1^=FF
Sa:
f^
T^
$
S^c
^^
I
i
J
^
^ -^ ^
r
I
-
"r
It—
Q
rJ
* ^
Q —
JT^
;5=^
:?2Z
^^
The student should endeavour to construct imitations Ex. iig, 120, 121, on some suitable chorales.
style of
&c. in the
CHAPTER
X.
CANONICAL IMITATION. -
91. In paragraph
88,
it
was
said,
"Canonical imitation
is,
speaking, when the whole preceding melody is imitated throughout.* Partial or periodic imitation is intermittent canoniIn a canon the imitation may enter cal imitation is continuous." at any point, may be in any interval, and in any number of parts. All the various methods of imitation before explained may be applied to canon, and the different parts of the same canon may If desired, only some 3be written in imitation of various kinds. of the parts may -be in canon, the others being free, completing the harmony. There may also be more than one antecedent or subject and frequently two, three, and sometimes four are used, each being imitated by one or more parts in various intervals. strictly
;
92. It is usual to describe canons by giving the number of the parts and subjects (or antecedents). Thus, canon 2 in i means a canon for two voices or instruments, in which one subject is used 3 in 1 having three parts and one subject ; 4 in 2 having Four parts and two subjects (sometimes termed a double canon), the number of parts being shown by the first figure, the number of subjects by the second. ;
Of the
two explanations are given which signifies rule, the leading phrase, as it were, ruling what shall be performed by those which follow the other, from the Canoni, as they are termed, signs which were used in canons not written in score, mdicating where the" various following parts entered. (See par. If we consider, however, the form in which this class of 117). composition was at one time exhibited, a better explanation of the origin of the term Canon seems possible. What we now call a canon was termed Fuga Ligata {a fettered fugue). The various parts were seldom written in full, only one being given, and all explanations as to the number of parts and the places of entry, &c., were to be found, not usually in the music (although sometimes given there also) but in a preceding sentence called "the canon" {i.e., rule by which the composition was to be 93.
origin of the term Canon,
—one, deriving
>
it
from the Greek word
xaviiv,
;
;
unravelled). • It is
obvious that the whole antecedent cannot well be imitated in canoni
ly augmentation, and even
in finite
canons generally.
CANONICAL IMlTAtlON.
'
yy
The
following remarks and examples are quoted from an .94. old work,* in which Fuga Ligata is explained :— " Sometimes they write only the Principal, and prefix a Title, declaring both the distance of the Reply and the time when it comes in (adding afterwards in his due place the mark of his close) which Title the Musicians call Canon, as in this example of Calvisius." Ex. 122, a. " The Canon is : Fuga in Epidiapjison, seu octava superiore, post duo Tempora (Brevia non-seroifcrevia).'*
—
Ex. 122.
—
fc=^==
i
22Z
ifc:^
=?=a:
^
|o
fJ
3tS
~r3~
^
-7?~
m
^
g=^=^ ¥=^
=S=F:
iV^—d-
I
I
/• J
ez
o I
-yd-
—A
o
33r
•
i?*
i
Fugue in EpiEx. 122, 6 (explanation): The Canon is: diapason, or higher octave, after two times, or bars (breves, not semibreves); Ex. 122. b
ir
6
-o
^-t-o o a
\
c^-
c^
d'
DOUBLE COUNTERPOINT AND CANON.
78
^
$
i^g
-I—«.-
t=Z2=
*=t:
i
=PJ=
tJz
r>
P2=
=?=:
aCstat
^=^:i^
-^
I
Eg
'>
^ «
:t:t:
P
^ 3^
*4:
fc=^ fe^
Zt
Ex. 123, a. superiore, post Ex.
I
^
"The Canon Tempus."
=P=^=
:?2=
:«=*:
:t is:
—Fuga
vocum,
5
in
Tertia
1 23.
t
II 1^
3i:
H
^
'"-
^
-^
^
'
_
'
s>-
Ht=&:
=pz:
I&—p*:&c.
—A Fugue
Ex. 123, b (explanation) : The Canon is : voices, in the higher third, after a time, or bar.
of five
Ex. 123.
m b
im s 4E ^i
=p=
i
f^-H-el- 3d: -?2=
-Q
CANONICAL IMITATION.
-^
Ziziz
-G>
r io
^J
-
-^
r-
-s^
-f^^
*
—s>-
,^
r ->
79
g3=
-e>
—f2_
^
^ tf..
95. From these remarks and examples it is clear that the term "Canon" is derived from the fact that a canon or rule of performance always preceded a " Fuga Ligata." The latter term has fallen out of. use, and the word Canon been substituted.
CHAPTER XL FINITE CANON. 96. Canons are divided into Finite and Infinite or perpetual.* Finite canon generally concludes with a coda, the canon97. ical imitation being discontinued (see Ex. 124), or the parts may conclude one by one in the order in which they began (see Ex.
A
^ ^^
^ ^^ i fcfc:
^ ^^
Mozart.
Ex. 124.
'-»^
p
:?2=
5^
Quintet for
Wind
£Ez£
p
ffTfr^^^^r^
-f
=ti=t:
^
^S ft
Instruments.
y * ^»f r ^
pc»
^^^ Coda.
f
>'!.
fTf^n
^^
^Eff
^
T^
I
H I
I
^
* By some authors called " circular," but this term seems more suited to the canons which induce modulation and make the circuit of the keys. (See Ex, 136.)
a
FINITE CANON.
81:
Ex. 125.
Beethoven.
m
'rj-
^
§S dtn^
r
f
i
i
h
J
i:^^=st
rT~in^
=15=
^
-!^ -f-
f=t=h
^^
Both the above examples have accompanjring parts which, hovirever, it is not thought necessary to give here. Other examples will be found in the Appendix.
g8. An Infinite or perpetual canon does not come to an immediate and regular conclusion, but on the termination of the antecedent a repetition is made by this part to the beginning, or to a sign (X) the other following parts completing their points' The terminating chord is of imitation, and in turn repeating. See the following indicated by a pause, or the word " fine." well-known canon 3 in i :
Ex. 126.
e
\i
Byrde.
K Non
Ig
:P2-
rJT
no
- bis,
-mi
Do
1
i^ fcufe
-
non
ne, /^N
^^
^
T3~
Non
no
-
bis,
Do
-
mi
-
non
ne,
^
w^ Non
no
-
bis,
DOUBLE COUNTERPOINT AND CANON.
82
=?2-
m
I
no - mi
sed
bis
I
o
ni
-
da
-*—0- -PC
=t=t:
^ Do
mi
-
-
no-mi-nt
sed
bis
-
non
ne,
sed
bis
S
i: glo
I
tn
ri
am,
-
no -mi-
sed
tu
ni
-
ii==t -ts-
da
m.\> ^^±:ir
-
^&-fc
t==t o
tu
ni
da
glo
.o F=;;
o
da
glo
ri
-
-
ri
am.
-
X;
^^
r>
nomi-ni
sed
ri
r- :P2:
no - mi
y= b
glo
-
Non
am.
o
r>
no-
bis,
-
I Do
e
-
mi'
=t=3= 32Z da
o
glo
-
ri
Non
am.
-
no -
bis,
^£fc3^ '
sed
no-mi
-
I
o
ni
da
M glo
-
ri
-
am.
- The following is a good example. There is no indication of the terminating chord in the priginal, but it might occur at bars four and five,* "as here giveii :
* " The pause willsometimes be found over notes which are not placed under each other. When that happens those notes which first have the pause are' severallj to be held on till the others copv* in."— Horsley. ,
INFINITE CANON.
83^
Ex. 127.
Simon Ives 11=
m
=fv=Ps=
up
Lift
your
.
hearts
up
Lift
.
,
your hearts
and
.
.
^
It up
Lift
your
the
Lord with cheer
-
m^ the
i
-p-d-
head,
m
He
=FEe= and our head,
is
Cap
-
£=
^ is
tain
Christ our
voice.
is
ris
-
our
the dead. Lift up
=£ y^~— i=3t ^-f—
ir
-
Cap
-
tain
en from the dead, Lift
.
,
i
:r—^
-Jizzmz
ris
and
en from the dead, Lift up
If:
s
en from
ris
-
* p '•'•[>'
He -»
He
CF=5=
E^
head,
^
Christ our
voice.
ful
Christ our
Lord with cheer - ful
our
-
=F=»;
voice,
=t=
Captain and
E^S=^
Lord with cheer
ful
Praise
re-joice,
I
fIf
B t^E .
^
^
Praise
.
and
hearts.
=1=^
:?=
the
Praise
re'-joice,
-.©-=-
Stfc^
re-joice,
t
=P5=
-.
and
,
.
-N—>-
l-M-4 »—
Zt
(died 1662).
your hearts
Qup
-
your
DOUBLE COUNTERPOINT AND CANON.
84 gg.
coda
is no convenient resting place a canon, as in Ex. 128
Sometimes when there is
added to an
Ex. 128.
i 1^
m
infinite
:
X
^ ^
F. E.
Gladstone, Mus. Doc. ~
*
i
^
iS
w a=
T"
m
»-
x=t
5=t
r
tTj^LTf^
1=it
-r rf-' tf\f^»r-^
'K Coda.
^m :&
^
m ^^^.
?E5:pc
rf Q
-77~
For other examples of infinite canons see Appendix.
100. A finite canon by augmentation cannot, of necessity, be of any great length, as the consequent being in notes of at least double the length of those in the antecedent, is soon left so far behind as to be devoid of imitative eifect. The consequent often starts at the same 'time as the antecedent or after a very short rest. It is obvious that the latter part of the consequent must of necessity be free, i.e., not intended. for imitation.
FINITE AND INFINITE CANON BY AUGMENTATION.
85
Ex. 129 is part of an organ movement too long to quote in its entirety, but which the student will do well to examine. The canon (by augmentation) is between the first and third parts.
Ex. 129.
J. S.
Bach
(Vol. V. of
Organ Works.)
Manual.
Sirm Pedal.
EEE
101. An infinite canon by augmentation is more difficult to construct, and an important point in its working must be noticed. As with finite (see par. 100), so here, the consequent often starts at the same moment as the antecedent,* or after a very short rest, and the end of the antecedent is reached, when the conse-
quent (having notes of double the length) has done but one half. From this point there are two methods of continuing the part which has the antecedent :
To effect this it will be (i) It may be repeated in its entirety. necessary that from the first every note of the antecedent shall be • The whole antecedent may of course be taken first, with advantage, as then the imitation would be more perceptible to the ear. The first two bars of Ex. 130 might thus be heard alone.
DOUBLE COUNTERPOINT AND CANON.
86
designed to combine with the consequent at two different points (see Ex. 130). Ex. 130.
i
m^&^
T^^=i=3=g
^e
Lobe..
m-
^j_jj
^
i ^^5
^=?=
^ *
^
-
^
.
^
I
[
g^riEr^
!=Sfc:
^s =^
+*
^
d • *
=t=t
•
^
^acf^ ^—i
^^J
i
:a3f3B
=P=f=
(2) The antecedent instead of repeating itself may be continued by a free part. Many examples of this more easy method of imitation by augmentation may be met with, but it is evident that the essentially canonic character of the composition is somewhat interfered with by the interruption of the imitation when the free part enters (see Ex. 131, bar 6, last note of uppej part).
Ex. 131.*
^^
^ m
(p)\ii^-
M
O
m
Cooke.
^r-*-
o
.
*
S
A
**
^
J:
men,
No.
I
men,
A
For other examples see Appendix, and also Bach's " Musikalische Opfer," 7.
INFINITE CANON BY AUGMENTATION.
87
^^:k^m^^-A,jp,:. men,
J'-'
1.J.4
A
^
i
^
men,
m
a
P-
4=t men,
P^
^^^^^^
p=^ ?=^3
i
A -men,
men,
A
w^
i m^ ?^
-
men,
A
*3tt= men,
rrrr
r
f^
p
r^
men.
i men,
^^ A
»
^
p==?=
^E
6
®o A
r-*
?^
f=^H i
^
1
102. canon by diminution cannot be of any great length, as the consequent soon overtakes the antecedent (being in notes cf
DOUBLE COUNTERPOINT AND CANON.
88
only one-half the length), and thus ceases to imitate. The following quotation from Emanuel Bach will show this the canon is at first in notes of equal length, and then by diminution ;
:
Emanuel Bach.
Ex. 132.
li?
'A
-
1
r
r
1
CANON, RECTE ET RETRO.
89
104. The construction of this canon appears extremely simple. Write a counterpoint to the whole of the antecedent, then instead of letting it stand below in its propei place, add it reversed {i.e. last note first) to the end of the antecedent and the composition But (and here comes the diificulty) the student will is complete. find on trial that passing-notes and discords, effective and innocent enough when standing below as a counterpoint, and sung from left to right, will all be displaced and fall on the wrong part of the bar when sung from right to left in a retrograde canon. Simpson, in his " Compendium " (London, 1732) on this point, gives a caution against dotted notes, saying, " In the Retro they if.e. the dots) will stand on " Also," he goes on to say, " you must be wary the wrong side of the notes." how you use discords therein, lest in the Revert, or Retro, they hit upon the beginning instead of the latter part of the note."
105.
The following simple example and remarks (also from Compendium ") will perhaps make the above explana-
Simpson's " tion plainer
:
'^=H^
^ ^
Canon, Recte and Retro.
Ex. 134.
^FS;
r^=3=t
i=^
I
23t
Reverted thus-
g
^^ -ry-
-rJ-!'F
-r±
R
-
\
tti*
H
—
" Either of these alone is a canon of two parts one part singing forward, the other beginning at the wrong end and singing the notes backward the composition whereof is no more than this which follows " :
—
Ex. 135.
i^
i " Only the
-r-i-
*=t=
-rrr-
-rir
end of one part
is
^
3=ti
joined to the end of the other in
a retrograde form."
A circular
canon (^per tonos) is usually one that modulates key of the note above, the antecedent recommencing every time a note higher, and, by making the circuit of the keys, returning to the original key in which it started. The conclusion 106.
to the
DOUBLE COUNTERPOINT AND CANON.
go
of the antecedent must lead naturally to the repetition in the new Sometimes the repetition is key, this being the chief difficulty. made in some other interval than the note above.
Ex. 136
is
a circular canon, each repetition beginning a note
liigher.
Ex. 136.
tN^
Agostini (1593-1629).
ENIGMATICAL CANON. time
it
appears
{i.e.,
at its sixth repetition)
gi it
will
have reached
octave of the original model. A circular canon passing through all the keys can only result when the repetition takes place at a fourth or fifth higher or lower, or when it proceeds by semitones. the
io8. Ex. 142 is a circular canon of this kind, each repetition beginning a fourth lower. Sometimes it is necessary to transpose one or more of the parts an octave higher or lower (see Ex. 142, 6).
109. An enigmatical canon is, as itg name implies, one, the subject of which gives no qlue to the kind of imitation, or the number of parts in which it will work. Old authors were very fond of setting this " riddle " canon, and for its solution '' it is
frequently necessary to have recourse to inversion, to contrary motion, to retrograde and inverted retrograde motion, and to transposition of the clefs ; lastly, it is necessary again to try semibreve, minim, crotchet, quaver, and other rests, augmen-
and diminution, etc., and ajl the means that we have previously indicated as proper for varying a subject."* Sometimes a motto preiceded the canon contiadning a hint as to the proper resolution, or the solution was indicated by a cross, a hand, or other device, with an enigmatical Latin inscription. The day of such things is now past, and the student is not .advised to give much time to the elaboration of such useless problems. Bach has, however, left some interesting specimens of the enig» matical canon in his " Musikalische Opfer," from which Ex. 133 is taken, the workifig out of wtiich cannpt fa^l to interest and improve the student. tation
* Albrechtsberger.
CHAPTER
XII.
POLYMORPHOUS CANON. 1
10.
A POLYMORPHOUS canon has an antecedent capable of many
As will be seen from of which will work in canon. Ex. 139, the imitation is sometimes made on a point derived from the middle of the antecedent, or by some re-arrangement of the position of the various phrases of which it is composed. Passing notes which were not in the original are sometimes All the various inserted when it appears in an altered form. antecedents however, should be founded upon the origfinal as regards harmonic structure. Stolzel has left a celebrated specimen of the polymorphous canon, which is worth quoting.
forms,
all
A Close
Ex. 137.
I
Canon
a; 231
^
FN^ 12
8
5
(see par. 117).
The sign § shows the entrance of the various parts. The figures indicate the distances below the first note of the antecedent (see par. iig) at which each part enters.
The
III.
length
i
*
following
is
Ex. 137 resolved,
i.e.,
written out at
:
r>
3
Canon 4
in
=1=
^
i.
J.
=^
-p-r.
^F5=
a6i'
Kin= EE
^ ^ ?3-
3S rrr^
-^
i
-^-^ A.
1
f W o-l
"P"
=^ -^
f-
POLYMORPHOUS CANON.
Canon 4
_
§5
§8
in
i. §
,
:^=±
:?2-
^.fE32I LBE
93
Antecedent by contrary motion.
Ex. 138.
iz
^
zi:
The above resolved-
SE
^P—
^
^
r?-
=^
U,^e^
=5=
=!=*
4
-rj-
P
I-
i—t-
:im
^
:p&
T3~
It
az
112. In Ex. 139 the antecedent is formed by beginning at bar four of Ex. 138 and introducing passing notes (* * *).
Canon 4
Ex. 139, a.
EB
^
Mh
in
i,
* * •
P=t
* *
—*
«-
ES
^
=P2=
=t
The above resolved
i
-•
Mf=l?^
m=is w=i=ii--
-G>-^-
iit=*: ^-0
^
JJ:-A
'
m
——
• *=?»=
M ^^ =S=P-
— ^«0-K
-U4-
itf^
2dz
^ctzizqe
^
^
—p-
g rt* =P=
^
&c.
DOUBLE COUNTERPOINT AND CANON.
94 Ex.
139, b.
The same by
contrary motion,
Canon 4
g
tzzt i ^=P=g=F
2=t
F==r=^
=£3=
P=d=^=^ The above
i BE
resolved
E^
I^Z^. I
^
rr
^
ii« i.
^
^^ r
'F
The above
are the chief canons to be obtained from this But there aie many other possible subject. changes ; for instance, (i) the accents may be changed, the above four antecedents beginning at the "second part of the bar, ifistead of the first (Ex. 140., a, b, c, d) -.-^ 113.
Jjoly-morphouB
Ex. 140.
a
i E3E
m
<*)]
'-yrsr^
$^
/»
r->
i^^
J=gg=
P
fi
(2) The antecedent may begin on any of the (essential) notes of the originalinstead of the-first (Ex. 141, a, 6, c) :
POLYMORPHOUS CANON.
95
Ex. 141. a
:^3E
v-f^^^F^ ;^ r-ig-
t^z ^.
?3=:
l=t 3i:
^3
fi'l'P
Z2
rzi:
114. It can also appear as a four-part circular canon in two ways (Ex. 142, 143). In Ex. 142 the key changes at each return of the antecedent, the latter beginning every time a fourth lower The parts are transposed an octave (a) or a fifth higher (6). in the latter
case (see par. 108).
Ex. 142.
iE
^
-o
^"^
E lfc^=^
^+2^
-J-^
i
J.
T" J-^^J.
^^
^ ii
DOUBLE COUNTERPOINT AND CANON.
96
115. In Ex. 143 the antecedent begins every time a note higher, sequential canon seems an remaining in the original key. appropriate term for this species, differing as it does from an ordinary circular canon, which continually modulates.
A
still
^ 3-^^^ —
Ex. 143.
I
EE
Z33Z
^
=cii=:
"F"
^e :^ =g=
-^A
w
m
Ul
=P2=
-Aqt=P= :i=F:
J- J
I
,
s
CHAPTER
XIII.
CLOSE CANONS. 117. Formerly there were many methods of writing canons, or rather of exhibiting them when written. a canon was given complete in open score, the term "open canon" was applied. It was, however, very usual to write only the principal part, stating the number of parts for which it was composed, and indicating the various entries by the sign § (see par. 117). This was called a " close canon."
When
This term must not be taken to indicate a canon in which the consequent upon the antecedent, though this is the sense in which the term is used in Fugue (see Primer, p. g).
follows very closely
118. Sometimes also all the clefs belonging to the parts composing the canon were prefixed thus :
'^^=ft-r=# 119. In unravelling canons so written, the student must remember that the system on which the clefs are prefixed varies very much. According to Albrechtsberger :
"
When
desired that the answer to a canon shall not be above or below,* it is usual to place before the time signature all the clefs in retrograde order.f" It is also usual to indicate the place of entry by the sign §. Sometimes figures are used to denote the interval in which the canon is made, and these are placed above or below those notes on which the succeeding parts enter."
made
*
it is
in the unison, but in the fifth, or octave
And
also in other intervals.
The
(See Ex. 123.)
which entered last was written Jtrst, at the beginning one next, and so on, the leading part having its clef immediately before the first note, and being in no way affected by those which clef for the part of the stave, the last but t
preceded
it.
(See Ex. 123.)
DOUBLE COUNTERPOINT AND CANON.
98
Canon 4
Ex. 144,
a
m ^-
m =^ ^=g^^ i
i
^ ^ ej
fc^
•
in
i.
^
5
ipz:
1
S
^
ISt
" Canons in which the entries are indicated iDy figures may be written in one clef. The figures placed above the staff indicate the intervals above, and those beneath the staff the intervals below. The same observation applies to the sign §. " The intervals indicated by the figures are always reckoned from the first note of the first part (antecedent), and not from that note above or below which the figure is placed.* Thus, in Ex. 144, a, the tenor takes <5 at the figure 5 a fifth above the first bass note, and the alto enters with C in the octave above at the figure 8, the treble entering with at the figure 12. In Ex. 144, b, the alto enters with A a fifth below, at the figure 5 ; the tenor with E in the octave below at the figure 8 and the bass with A a twelfth below, at the figure 12,"
G
;
120. Another method was to give, in addition to the clefs, the requisite rests which every part had to observe before enteringThis plan would enable the canon (or rule), and also the mark § showing the places of entry, to be dispensed with. For a specimen of this method see Ex. 123.
121. Placing the clefs from right to left, i.e. in retrograde order, oldest systemf, but later writers depart
seems undoubtedly the *
Even
this
has been departed from.
t Morley in his " Plaine and Easie Introduction to PracticaB Musicke (London, 1597), says :—" But the F/rench men and Italians, iiave used a waie that tho^h there were foure or five partes in one, yet might it be perceived and sung at the first, and the manner thereof is this. Of how manie parts the canon is, so manie cliefes do they set at the beginning of the verse, stil causing that which standeth neerest unto the musick, serve for the leading part, the next towards the left hand, for the next fdlowiog parte, and so consequentU? to the last. But if betweene anie two cliefes you find rests, those belong to that part, which the cliefe standing next unto them on the left side signifieth-
CLOSE CANONS.
99
from this. Kollman, in his " Essay on Practical Composition " (London, 1799), arranged the clefs from left to right, in the order in which each voice entered, thus :
Ex. 143.
4 IN
I,
PER TONOS BX FIFTHS. ^
*fe rz2
The
^ clefs
122.
here given precede a circular canon.
The
following shows the entry of
all
the voices in the
canon given above (Ex. 145). It will be seen that the parts enter in the order of the clefs, from left to right. Ex 146.
^
^
P
iF$
1^
^m
^ ^ 33t
^
^^
^^ =rt
-r±-
^
*
Lobe, in his " Lehrbuch der Musikalischen Komposi123. _ tion " (Leipzig, i860), and even Albrechtsberger, whose rule we have quoted (see par. 119), follow the old system of placing the clef of the part which begins immediately before the first note, but the other clefs are placed from grade order.
Ex. 147 in
is
which the
left
to right,
and not
in retro-
a canon by Albrechtsberger, sent by him to Haydn, stand as mentioned above.
clefs
Ex. 147.
Canone Perpetuo a 4 Voci,
mm E ft
r-^
* »
I
in
Hypodiapente, ED Hypodiapason.
=P2=
!
^m
^
E
m
DOUBLE COUNTERPOINT AND CANON.
100 124.
The
above canon
following shows the entry of
all
the voices in the
:
Ex. 148. iTi—r-f
f
fi
1
-
.
i-r
JT!
1
1
• • r
CHAPTER
XIV.
HINTS TO THE STUDENT. 127.
To compose
a canon
we proceed ihus
Write the antecedent up
(i)
:
to the point of the entry of
the consequent.
Transfer this in the proper interval to the part which has the consequent.
(2)
(3)
Continue the antecedent as a counterpoint to the
(4)
Add
consequent. this
new
progression to the consequent, and so
on to the end of the movement.
canon be at the octave or unison there will be little if the answer is to be strictly at the fourth or fifth, an accidental will be necessary to make the semitones fall in the The scales already given (on page 54, will show right places. what accidentals are necessary. If we wish to escape modulation, we must avoid that particular note in the antecedent, which 128. If the
difficulty,
but
requires the accidental in the consequent.
One of the most frequent modulations is to the domiThis employed in a canon and answered at the fifth above would lead us to the key of the second dominant, the return from which would prove embarrassing. If however instead of the harmony of the second dominant we use the minor chord on the supertonic of the original key, we preserve the key relationship and materially help the return (see Ex. 128, bar 4). No difficulty will arise in a canon answered in the fifth above (or fourth below), if the antecedent modulates towards the subdominant, as the modulation in the consequent leads us back to the neither will any difficulty arise if original key (see Ex. 126) the antecedent does modulate to the dominant if the consequent be at the fourth above or fifth below (see Ex. 127, bar 6). 129. nant.
;
130. To be really effective a canon In ear, and not merely to the eye.
ensure, and the student may easily find examples to which he may refer.
difficult to
lent
must be perceptible to the a canon 2 in i this is not
many
excel-
DOUBLE COUNTERPOINT AND CANON.
I02
131. The following hints may be of assistance to the student : in his efforts to attain desirable clearness in canonic writing (i)
Let the consequent follow the antecedent at a moderate distance and before its effect on the ear Too long a lead renders the construcis weakened. tion comparatively easy, but detracts from its value as a canon. On the other hand the closer the canon the easier is it to make it infinite, and vice versa. If the canon be in more than two parts it is generally necessary to let the consequents enter at unequal distances.
(2)
(3)
(4)
continuation of the antecedent above or below the consequent should, if possible, differ from it rhythmically, for the sake of contrast.
The
Occasional rests, letting the consequent be heard between the phrases of the antecedent, will be an easy and ready means of making the canonic character of a movement apparent. In a canon formed on two or more subjects, endeavour by all means to contrast these subjects. This is too often overlooked.
132. Double counterpoint, imitation, and canon, are of universal value and importance to the musician, not only in fugal writing of which they are the very essence but in every kind of musical composition. The Appendix includes examples taken from orchestral and pianoforte works, and the student will be well rewarded who searches for and discovers other examples which abound in the
—
—
Writing instrumental and vocal works of the great masters. these artificial combinations will, with diligence and welldirected practice, become easy, and the young composer who regards them as a means to an end and not the end itself, will realise how vastly these studies have expanded his powers.
APPENDIX. EXAMPLES OF DOUBLE COUNTERPOINT. No.
1.
Meno
mosso.
Langsamer.
R.
Schumann.
Kreisleriana.
^m
^P=Pf'E1
tt=fc
Lj' '
^
i f
f^?ff# f f
m
Zj-
1^5^
^S?=t 2^
r
4-3^ ^g? t^t--
a it
r
• Preceding Bass inverted in the fifteenth.
Ss^B "r^"—
APPENDIX.
104 No.
2.
Spohr.
D.
Coriii in
Overture to " Last Judgment."
i=s Violino I
Viola.
m^
:Sfc
J
H'+f
.
Inversion of ist
Cello.
m^=^^-rr-
m
into.
M
-ITS-
^^
^E
m=^
-zr
m
Inversion of Cello part. -irr-
Violin part,
^rj No.
J
J
J =;1==F $J
^-y-in '
J J_
\
-d
I
o
3.
Mozart. Violino
I.
Overture to " Die Zau berflo te.'
APPENDIX.
105
«L^
No.
4.
Beethoven.
Pianoforte Sonata, Op. 28.
^TrYrM-^ ^£gf^
S »/-^
^
^J J J.1
; &c.
U
I
f
^^
APPENDIX.
io6 No.
Violino
3.
m ^^: E3_
In
D.
J3^ ^^^=^
J
Viohno
From Symphony
Havdn.
i.
2.
m f\T'f -t—
1^^^
ifeES
I
•-
t-
F=E
Viola.
P^
i -
I
^
li=M^ ^F=*M
i
:#*:«:
4r
JCIi-
tr
J
I
M
m
ES
i
s=T-rrn
'J
Cello.
^
^PF^
^ ^ ^s f=r^^ -•
r
\f
q^•=p3 =P5: ir^-
^S
F-
XPPEKDIX No. 6
107
—^EXAMPLE OF QUADRUPLE
COUNTERPOINT. J. S.
Bach.
fe:
$
is
EEE
^
^ m ZgZZMZ
^=T: :^=A-
^^E?E
^51
Sfe^^^gl^:^^^?^^^^^ •|i:?^?^|i^ E^i^ft«=5^i ^f^EEt^
I r^
M^
^'W
M^^^^ ^
:=i:
'^&
The above may
P=V^^ -F=*
EE^
m^
1^=^ E^
:±t^«
¥P
=tr^
-=^
^
s^^^^s
^!ses:
^=^ -
*
^
s
w=^~ -^=1--
be looked upon as a Round, and when all it, quadruple counterpoint results.
voices are taking part in
fotir
APPENDIX,
io8 No. 7.— IMITATION
AT THE SEVENTH BELOW, AND BY.INVER. THE SECOND ABOVE. Mozart, From Sympho ny in D
SION AT
.
Violino
I.
^
Viola.
jteE Cello e Basso,
^%-rT-p^^
ivt-
E^
^S
APPENDIX.
109
No. 8.— CANON 4 IN
^m
^
Francesco Turini.
-
fcrp::
-n::/^
ti:^ le
-
%
i-son,
tJ
lei
-
:^^ :i^ son
-
le
-
son, e
le -
—J
^ I9
-
i
-
son,
TH
frf^
.
fo fZ ^rtr-k I
y » =t=F
e
te
^P o
\
e-
^
=t
Chris
i
X.
son.
L,
**:
itt
e
i -
le
The above canon (from Burney's " History,") shows a little variation in the method of exhibiting a close canon. The clefs here are placed as explained in ;par. 123, but the notes on which the various consequents enter are indicated by "The tenor leads a direct (w) instead of figures (see par. iig). Burney says: oil the subject and is answered at the second bar by the soprano in the octave. At the third bar the bass begins a fifth below the tenor, and is answered at the fourth bar by the counter-tenor an octave above the bass."
—
APPENDIX.
tio
No. 9.— CANON 4 IN
i.
S.
J.
as^^
E
^ SS
^
^
tt=E!t
^
«*
U-^-=-id=
S
*#
^^^^ K
43^
U
--^^^ "I !
^
^=ib^'-r^
S
q=f; ::#*^
iSS #-:
^
*-
-^*-
T M"^^.
i ^i
5^^H
*
Bach.
yTT-ry^ ^ rr
.
mr
J
I
I
I
* J *
^
^^r?=r
^*
fLT
f r L^iU
:
=*z?zi *-i^
&=^^
^^^^^^^^=z^^=^
^
4r
^'
Pi* t=?^:^ u r I
I
I
f *.
I
^=tT=?r7
^
*=rH«5r
il\l::t^ % PPE^^^S
^m
-m—0^
^ ^^
-•-^R»*-r
^tis^
^E^^P^Efe
APPENDIX.
i
Ill
-i-d^
-1^— *.-
=t2=t±
••
u
f ^
£@^
m
-f^-i
-^
TJ ^
"^T
^UJ
1
:^ ^^^^^^
K
'^
-*
a^»-
1 H
I i^
r-^—fl I :
b
V
-•-
^m ^
=^
^=^j=j=^
^
The following canon and
^^^ Em=tf^
qfi ji
±i:
^^
were sent by Mendelssohn
letter
K
to
G. Smart, in fulfilment of a jocular promise to write a Viola duet for their mutual performance Sir
:
my
coft* "The idea of 'the Tenor Duett' presented itself to I would have written it down Science, and I felt myself guilty. and sent it to you immediately, but as I do not exactly know in what style you- would like -it, I think it better to send you first a specimen, here, in Order to ask' you whether I shall continue it in
¥h€
someway."
-
.
APPENDIX.
112
No. 10— CANON 2 IN Viola
I.
(Sir
^m
We
^ Viola
Mendelssohn.
rirrrrr
=?2=
4:
it
mf
2. (F.
M.
B.)
K
^
Z2Z
s —
B
^=^=^ -r>
'•
-1
I
i*
-F
W^
i
3E^ ^b-^ fr
d
—
—
^
^ T^
:^
u
, r-f;
,
iv.-r
j
^
n
^^^gg 1=4=^ :t^r?:
r
^
"^^ff tt f f fi
.
-I
/
¥^^ E^.
PPC^
L r r
^
i:
=g: rrHrrrrT -rtt
V- nr
L /rrr-f4^ ''
tT,>
I
^
^^ ^
t^
;u^ e^ i^ «=± JU
I
r
fffc^^
w
EztzEzzE
I i
i
^fe "^
-w—w-~w
y r-
p ^p r '/^i
5^ iy=^
i.
G. Smart.)
1
E^
APPENDIX,
" You see in this mamner it goes to eternity, and perhaps you would like to have the duett somewhat shorter." This Letter was received by Sir George Smart, fuly ii, 183 1.
No. II.— CANON,
PER ARSIN ET THESIN AND AUGMENTATION.
yt
I SE
Smith.
J, S.
i^^^m^^
n> m ^ mW-
t^=^=tl Al-le-lu-jah, Al
X ?z= '^
^
Al
le
-
X
lu
5
-ri-
Al
jah,
le
=1=1= A For
^
P
rJ
God
Lord
the
S
*3:
=F--»-
i! jah,
lu
^^
Al
le
-
lu
-
jah, Al
•
le
lu
-
jah,
=s=
Om
K
i
-•^MK-
-w
I
w =t=l=±
=t=
le - lu -jah.
X
6
=pm Al
-
ie
-
lu
-
jah,
Al
le
-
lu
^dJ= 32Z po
tent
reign
jah.
^m eth.
APPENDIX.
114
No. la—CANON 4 IN
i
BY INVERSION.*
i
From
H. tuRCELL.
m
^=^
*
ze:t:
zei;
be
fy
fcit
*
Glo
^
Glo
ther,
be
to
^
ther,
Son, and to
and to
.
the
M-=^ Son, and to
the
S
fc=?3=
^
ther,
-
Q-
*
the
U
and
to
:pc
Ho
Ghost, and
ly
X
ZEti the
to
Ho
^-=P=
=t=t
Ho
-
the
to
r-
the
=Pt
Ghost, and to
ly
X
u
.
d
Son, and
the
Son, and
.
:t=t:
^ the
to
-i^i
Fa
the
*
P=F
-
^P=*
I
the
to
¥=^
Fa =F
and
-*—«L_6L.
fc=fc
i ^ im ^
let the
to
,be
lizzac
Fa
^
ry
and
q=^
to the
^rftsfe^sz Glo
ry
4=t:
be
ry
-
ther,
:?=:
y
P
Fa
the
to
y
SH
iR-^s-
'B\f.
=t:
GJo
M=^-
Service in
rp:
Ho
the
=t:
m -
S
Ghost, and to
ly
t5>-
Ho
As
it
in the
be
was
in
ly Ghost
MEE^ ZX:.
Ghost, and
to
Ho
the
ly
Ghost;
i:
Ho
the
may be
ly
Ho
As
Ghost
ly
Ghost;
it
was
As
it
looked upon also as a specimen of 4 in 2, as there are tw6 antecedents, although that in the Bass i^ derived from the Tenof by inversion. ^
*
This
APPENDIX.
=t-
X
VZix:
was
nEE t=t the be gin-ning,
in
-
feE »^^T=rT:
l=:t
As
is
now,
and
ev
-
the be
in
-
gin-ning,
and
is
M=±
er shall
4—1
utzt=e=t
»^
was
it
-P—*-
-3±:
V
ev
-
er
:?3Z gin-ning,
^^ ^F
is
q=F £
itzt:
the be - gin-ning,
»^— i ^
ai
r
r
shall
U
Iti?.
ev er shall
^a is
i^
and ev
^-
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=F=F
-f^
er shall
-
tit
^A
.
end. =pi:
end,
world
r=r^^ ±=^
-t
world without
with-out
F=I^
men,
.
M-:.
fciFif^ mi^=£i
«
±
^^
with-out end,
men,
end.
A
be,
men,
world without
be,
world
3^Z
now,
^
be.
world with-out end,
be,
U
-
and
now,
-
men,
A
-
with
m
world
APPENDIX.
Ii6 No. 13.— CANON
BY AUGMENTATION AND IN CONTRARY. MOTION. KiRNBERGER.
^
'^ 73 r ^s fr
—rr?^
»^^??^
J J
i r
J
J
No. 14.— CANON
1
isg^i
J.i
iu
If
^
i
J
BY DIMINUTION AND CONTRARY MOTION.
^
-^
^^
.rr
^^^ ^^
^
i'
J
P"^
J
I
^
h-
*
J
=^^ ^^3=
L
K
APPENDIX.
117
No. 15.— CANON 4 IN 2.* Bridge, From ** Mount Moriah," an Oratorio.
J. F.
Andante con
jnoto. »!= 80.
-3^
Soprano.
Tbnor.
slaugh
*^
-
ter,
is
brought as
iamb
lamb
brought as
lamb
a
to
the
to
the
lamb
slaugh
the
to
slaugh -ter,
-
ter,
brought as
is
brought
a
slaiigh - ter,
IXJ^ m^^^ slaugh
to
the
to
the
*
ThU Canon
-
ttr,
fr
Iamb
a
slaugh -ter,
r a
I
lamb
to
H
c
r
lamb
to
the
slaugh
the
I
J slaugh
has an independent orchestral accompaniment.
-
ter,
r - ter,
^
'
APPENDIX.
ii8
sheep
be
-
fore her shear
and
not
.
H»
month,
.
-
dumb,
ers
is
as
a
sheep
HtB
mouth,
.
,
is
.
dumb,
.
be-fore her shear
He
D
-
-
be
ers
is
pen- efh
'
APPENDIX.
^^
He
lamb,
i^
as
He
tamb,
is
a
brought
lamb,
as
IS
brought
as
lamb,
a
a
l
amb
to
the
slaugh - ter,
APPENDIX.
120
lamb
to
the
slaugh-ter,
lamb
brought as
to
is
the
brought
slaugh
as
a
lamb
to
the
- ter,
m He
lamb,
brottgtit,
aa
n
lamb,
'
ai
is
brought
as
a
APPENDIX.
No. i6.— CANON ^ IN
ON A GROUND
121
i.'
BASS.
Henry Purcell.
£=g=pr^-g^
jj-f^-TTr-^
:^^^-
^^
^^
—From *
^s^^^M
^^
iS
a Manuscript in possession is
now
of.
C. Taphouse, Esq., by
whose kind permission
iSEinted. it is believed, for the fir«4 time.
it
,
122
APPENDIX.
APPENDIX.
123
APPENDIX.
124-
|=^U^|Eg^:^, f^j
.
r
r
r \
r
^^
jta=r=rf&i:^-
#-,^r-
Novello,
Ewer
&
Co.'s
Music Prifners
Edited by Dr. Stainer. PRICE
TWO
SHILLINGS.
HARMONY BY
D r. staine r. CONTENTS. — Chromatic, Enharmonic — Variety of forms of Minor Scale — Relation of Scales —Diagram of Division of Scales — Key — Relation of Keys — Cycle of Keys —Method of reckoning and naming Intervals —Major, Minor, and Diminished Intervals — Table of Diminished Sevenths — Simple and Compound Intervals —Diagram of threefold Division of Intervals — The Construction of Chords — Common Chords —Rules governing the Succession of Common Chords —Examples and Exercises, — Inversion of Chords —Figuring of Chords—Distribution of Parts — Treatment of Leading-Note — Examples and Exercises. —Different kinds of Motion — Rules governing the filling in of Bass Parts — Examples and Exercises. —Analysis of Simple Harmony ^Chorals be Analysed— Chord of the Dominant Seventh — inversions — Their figuring and treatment — False relation — Examples and Exercises. — Suspensions — Suspension of nine eight — Inversions — — Examples eight and Exercises. Chord of Dominant of nine Ninth — inversions, treatment, and figuring—Examples and Exercises. — Suspension of four three — resolutions and inversions and resolutions — inversions —Dominant Eleventh — resolutions and inversions —ExamSuspended Leading-Note— ples and Exercises. — Double Suspensions — Triple Suspensions — Examples and Exercises. — Different Triads — Their nature and treatment — Chords of the Augmented Sixth — Suspension six-four five-three on the Tonic — Six five on Dominant —Neapolitan Sixth — Passing-Notes, Diatonic and Chromatic — Cadences — Attendant or Relative Keys —Modulation —Exercises. — ConcluSubjects included in the study of Harmony ; Scales, Intervals, The different kinds of Scales : Diatonic, Chords, Progressions
to
Its
to
to
Its
to
Its
Its
to
sion.
to
Its
NOVELLO.
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A DICTIONARY OF
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Novellas Original Octavo Rditions of
ORATORIOS, CANTATAS, MASSES, &c.
FRANZ ABT.
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The Fays' Frolic (Female Voices) (ditto) (ditto) (ditto) (ditto) (ditto) (ditto) (ditto)
Springtime
Summer The Golden City The Wishing Stone The Water Fairies The Silver Cloud Minster Bells
6
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I
o
Water-Sprite's Revenge (Female Voices)
St.
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W.
B minor
1
Missa Brevis in a The Passion (S. Matthew) Ditto (Abridged as used at St. Pau:l's) The Passion (S.John)
363.
*>
i
fi
6
3
6
4
o
i
o
1
o
6 6 6 o
6
Young Lochinvar
BRADFORD.
Harvest Cantata
i
The Song of Jubilee
2
Praise the Lord
2
BRADSHAW. J. BRAHMS. Destiny CHARLES BRAUN. W.
F.
Gaspar Becerra
I
6
A Song
of
1
u
Sigurd
.
i
o
RUDEL
J. C.
BRIDGE.
F.
BRIDGE.
.
,
J.
rockofages(latinandenglish)(s0l-fa.4d.)
Mount Moriah I I
o 6
Boadicea Callirhoe (Sol-fa,
BARNETT. ...
3 2 IS. 6d.)
Nineveh
2 2
6 6 6
The Inchcape Rock The Lord's Prayer
i
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i
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The Light of Asia
3
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i
o
2
^
I
o
DUDLEY BUCK.
3 6
4
6 6 o
EDWARD BUNNETT. Out of the Deep (Psalm
I
130)
W. BYRD. Mass for Four Voices
BEETHOVEN. No.
3 z
i
o
Daniel
97)
•••
o
i
s
I
LEONARD BARNES.
i2;9,/92-
6
i
6
The Bridal Day
The Praise of Music Ruins of Athens ...
2
2
BARN BY.
The Ancient Mariner
o
E.
...
J. RsBEKAH (Sol-fa, gd.)
The Raising of Lazarus Paradise and the Peri
i
2
6
Thee
(Sol-fa, 2s.)
4
6
Priceless Treasure When will God recall my spirit
F.
o
4
M. BOYCE. The Lay of the Bkown Rosary
:
Jbsu,
J.
6
i
o o
BEXFIELD.
R.
J.
King (Psalm
o
The Day of Rest (Female Voices)
Christmas Oratorio Magnificat
is
6
i
o
JOSIAH BOOTH.
BACH.
praise
2
...
Israel Restored
Mater
now will we
2
...
G. R. BETJEMANN. The Song of the Western Men
ASTORGA.
The Lord
is. 6d.)
The May Queen (Sol-fa, is.) The Woman of Samaria (Sol-fa, js.) International Exhibition Ode (1862)
ASPA.
God goeth up with shouting God so loved the world God's time is the best (Sol-fa, ed.) My Spirit was in heaviness LIGHT Everlasting Bide with us A Stronghold sure Be not afraid (Sol-fa, 4d.) Blessing, Glory, and Wisdom 1 wrestle and pray (Sol-fa, 2d.) Thou Guide of Israel
i
W. STERNDALE BENNETT.
SIR
Endymion
Jesus,
...
Sol-fa
The Legend of St. Cecilia (Sol-fa, Passion Music from St. Peter
The Gipsies
in
o o 6
i
SIR JULIUS BENEDICT.
Barnabas
Mass
o
i
WILFRED BENDALL. Ditto
Hezekiah St. John the Evangelist
Stabat
(Sol-fa, 3d.)
The Lady of Shalott (Female Voices)
I
ARMES.
E.
Sol-fa
i
KAREL BENDL.
B flat P.
St.
Ditto
A Calm Sea and a Prosperous Voyage ... Meek, as Thou livedst, hast Thou departed
...
4d.)
s. d. ...
Mass in C Communion Service in C Mass in D The Choral Symphony Ditto (the Vocal Portion)
ARGENT.
I.
the Wilderness
6
THOMAS ANDERTON. W.
in
The Choral Fantasia
Albano (English)
Yule Tide The Norman Baron Wreck of the Hesperus (Sol-fa,
Engedi; or, David of Olives
6 6
..,
BEETHOVEN—coM^mw^rf.
I
Mount
AGUTTER.
B. MissA de Sancto
d.
(in
F minor)
CARISSIML
6
Jephthah
ORATORIOS, &c.— Continued. CARNELL.
F. D.
s.
Supplication
ROBERT FRANZ.
d.
Praise ye the Lord (Psalm
5
GEORGE CARTER. SiHPONiA Cantata (Psalh
Psyche
CHERUBINL
The Crusaders
is.)
Christmas Eve (Sol-fa,
1 z
J.
is. 6d.)
is. 6d.)
MAUDE CRAMENT.
WILL MAGNIFY ThEE, O GoD (FsALU
I45)
Idyl)
'.
2
2
6
W.
2
6
2
6
1
6 6
o
2
e
2
6
3
o
W.
G.
Voices)
6
M. E. DOORLY. Lazarus
6
4
o
E
DOSSERT.
minor
ANTONfN DVORAK. Ludhila Ditto (German and Bohemian Words)
The
Spectre's Bride Ditto (German and Bohemian Words) Stabat Mater
Patriotic
Hymn
Joan op Arc (Sol-pa, Passion Service
2 2 2
is.)
is.)
...
a Triumph Song (Male Voices)
J.
137)
...
NffiNIA
Praise to the Holiest
Voices)
ROSALIND
Mors et Vita (Latin or English) Sol-fa (Latin and English)
The Redemption (English Words) Sol-fa
o 6
HENRY FARMER. Mass
in
B flat (Latin and
MYLES
B.
The Lady of the Isles The Angels of the Bells (Female Voices)
The Paraclete
3
G
i i
6
6
2
o
5
o
2 8 10
4
i i i
2
6 6
i i
i
o
i
i
i
o
3
2 2
o o
i
o
2
1
6 6
Alceste Semele
Ditto ditto Sol-fa o The Bonnie Fishwives (ditto) 2
8 6
The Passion The Triumph of Time and Truth
I
6
HANDEL. Acis AND Galatea Ditto, New Edition, edited BY J. Barney Ditto, ditto. Sol-fa
FOSTER.
2
HALFORD.
Alexander's Feast
English)
G
GRIMM.
The Soul's Aspiration G.
I I
of Song
O.
J.
ELLICOTT.
F.
Elysium
The Birth
6
i
CH. GOUNOD.
Te Deum
I
6
I
The Water-Lily (Male
6
6
6
6
2
HERMANN GOETZ.
Ditto (French Words) Ditto (German Words) Mbsse Solennelle (St. Cecilia) 5 Out of Darkness Communion Service (Messe Solennelle)... Troisi&me Messe Solennelle 5 De Profundis (Psalm 130) (Latin Words)... 8 o Ditto (Out of Darkness) o 3 The Seven Words of Our Saviour 6 o Daughters of Jerusalem 2 6 Gallia {Sol-fa, 4d.)
2 2
6
2 2
GLUCK.
6
EDWARDS.
6
GLADSTONE.
F. E.
Ditto (German and Bohemian Words) 3 A. M. GOODHART. Requiem Mass 5 o Earl Haldan's Daughter „. Arethusa A. E. DYER. Salvator Mundi 2 6 C. H. GRAUN. Electra of Sophocles 1 6 The Passion of Our Lord (Der Tod Jesu)
H. The Ascension The Epiphany
s
GERNSHEIM.
FR.
Ditto,
1
o
i
i
Ruth (Sol-fa, gd.) The Holy City (Sol-pa, IS.) Ten Virgins (Sol-fa, is.) Israel in the Wilderness (Sol-fa,
Ditto,
2
F. G.
St.
1
H. DIEMER.
Bethany
in
1
3
GAUL.
By THE Waters OF Babylon (Psalm
CUSINS.
6 a G
MACHILL GARTH. A. R.
6
FIELICIEN DAVID. P.
2 4 2
Philippi
I
The Desert (Male
is. 6d.)
Orpheus 2
TsDeum
(Sol-fa,
(ditto)
G. GARRETT. Harvest Cantata (Sol-fa, 6d.) The Shunammite The Two Advents
Salamis.
CUMMINGS.
H.
The Fairy Ring
Mass
Columbus
R.
W. CROTCH. Palestine
o o o o
i
Alcestis (Male Voices)
W. CRESER. Budora (A Dramatic
8
i
HENRY GADSBY. o O
2 4
6
o
2
is.)
4d.)
The Wild Huntsman 6d.)
A Song
I
gd.)
2
Lord OF THE Isles
1
H. COWARD. The Story of Bethany (Sol-fa, is. F. H. COWEN. St. John's Eve (Sol-fa, is. 6d.)
(Sol-fa,
COMALA
MICHAEL COSTA.
The Dreah
(Sol-fa,
3d.)
I
J
FREDERICK CORDER.
RuTh
2
2
4
of Thanksgiving Sleeping Beauty (Sol-fa,
is. 6d.)
Erl-Kihg's Daughter (Sol-fa,
ZiON
Requiem Mass, C minor (Latin and English) Second Mass in D minor Third Mass (Coronation) Fourth Mass in C E. T. CHIPP.
SIR
(Sol-fa,
Spring's Message (Sol-fa,
WILLIAM CARTER. Placida
(Sol-fa,
i
NIELS W. GADE.
iiS)
The Bridal of Triermain
,. i.
117)
-
2 i
o
i i
2 3 3
3
o
o o
ORATORIOS, &c,— Continued, HANDEL
continued.
HUMMEL.
s. d.
Alexander Balus Hercules
3 3 3 3 3 3
o o o o o o
3
o
2 2
o o o
2
o
i Pocket Edition 2 Judas MACCABiEUS (Sol-fa, IS.) i ... Judas MACCABiEus. Pocket Edition a Samson (Sol-fa, is.) 2 Solomon 2 Jephtha 2 Joshua 2 Deborah 2 Saul I Chandos Te Deum i Dettingen Te Deum 1 Utrecht Jubilate O praise the Lor"d with one consent 1 (Sixth Chandos Anthem) Coronation and Funeral Anthems. Cloth 5
o o o
Athaliah
Esther Susanna Theodora Belshazzar
The
'.
edited
Messiah,
(Sol-fa,
by
V. Novello
is.)
... The Messiah, ditto. Pocket Edition ... The Messiah, edited by W. T Best Israel in Egypt, edited by Mendelssohn
i
Israel in Egypt, edited by V. Novello.
o
o o
Zadok the Priest
My
heart
is
Let thy hand be strengthened
...
H. H. HUSS. Ave Maria (Female Voices) John the Divine
JOHN WILLIAM JACKSON. cried unto
I
o
ILIFFE.
F. St.
God
W. JACKSON. The Year
JENKINS.
D.
David and Saul (Sol-pa,
2s.)
JENSEN.
A.
The Feast op Adonis 8
W. JOHNSON. EccE Homo
o
3 8 6
1
o
inditing
The ways of Zion St. Cecilia's Day
W. H. HUNT. Stabat Mater
o o
flat
Communion Service, ditto Second Mass in E flat Communion Service, ditto Third Mass in D Communion Service, ditto Alma Virgo (Latin and English) Quod in Orbe (ditto)
o
Or, singly
The King shall rejoice
B
First Mass in
C.
WARWICK JORDAN.
Ode on
i
L'Allegro
2
o
Blow ye the trumpet in Zion N. KILBURN. The Silver Star (Female Voices)
The Creation (Sol-fa, is.) The Creation. Pocket Edition ... The Seasons (Each Season, singly, is.) First Mass in B flat (Latin) (Latin and English) Ditto Second Mass in C (Latin) Third Mass (Imperial) (Latin and English)
2
o o o
The Epiphany
(Latin) Ditto Sixteenth Mass (Latin) The Passion or, Seven Last Words Te Deum (English and Latin) Insane et Van^ Cur^ (Ditto)
i
o o o o
1
6
HAYDN.
;
...
i
3 i i i i
2 i
o
o 4
ALFRED KING. OLIVER KING. By the waters op Babylon (Psalm The Naiads (Female Voices) in a
Vineyard (Female Voices)
(Female Voices)
H. Jubilee
2
6
x
6
3
6
HEALE,
Ode
The Sleeping Beauty (Female Voices) Sol-pa
LEONARDO
as.)
EDWARD HECHT.
LEO.
Dixit Dominus
H. LESLIE. The First Christmas Morn F.
SWINNERTON HEAP.
C. Fair Rosamond {Sol-fa,
LAHEE.
H.
BATTISON HAYNES. Fairies' Isle
Sol-fa
Ditto,
Ditto,
The
KINROSS.
J.
Songs
137)
The Legend op
St.
LISZT.
Elizabeth
Thirteenth Psalm C. H.
LLOYD.
Eric the Dane
3
°
Alcestis
O MAY
i
o
2
6
Andromeda Hero and Leander The Song of Balder The Lonobeards' Saga (Male Voices) The Gleaners.' Harvest (Female Voices) A Song op Judgment
^ ^
^ °
4
°
'
°
* 4
° °
I
join
the Choir Invisible
GEORGE HENSCHEL. Out of Darkness (Psalm
HENRY
130)
HILES.
Fayre Pastoeel
The Crusaders
LONGHURST.
HAMISH MACCUNN.
FERDINAND HILLER. Nala and Damavanti A Song of Victory
Lay of the Last Minstrel (Sol-pa, is.6d.).. Lord Ullin's Daughter (Sol-fa, 8d.) G. A. MACFARREN. SoNos in a Cornfield (Female Voices)
HEINRICH HOFMANN. Fair Melusima
• Cinderella Song of the Norns (Female Voices)
W. H. The Village Fair
..
...
i
May Day (Sol-fa, 6d.) The Soldier's Legacy (Operetta) Outward Bound
..
ORATORIOS, &c.~Conhnued. A. C.
MACKENZIE.
6
o
2
6
Jason
a 3
The Bride (Sol-pa, 8d,) The Rose OP Sharon (Sol-fa, 2S.) Jubilee Ode The Cotter's Saturday Night The New Covenant
z ...
...
5
,..
2 2
Veni, Creator Spiritus
6
2
2
6
B. The Vision OF Jacob J.
3
6
2
o
McEWEN. H.
Horatius (Male Voices)
x
MENDELSSOHN. Elijah (Sol-pa, is.) 2 Elijah (Pocket Edition) i o As the Hart pants (Psalm 42) i o Come, LET us SING (Psalm 95) i o WhbnIsraelout op Egypt cAMB(SoL-PA,gd.) i o Not unto us, O Lord (Psalm 115) i o St. Paul {Sol-pa, is.) St. Paul (Pocket Edition)
a i z
o
...
i
o
Sol-fa Hear my prayer (s. solo and chorus) ... Ditto ditto Ditto, Sol-fa Lauda Sign (Praise Jehovah) (Sol-fa, gd.) ... The First Walpurgis Night (Sol-pa, is.) ... Midsummer Night's Dream (Female Voices)
o o
4 o 4
o
3
Athalie (Sol-pa, is.) Antigone (Male Voices) (Sol-fa, IS.) ... Man is Mortal (Eight Voices) Festoesanq (Hymns OP Praise) Ditto (MAle Voices) Christus (Sol-fa, 6d.) Three Motets for Female Voices Son and Stranger (Operetta) LoRELEY (Sol-fa; 6d.) CEdipus at Colonos (Male Voices) To THE Sons op Art (Ditto) Ditto, Sol-pa Judge me, O God (Psalm 43) (S .l-pa, ijd.) Why rage fiercely the Heathen ... ... My God, why, O why hast Thou forsaken me (Psalm 22) Sing to the Lord (Psalm 98) Six Anthems for the Cathedral at Berlin. For 8 voices, arranged in 4 farts ... Ave Maria (Saviour of Sinners). 8 voices
2 4
...
Ditto,
i
Ninety-first Psalm (Latin) Ditto (English)
i
o
i
x i
o o o
i 1
o
i
4
o
i
o
3 i
o o
o o
4 6
o
6 8
o
8
i
o
i
o
3
o
MOZART. King Thamos
i
First Mass (Latin and English)
i
Seventh Mass in B flat Communion Service in B flat, Ditto ... Twelfth Mass (Latin) Ditto (Latin and English) (Sol-fa, gd.) Requiem Mass Ditto (Latin and English) Ditto Ditto, Sol-fa ... Litania de Venerabili Altaris (in E plat) Litania de Venerabili Sacramento (in B flat)
Third Motet
The Martyrdom of
... ... ... ...
x i x x
x i
o o 6
o o o o
i I
Polycarp
St.
PAINE.
The Lord Reigneth (Psalm The Prodigal Son Great is the Lord
93)
PALESTRINA.
6
I
6
o o
3
3 3 3
...
PARKER.
H. W. The Kobolds
H. PARRY.
C. H.
De Profundis (Psalm Ode
on St. Cecilia's
130)
Day
(Sol-fa,
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Glory, Honour, Praise.
HERBERT OAKELEY. Selection prom a Jubilee Lyric
B.
MOLIQUE.
Splendente te, Deus. First Motet O God, when Thou appearest. Ditto Have mercy, O Lord. Second Motet
De Profundis
2
MEYERBEER. B.
...
NESVERA.
J.
Missa Assumpta est Maria MiSSA PAPiB MaRCELLI MiSSA Brevis Missa "O Admirabile Commercium"
MEE.
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Jeremiah
R. P.
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DR.
REV. SIR FREDK. OUSELEY.
W. MARKULL.
F. Roland's Horn
Victory of Song (Female Voices)
o o 6 o
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Hereward Queen Aim^e (Female Voices)
PURCELL. Dido and ^neas Tb Dbum and Jubilate
Harold
J.
in
F. H.
D READ.
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W.
S.
ROCKSTRO.
The Good Shepherd
ROLAND ROGERS. Prayer and Praise
ORATORIOS,
Sec—Continued,
ROMBERG.
SVOHR.—continued.
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Moses
in
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CHARLES
B.
6
o o
2
6
2
6
X
Egypt
RUTENBER."
Divine Love
C. SAINTON-DOLBY. Florimel (Female Voices)
declare
Heavens
(Psalm
The Star
— Cceli
)
enarrant
ig)
FRANK
in
J.
1
6
2
6
SAWYER,
the East
SCHUBERT. .
JOHN STAINER.
The Crucifixion (Sol-fa, gd.) St. Mary Magdalen (Sol-fa, is. The Daughter of Jairus Sol-fa, {
CAMILLE SAINT-SAENS. The
Calvary Fall of Babylon Last Judgment (Sol-fa, is.) The Christian's Prayer God, Thou art great (Sol-fa, 6d.) How lovely are Thy dwellings fair Jehovah, Lord of Hosts
Mass in A plat Communion Service, ditto Mass in E flat ^ Communion Service^ ditto Mass in B flat Communion Service, ditto Mass in C Communion Service, ditto Mass in G Communion Service, ditto Mass in F Communion Service, ditto Song op Miriam (Sol-fa 6d.}
1
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Gideon
The Tournament
k
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The Passion op our Lord and
Incidental
(S. (S.
to 3
6
George)
3
6
Joseph)
2
J.
Mass Mass
Music
Troas"
in
SHORT.
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In exitu Israel Dixit DoMiNus
O O 8
O
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The Red Kino (Men's Voices) The Song of the Little Baltunq Ditto,
The Village Queen (Female Voices) (ditto) The Little Mermaid
Jerusalem
HENRY SMART.
King Arthur (Soi^fa, Ariadne (Sol-fa, gd.)
(Sol-fa, gd.)
W. M. WAIT.
Supplication and Praise
J.
Day
CHARLES VINCENT.
BERTRAM LUARD SELBY. "Helena
THOMAS.
E. H. THORNE. Be merciful unto me
Faust
Choruses
STORER.
J.
C. SUCH. Narcissus and Echo God IS OUR Refuge (Psalm 46)
The Minstrel's Curse The King's Son Mignon's Requiem Paradise and the Peri (Sol-fa, Pilgrimage of the Rose Manfred
H.
gd.)
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C.
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S- S.
(ditto)
I 1
o
Soi^fa
Ode to the North-East Wind Ode to the Passions A. SOMERVELL. Mass in C minor CHARLTON T. SPEER. The Day Dream
SPOHR.
WESLEY.
X
•
2
O
2
6
WESLEY.
Lord, Thou art my God C. LEE WILLIAMS. The Last Night at Bethany (Sol-fa,
is.)
...
Gethsemane
THOMAS WINGHAM. Mass in D Te Deum (Latin)
CHAS. WOOD. Ode to the West Wind
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Athaliah Esther Susanna
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o o
o o o
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o o
o o o o
2adok the Priest inditing My heart Let thy hand be strengthened is
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JOHN WILLIAM JACKSON. I
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3 8
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i
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•
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St.
H.
,
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x
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6 2
6
4 i
° o
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Andromeda Hero and Leander The Song of Balder The Longbeards' Saga (Male Voices) .The Gleaners' Harvest (Female Voices)
A Song
...
i
,^..
...
of Judgment
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HAMISH MACCUNN. Songs
Melusina
Norns {Female Voxcbs)
LEO.
-
o o
FERDINAND HILLER.
Cinderella Song of the
LEONARDO
3
HILES.
Fayre Pastorel
Fair
Sol-fa
Alcestis ...
130)
Nala and Damayanti A Song of Victory ...
Ditto,
G
GEORGE HENSCHEL. Out of Darkness (Psalm
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LAHEE.
H.
Thirteenth Psalm
2s.)
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o 4
a
137)
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Songs in a Vineyard (Female Voices)
o o
HEALE.
Rosamond (Sol-fa,
J.
Dixit Dominus
Ode C.
Fair
...
,
OLIVER KING.
BATTISON HAYNES. Jubilee
...
ALFRED KING.
>L'Allegro
H.
,
W. JOHNSON.
8
.,. ^ The ways of Zion ^de on St. Cecilia's Day
The Fairies' Isle (Female Voices)
JENKINS.
D.
David AND S'aul (Sol-fa, 2s.) A. JENSEN. The Feast of Adonis
EccE Homo
Or, singly
The King shall rejoice
ILIFFE.
F. St.
o
o
Lord with one consent
PRAISE THE
W. H. HUNT. Stabat Mater
a
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flat
o o
i
Saul .;
B
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Deborah ...
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2 2 2 2
Chandos Te Deum Dettingen Te Deum Utrecht Jubilate
HUMMEL.
s. d.
Alexander Balus Hbkcules
in
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...
1
6 o
2
6
2
I
o
6
o
I
o
ORATORIOS, &c.— Continued. A. C. MACKENZIE. The Dream OF JuBAL TH5,ST055f OF Sayid JasoK ...
b. d.
THE Bkide (Sol-fa, 8d.) The Rosb of Sharon Sol-fa, 2b.) JuBiLBB Ode The Cottei^*s Saturday Night The IfBW Covenant (
F. \y. RoXiAND's
6
o
5
o 6 o
De Profundis
Selection from a Jubilee Lyric
2
Veni, Crsatcir Spiritus
i
6
z
o
2
6
MARKULL.
Horn
J.
H.
2
6
i
o
MEE.
MENDELSSOHN.
•
Elijah (,Sol-fa, is.) 2 o Elijah (Pocket Edition) i o i o As THE Hart PANTS (Psalm 42} ... i o Come, let us sing (Psalm 95) When Israel OUT OF Egypt CAME (Sol-fa, gd.> i o i o Not unto us, O Lord (Psalm 115} St. Paul (Sol-ja, IS.) St. Pa,ul (Pscket Edition)
2
'
i
Hymn op Praise (Lobgesano) (Sol-fa, is.) Lord, how long wilt Thou forget me
...
i
...
i
Sol-fa ... Hear Uy prayer (s. solo and chorus) ditto ... DXTTo „ Ditto, Sol-fa Lauda S'ion (Praise Jehovah) ( Sol-fa, gd.) ... The First Walpurgis Night (Sol-fa, is.) ... Midsummer Night's Dream (Female Voices) Ditto,
... Athalie (Sol-fa, is.) Antigone (Male Voices) (Sol-pa, IS.) ... Man is Mortal (Eight Voices) Festgesang (Hymns OF Praise) Ditto (Male Voices)' ,. Ghristus (Soc-FA, 6d.) Three Motets for Female Voices Son and Stranger (Operetta) LORELEV (SoL-FA, Gd.) CEdipus at Colonos (Male Voices To the Sons of Art (Ditto) Ditto, Sol-fa Judge me, O God (Psalm 43) (Sol-fa, i^d.) WHY rage fiercely THE HeATHEH My God, why, O why hast Thou forsaken me (Psalm 22) Sing to the Lord (Psalm 98) Six Anthems for the Cathedral at Berlin. For S voices, arranged in 4 farts ... Ave Maria (Saviour of Sinners). 8 voices -
B.
4
First Mass (Latin and English)
o 2 i i
z 4
...
Ditto (Latin and English) (Sol-pa, gd.) Requiem Mass Ditto (Latin and English) Ditto Ditto, Sol-fa ... Litania de Venerabili Altaris (in B flat) LiTANiA DE Venerabili Sacramento (in B FLAT)
SPLENDENTE TE DeuS. FirST MoTET God, when Thou apfearest. Ditto Have mercy, O Lord. Second Motet Glory,'Honour, Praise, Third Motet
O
...
is
...
,
the Lord
PALESTRINA. H.
W. PARKER.
The Kobolds
,
„
Prometheus Unbound
3
Eton
Nebuchadnezzar
o
The Crusader
i i
o
id i
I
o O
3
o
4
DR. JOSEPH PARRY.
o o O
3
4 6 8
o
8
z
o
i i
o o
3
o
x i
o
i i i i i i
PARSONS.
T. M.
PATTISON.
May Day (Sol-fa, 6d.) The Miracles of Christ (Sol-fa, The Ancient Mariner The Lay of the Last Minstrel St.
A. L. John THE Baptist
gd.)
PEACE.
PERGOLESI. Stabat Mater (Female Voices) (Sol-pa,
Phantoms— Fantasmi nell' ombra A. H. D. PRENDERGAST. The Second Advent E.
PROUT.
Damon and Phintias (Male Voices) The Red Cross Knight (Sol-fa, 2s,) The Hundredth Psalm Freedom
Hereward Queen Aim^e (Female Voices)
PURCELL. o 6
Dido and Mveas Tb Deum and Jubilate in D J, F. H. READ.
Harold
Bai^timeus o o
I
6
I
6
O
3
...
o 3 o
3 3
6d.)
GIRO PINSUTI.
6
o
(Sol-^fa, is. 6d.)
B;
i
... ...
...
MissA Assuupta est Maria MissA^APA Marcelli MissA Brevis
o o o o o o
i
.1
flat. Ditto
Polycarp
-0
MOZART. King TitAMos
St.
R. P. PAINE. The Lord Reigneth (Psalm 93) The Prodigal Son
Judith o 4 L'Allegro i
MOLIQUE.
Abraham
Seventh Mass in B flat Communion Service in B Twelfth Mass (Latin)
REV. SIR FREDK. OUSELEY.
C. H. H. PARRY. o De Profundis (Psalm X30} o Ode on St. Cecilia's Day (Sol-fa, is.) o Blest Pair of Sirens (So£-fa, 8d.) o Ajax and Ulysses
MEYERBEER, Ninety-first Psalm (Latin) (English) Ditto
>/
NESVERA.
J.
HERBERT OAKELEY.
Great
HoRATius (Male Voices)
JOHN NAYLOR.
DR. Jeremiah
The Martyrdom of
MARSHALL.
F. E. Prince Sprite (Female Voices)
E. MUNDELLA. Victory op Song (Female Voices)
i
2
'
...
6
2 3 2
Caractacus The Consecration of the Banner In the Forest (Male Voices) Psyche
...
J.
V.
ROBERTS.
W.
S.
ROCKSTRO.
Jonah
The Good Shepherd
ROLAND ROGERS.
Prayer and Praise
1^
Asw/h;
