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APPLIED STRICT
COUNTERPOINT
BY
C.
H.
KITSON
M.A. (CANTAB.), D.MUS. (OXON.)

F.R.C.O.
(HONORIS CAUSA)
OXFORD
AT THE CLARENDON PRESS
1916
Oxford University Press

London
Edinburgh
Toronto
Humphrey Milford
Glasgow
Melbourne
a^
3S37
Tork
Bombay
M.,A. Publisher
<(oCi
New
to the Vni'versity
PREFACE
So many pupils have acknowledged
have accrued
to
to
me
the advantages that
them from having understood and practised the
application of Strict Counterpoint in composition in the strict

style, that
seemed
it
to
me
a short treatise on the subject might
be serviceable.
Very few teachers encourage

anything but
in
its
the study of Strict Counterpoint
purely technical and analytical aspects.
It is
certain that very few students understand the function of the
semibreve Canto Fermo.
Still
fewer realize that
it
can be
eliminated^ and that the application of the technique of Strict
Counterpoint without this constant factor results in composition

in the style
My
of the Polyphonic Period.
previous treatise, The Art of Counterpoint, dealt merely
with the
grammar of
able to decline
interficio, if
for
let
us say
example,
Caesarem
is little
point in being
amicus or Caesar, or
we cannot form them

'
There
the subject.
interfecit
to conjugate
into a complete sentence, as
amicus
This short
'.
treatise
represents the synthetical aspect of the subject.
great
many
of the arguments that are put forward, both in
support of and in opposition to the study of Strict Counterpoint,
show such confused and misguided

constitutes Strict Counterpoint, that
ideas as to what precisely

it
has been thought well to
begin this book with a statement of the true facts of the case,
show the reasons which have led me to

some modern wTiters in various details of technique.
and so
It is
to
assumed
that the student
Counterpoint up to four or
is
.will
from
tolerably proficient in Strict
five parts
with a semibreve Canto
Fermo, including combined Counterpoint.

of this book
differ
hope
that a perusal
induce teachers and examiners to encourage
A2
PREFACE
i^
students to pursue the subject of Strict Counterpoint beyond
purely grammatical side.

language. But
it
will
to understand that
better scholarship
it
if
It is
true that
it
is
be something gained
if
is
a language at
all,
they are enabled to
only possible criterion, that of practice.
its
the study of a dead
we can
and
it
criticize
To
get students
will
make
for
theory by the
study merely the
grammar of a language is a sheer waste of valuable time no

one would ever learn grammar merely for its own sake. It is
hoped that this treatise will make the study of Strict Counter:
point rational and real, by showing
its
only logical basis and
conclusion.
C. H.
KITSON.
CONTENTS
CHAPTER
The Premisses
of Strict Counterpoint
...
PAGE
7
CHAPTER H
Florid Strict Counterpoint without a Semibreve
Canto Fermo
CHAPTER
HI
Hymn-tunes and their Simple Treatment
CHAPTER
...
3^^
40
IV
Strict Counterpoint on a Chorale
53
CHAPTER V
Madrigal and Motet Writing
...
.60
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CHAPTER
THE PREMISSES OF STRICT COUNTERPOINT

I.
Those who have read
the various treatises on the subject
of Strict Counterpoint must have been struck with the fact that
between some of them there are grave discrepancies. Indeed,
the
same example may be
criticized
by
different theorists as
being correct or incorrect.
For
instance,
one theorist
will
say that in the following
example,
Ex.
I.
rx
L_
-<s>-
-&-
the second
minim
(E)
is
-Ck.
incorrectly quitted by leap, because
it is
no part of the chord G, B, D, which is implied on the first

minim, and that two chords in a bar should not be used.
Another theorist will argue that as E is concordant with G, it is
This is not a question of
free to be quitted by step or leap.
good or bad effect, but one of authority.
Again, in the next example,
Ex.
2.
23:
I="#|-
-<9-
one theorist will say that the second minim (D) is incorrect, as it
Another will
implies a second inversion, which is forbidden.
say that as it is concordant with the B it is correct. As in the
first example, this is not a question of good or bad effect, but of
authority.
Further, another theorist would omit the following from his
scheme of technique
altogether.
STRICT COUNTERPOINT
Ex.3.
(a)
--
-<s-
r
argument being that only common chords and
his
their first
inversions, and the first inversion of the diminished triad, can be
used, and therefore the combination at
Another theorist
will say
it is
(a) is
outside the scheme.
quite correct,
and the
G may be
regarded as a kind of appoggiatura to the A.
Two more
points
may
be advanced as illustrations of the
diversity of teaching that has arisen.
Some say
be used,
if
that the melodic interval of a diminished fifth
melody
may
some note within
the
one theorist allows the use of four quavers
in
the
at
once proceeds
to
interval
Ex.
4.
-<s>-
i
Others say
Finally,
may
it
-G>-e>-
"C?-
not be used.
succession
Ex.
5.
atzf:
-<s>-
Others forbid
zz
it.
Thus there are conflicting opinions upon four

(a) the number of harmonies allowable in a bar, [b)
the harmonic scheme,
(d)
{c)
vital points
the scope of
the nature of melodic progression,
the nature of melodic rhythm.
Diversity of opinion has been caused by two great defects

in the method of teaching the subject
{a) In the process of modernizing the subject, the sub2.
stitution of the
terminology of harmony for the original system of
THE PREMISSES
intervals has led to a complete
scheme as
(b)
it
The
misapprehending of the harmonic
really stands.
subject of Strict Counterpoint
is
never taken beyond
merely technical stage, so that in process of time it has come

to be regarded as an abstract study, and its rules have been
modified by theorists with no reference to the original premisses.
To say the least, this seems a very unscholarly procedure. But
it was largely due to an ignorance of the fact that there were any
original premisses at all in actual composition.
Dr. Pearce, in his Academic Counterpoint (p. 7), says that the
its
rules of Counterpoint are the
'
practical result of
common
every-
day experience and observation of those natural laws which must

always govern the principles of acceptable tone-combination.
Such rules are peculiar to no particular age or period.' But it
is
not in regard to rules of this nature that there
is
grave
Theorists do not in the main differ as to

diversity of opinion.
what combinations sound bad or good, but they differ as to what
good combinations may be used or may not be used. And this
question is one entirely of period and not of expediency. The
view that it is one of expediency results in some of the rules being non-existent in the technique of any age or period.
Further,
it has led to a restriction in harmonic scheme which was never
present.
And
the absurd point
is
that those theorists
who
teach
scheme are clamouring for an extension which has

been available all the time, if they would only see things aright.
3. It will be well to consider in some detail the view of exthis restricted
pediency in reference to limitations in technique, because it will

show us how theory has gone astray, and also how illogical the
position becomes.
The average
student enters upon a course of harmony, and
having proceeded say as far as the dominant seventh, it is

thought well that he should have a course of Strict Counterpoint,
so that he may learn to make his parts more interesting and inafter
dividual.
Now,
in
order that he
may pay
the greatest attention
melodic interest of his parts, his harmonic scheme is to

be of the slenderest description only common chords and their
to the
first
inversions, and the
first
inversion of the diminished triad.
STRICT COUNTERPOINT
lO
He
is
and
to this
have a given part moving quite slowly in semibreves,

he is to add parts moving in certain definite rhythms,
using one chord a bar.
This represents the average student's and the average
teacher's view in reference to the premisses of Strict Counterto
Approaching the subject from this point of view, chiefly

because no other one seems possible, the modern theorist
point.
proceeds
He
to
says,
be
logical.
two chords
in a
bar cannot be used, therefore
Vvê
must forbid
Ex.
6.
^^
lei:
-s>-
-<s>-
The
spirit
six-four cannot be used
of the law as well as the

Ex.
let
us be honest and obey the
letter.
Therefore
let
us forbid
7.
122:
-&
-e^
and of course.
Ex.8.
-el-
-^z
Prepared sevenths are naturally outside the scheme.

This is the logical result of a premiss which is, however,
It serves to show the process by which textentirely false.
books have shown a tendency to restrict harmonic progression.

Then, as the subject gets modernized, theorists think that it
is really rather absurd to be so strict in reference to melodic
progression.
And so in this sphere we get extensions of
original principles, such as
Ex.
9.
-G>-
-&>-
"O"
THE PREMISSES
Then,
too,
it
seems narrow-minded
Ex.
to
II
allow
lo.
->-
:c^:
li:
iq;
-<s>-
and forbid
Ex.
II.
:^z
-<s>-
Having got thus
far,
some malcontents
you allow the

why do you not allow the
first
inversion of the diminished triad,
first
inversion of the augmented triad ?
include the six-four in the scheme ?
and
say,
No,
it is
Some, again,
not expedient
say,
Or
again, cannot
we
Theorists shake their heads
'.
by attempting to
make the subject more practical. They write examples for
instruments.
Then the inquisitive pupil wants to know why he
has to obey the laws of melodic progression in reference to
voices when writing for instruments.
Over and above all this,
what authority has Dr. Jones or Dr. Smith for extending or
restricting laws, or for inventing them ?
It will thus be seen that this attitude towards Strict Counterpoint places the technique upon an impossible basis.
No one
is going to be coerced
into using one chord a bar because
Dr. Jones says it is good for him, nor into using two for the
same reason. But some one will say, you have only touched
upon a few of the rules of Strict Counterpoint. Consider the
many upon which there is complete agreement, as for example,
that quavers must only be used on the second or fourth crotchet
of the bar, that they must be approached and quitted by step,
that all discords of suspension must resolve on the third crotchet
of the bar, and so forth. All that need be said here is that
whatever tests are applied to prove or disprove theory in one
try to palliate the malcontents
case will be applied to
all cases.
We
are not willing to accept
any dogma on the authority of any theorist or any body of

theorists.
4.
We
have seen how harmonic progression came
to
be
STRICT COUNTERPOINT
12
and melodic progression extended. But it will at

once occur to us that we ought to find out how it is that textbooks can contain such examples as
restricted
Ex.
12.
-J-<s>-
St.
-o-
Z2:
:z3:
-o-
--
{a)
'&-
T2:
At
an implied
(a) is
tO-
-&1=
six-four,
dominant seventh.
at [b) is the first inversion of the
wrong
some flaw in the

statement of the harmonic resource of Strict Counterpoint.
are only to use common chords and their first inversions
Either these things are
or else there
is
We
and the
it
first
inversion of the diminished triad.
come about
Ex.
Then how does
that the following are given in text-books ?
13.
'0
"Q"
^
:c^:
(I)
W^
-o-
-e^
122:
-s>-
(2)
(3)
-63If^L
iS>-
21
(1) is
a dominant thirteenth;
(2) is
a six-four,
(3) is
an added
We
by saying that B, E, and D are unessential

That being so, the student may add a fourth part, thus
notes.
sixth.
may explain
(i)
Ex.
14.
:Jz.Jq=j
122:
:p:
_i
-e?-
^_
22:
22:
THE PREMISSES
13
and so expose the mechanical nature of his teaching.
At present
there does not seem to be any clue to the explanation of this
apparent conflict of theory.
Now
the malcontents, or the 'agitators' shall we call them,

sphere of Strict Counterpoint must have asked themselves
in the
some such questions as these

{a)
Why
is
a semibreve Canto
Fermo used
in Strict Counter-
point?
(b)
(c)
Why is the harmonic scheme so

Why are there so many melodic
Such questions would occur
to
any
restricted ?
restrictions ?
The
we
intelligent student.
unsatisfactory answer of the Macfarren school of thought
have already detailed.
But we must also explain
its
ulterior
basis.
Counterpoint stands in the same relation to

music that Euclid does to architecture. Now Euclid starts with
It is stated that
some few
features
postulates
and axioms which exhibit the following
the postulates are of such a nature that no one could
say such things cannot be granted
may be drawn from any one
line
for instance, that a straight
simply demands what suffices to carry out his proposals.

Counterpoint,
in
corresponds
staves, clefs, notes,
Now
(i)
and so
This,
the granting of the use of
to
forth.
the necessary characteristics of axioms are
They should be
He
point to any other point.
self-evident
that
is,
their truth should not
They should be fundamental
that
is,
their truth should not
require proof.
(2)
be derivable from any truth simpler than themselves.

(3)
They should supply
a basis for the establishment of further
truths.
To take only three fundamental points in Counterpoint,

cannot be said that the following are axioms
it
(i)
the
That only common chords and their
first
(2)
(3)
first
inversions and
inversion of the diminished triad are to be used.
That the Canto Fermo is to be a semibreve C.F.

That each semibreve represents one chord.
It is
possible then that these three statements are false.
If
STRICT COUNTERPOINT
14
how came they to be made, and hovj can we prove them to

be false ? The earhest treatises on Counterpoint belong to the
period when Counterpoint was the only method of composition
so,
known, i. e. the Polyphonic Period, and the treatise on Counterpoint was to the student of those days what the harmony book
is to
the present-day student
his means of learning the current
Modern harmony represents two
aspects of comThen, the

contrapuntal.
and
the
harmonic
bined
cynic will at once say, you intend to teach the one as it is and
the other as it was in the sixteenth century an absurd comWe will deal with that later but we will at once say
bination.
that it is not so absurd as teaching the one as it is and the other
That is the real crux of the whole
as it is not and never was.
matter.
The system of some theorists cannot be verified from
technique.
sound the
the practice of any period, but
new, due
5.
to a
want of
We shall get
back to
is
a confusion of the old with the
historical research.
on the subject if we put our minds

Let us, in the first instance,
the sixteenth century.
some
light
examine a piece of composition of the period
Ex.
Missa.
15.
Palestrina.
Aeterna Chrisii Munera.
(8)
-X
j^:
J^Z
-Gi-
:p:
-G>
US.
Ky
-e>-
~J2i
-s>-
-iS-tS)-
Ky
(5)
U=L
^^:
-s>-
Ky
^s*
=1= :e
^~-
zzz2z:l
le
(1)
(2)
-iSi-
-&-
le
(3)
2^:
(4)
jd-
^.
-&^:iii
:^:
-G>~
Ky
THE PREMISSES
^5
(lO)
-f
:g^=^
-&'
(II)
IQ
-<s<-
ics:
-s-
-q:
^
E-^
'
ie
(13)
(7)
4::
-&-
-ah-<^
:q:
.^^zzjzip:
jQ_
son,
le
(14)
=P=i:
-(9-
t:
:e2:
le
-<s'-
-<S'-
Ky
son,
(9)
-&-
-s
P-
Ky
:23:
-i^
:?2:
-g>
'^-H z^z
-^^-
rpzqizp:
r--
son,
-^ -P
=P
^^
:p:
^^J
fS>-
(18)
(15)
^-
_^.
t:
e
221
-s>-
-<s>-
Ky
le
^Q_
^- :p:
P=^
Iz
:s2:
-<s-
-fS-
-P-
32:
:Pz=z
son,
i4:===i:
g^^^-iz^zizez:
-ei-
mt
le
-|S-
=P
i?:^:
G>-
-gs"
H<SH
H<SH-
lei
(16)
-s*-
-rd
S'-(S"-
:^z -&
E2:
23:
f-^
(17)
s-
32:
-H>H
lei
-1
lei
-(S)-
1^=!=:
-<9-
-^^
Ky
son,
Ie
le
X3:
:siz
(12)
-.^z=^
Ky
son,
(6)
Ha:
-(S*-
t^
-<H<9H-
-<s>-
STRICT COUNTERPOINT
i6
Some one
once say there is no connexion between this

and Strict Counterpoint, because there is no semibreve Canto
Fermo nor any regular use of Species. Such arguments are
merely due to the fact that technical work has been regarded as
Let us begin by
the beginning and the end of the matter.
looking at the matter from a different point of view.
Let us
assume that we are teachers of the period, and that we wish to
will at
teach pupils to compose in this style.
In this period the term chord, as used in reference to a block
Harmonic
and the whole method was
of harmony, was unknown.
by
intervals,
since
we cannot
were calculated
horizontal. Therefore
effects
learn the use of one chord at a time, because
the chord as a chord
is
non-existent, the only alternative
is
one kind of movement at a time. Thus the

theorist collects the various examples of each kind of movement
In the same way he
and formulates his rules from them.
deduces his rules for combined movement.
This classification takes the following forms
all
the parts, called note
(i) Simultaneous movement in
See bar 2 (i, 2, 3, 4).
against note, or First Species.
See bars i and 7
(2) Two notes to one, or Second Species.
to study the use of
(5, 6).
(3)
(4)
Third Species. See bar 4 (7).

Syncopation, or Fourth Species. See bars 2, 3, 4,
Four notes
to one, or
5,
(8, 9, 10, II, 12).
(5)
A combination of these, with a few variants, forming
Florid
See bars 5, 6, and 8 (13, 14, 15).

The semibreve Canto Fermo covers all the kinds of movement
that occur, hence it is a convenient means of studying the various-
or Fifth Species.
phases of the technique.
And
this is the
reason
why
Strict
always studied with a semibreve Canto Fermo.

it is never used in actual comIt is therefore an artificial device
Having discovered this much, we
position as a uniform factor.
Counterpoint
is
find that this gives us a basis for further
deductions.
Does
above
are alone enough to refute any such
Bar
a semibreve necessarily imply one chord ?
(No. 6) and bar 9 (No. 18)

argument; and the practice of a period
ruling of this nature.
is
7 of the
the sole basis for
THE PREMISSES
17
It will be further observed that all suspended discords resolve

on the next unaccented minim. Quavers are approached and
quitted by step (15), and at (13) the alto note F is rightly syncopated, being preceded by notes shorter than itself.
It should be unnecessary to point out that as each bar contains two semibreves, it is equivalent to two bars of the ordinary
scholastic Counterpoint.
This proves to us that each bar of a scholastic problem with

Criticism of
a semibreve Canto Fermo is in I time and not \.
any procedure in technique has two aspects
(i) The historical view.
can condemn or approve a certain
procedure in accordance with what we know to be the practice
:
We
of a definite period.
Thus
there
sense in saying that quavers must be approached
is
and quitted by
step,
and must only be used on the second and
fourth crotchets of the bar,
Here
a particular period.
obeyed, and here in fact
is
if
we
are learning the technique of
music we find the restriction

our authority for the rules of melodic
in this
rhythrn.
The
(2)
aesthetic view.
procedure
authority, a
Apart from any question of historic
may
be criticized in reference to the
standard of taste and stage of evolution of the present period.
Any
rules
period that
must therefore be in accordance with a definite

is past, or they must be entirely in accord with
present practice.
To
moment
the Palestrina example, at (14)

an example of a prepared seventh, at (16) a dominant
return for a
there
is
to
seventh, and at (17) a six-four.
These are some of the procedures that were included in earlier

treatises, but have been dropped by some later theorists, because
they could not explain them.
It is most important that this
matter be clearly understood.
6.
We have said
not of chords at
all
that Counterpoint
;
was a system of intervals,
a principle of concordance and discordance.

[a] the major or minor third and perfect
The consonances were

fifth
from the bass
from the bass

1837
{c)
[b)
the minor third and major or minor sixth
the major third and major sixth from the bass.
STRICT COUNTERPOINT
i8
Ex.
1 6.
-<s-
-TTT
:g:
These are the only combinations
on the accented
that can occur
and the student will see

that they are the combinations he is accustomed to use in
uncombined Counterpoint. So far, so good. Now the up-todate theorist comes along again and says students should have
part of the bar without preparation
these things explained in their
first
passing,
the
first
was not
own terminology
only common chords and their
let
us put the
inversions,
and
inversion of the diminished triad should be used.
In
matter thus
the
it
may be
first
noticed that under the system of the
modes
inversion of the augmented triad would not occur

that
was forbidden, but
it
that
it
did not
come within
it
the
scheme.
had said that the consonances were the

common chord, &c., that would have prevented the two misconceptions that we have to remove.
If
modern
theorists
(i) The statement causes students to think that they cannot

use certain combinations that the theorists themselves never
dreamt of excluding.
Ex.
17.
e
^=A
-q:
--
-^
-o-
-e>-<
-&-
(2)
_Q-p:
-&-G>-
23-
term chord at all, the combinations abed have

as much right to be called chords as a efg.
In fact at (i) we
have a dominant thirteenth, at (2) a dominant seventh. If we
say that a b c d is not a chord at all, then we deceive ourselves.
What we ought to say is
(a) Only the common chord and its first inversion and the first
If we use the
THE PREMISSES
inversion of the diminished triad
the
first
may
19
be used unprepared on
half of the bar.
Any
artistic may be used on the

provided that the notes forming them
proceed in accordance with the rules for the use of unessential
notes in reference to the preceding and succeeding consonances.
may here point out two uses of the chord of the six-four, the
{b)
discordances that are
weaker parts of the
bar,
We
passing and auxiliary six-four.

Ex.
18.
STRICT COUNTERPOINT
20
At (3) C is the prepared discord, F to

form a concordant group.
These are combinations that occur
and fourth species.
Let
was
is
in
combining
a concord, and
first,
GDB
second,
be clearly understood then that the original statement

the concordances are so and so ; and that this does not
it
imply that they cannot be combined with discordances, forming

any classified modern discord. What is forbidden on the strong
accent
is
the unprepared discord.
Thus
we use
if
the
ter-
minology of harmony, we should say that the chord of the

six-four and the chord of the seventh can be used on the strong
accent if the discord be prepared, and resolve downwards one
step into concordance on the next weak accent.
be well to verify these statements.
The six-four prepared or implied
It will
(i)
Palestrina.
Ex. 20.
Kyrie.
Iste Confessor.
:e
:si
-(S>-
-^
-G>-
~^~r'
^-
122:
-(S>-
Palestrina.
Ex. 21.
(2)
The pedal
Kyrie.
AeternaChristi Munera.
six-four
Pal? strina.
Ex. 22.
iS-
G>-
-e>-
-^
J.
Gloria.
Iste Confessor.
id)
122:
-<s-
-G-
-Z2L
*:
(a)
Here the tenor
:q:
is
regarded as the real bass.
THE PREMISSES
21
added the other uses on the weaker parts of the

bar^ it will be seen that we have here all the good uses of the
Teachers have been agitating for the introduction of
six-four.
what was there all the time, if they had only seen the matter
If to these are
aright.
Prepared sevenths
(3)
Palesirima.
Missa Brevis.
Ex. 23.
Kyrie.
4Z^21
-&-
-&-
:s2:
(S*-
^-
ip:
i^z:
-&-
-&-
JOT.
-P-
-G-
-f^L
-&--\
'TZ.
In such a case as the above,
how
could any one say that the
use of two chords in a bar was weak ? This is in fact one of

the best devices in combining first, second, and fourth species.
We have
now
cleared up three vital points
(i)
the purpose and place of the semibreve C.F.
(2)
the authority for the use of two chords in a bar
the nature and scope of the harmonic scheme.

For the sake of those to whom this technique is new,
(3)
7.
be well
{a)
to
mention a few
common
it
will
confusions of technique
Ex. 24.
^'-
-e>:22:
-&:
_Q-
-<2L
&-
Z^Z
-G>-
&-
321
-&-
23:
(3)
(2)
-O-
-(S"-
-3-
Gi'Jf2_
:p=:::
32:
-^-
22:
ip:
^-
123:
-A
(I)
The discord F is prepared and occurs on

strong accent. The rest of the notes are concordant, and
resolution forms a new concordance.
The bass G is discordant with the C. F.
(2) is incorrect.
(i) is
correct.
and cannot leap

(3) is correct.
to C.
the
the
(F)
STRICT COUNTERPOINT
22
Ex. 25.
(^)
i^^
-<5>-
i
^
:c2:
-<s-
-^
:e
e5>-
(5)
(4)
-2-
-^221 :p=::
-Or
-sx-
-o->-
r^-
:p=::
It
(4) is
(5)
is
G G B forms a concordance.
D to G is a fourth, and when
correct.
incorrect.
the bass
syncopated, the tenor becomes the real bass.

Ex. 26.
:s2:
-&(6)
W3.
(7)
Z2
is^:
-i?-
(6) is correct.
(7)
is
incorrect.
Ex. 27.
to
is
a fourth approached
by
leap.
is
THE PREMISSES
23
B is a syncopated concord.
(11) is incorrect as B is a prepared discord resolving upwards,
8. The student is now in a position to verify the various rules
(10) is correct as
6]
Counterpoint by an appeal to practice.

He must
remember that all technical work he does is merely a preparation for composition in the strict style
the subject of this
of Strict
But some one will say, we have not time in these days
to study a dead language.
All that we need here say is that if
it is properly studied it will be much more useful even to the
modern student than the hybrid abstract system commonly
taught, and that, secondly, if it be discarded, something entirely
new must be devised. We cannot put new wine into old wineskins.
We have no quarrel with those who object to the study
of a dead language, but we do think that if Strict Counterpoint
be taught at all, it should be taught as it really was, so far as
treatise.
modern
conditions will allow.
Our
harmonic scheme
has been limited, so that musical work in combined Counterpoint
became an impossibility. In fact, combined Counterpoint was
a Chinese puzzle. Fortunately, most theorists have considerably
modified their views during the past few years; but the view
9.
chief cause of complaint
that the
is
recently put forward that the bar of Counterpoint

to \ again puts the student in the
wrong
is
equivalent
attitude of mind.
The
semibreve which is used as the basis for analysis of technique,

always in the composition of the period represents two accents
And of course this makes the use of two chords a bar
(I).
sensible and natural.
Further, any musical person feels that
such a rhythm as
Ex. 29.
s>
cannot be
Cj'
iS
&
felt
U#
r
r
as having less than two accents a bar.
again the final appeal must be to the music of the period.
Here
STRICT COUNTERPOINT
24
important to bear in mind that a great deal of writing

that purports to be Strict Counterpoint is entirely alien to the
Those who have not studied the music of
spirit of the period.
10.
It is
the Polyphonic Period, and those

point as merely abstract technical
who regard
work seem
Strict Counterto take the
view
any combinations are permissible so long as the individual

parts move in accordance with the rules for the approach and
quitting of unessential notes, and so long as the parts obey the
law of the lowest moving part. Thus it is common to see such
that
travesties of Strict Counterpoint as the following

Ex. 30.
THE PREMISSES
25
Ex. 32.
-J22:
-Gt-
-G-&-
-^5>-
m=j^
Of
course
amended
and F are concords, and the passage must be
Ex. 33.
JJ-
-s>-
-&-
-j-g-v:
IZZ
-Q-
-O-
-y5>-
^=PAt
(t:)
is
:t:
-(^
:S2:
treated as an auxiliary discord.
It is
exceedingly
rare to find an auxiliary discord on the third crotchet, producing

the effect of an unprepared seventh.
The
more
period
in
keeping with the
spirit of the
following
:
Ex. 34.
22:
-&-
--
-s>
m
The
following
is,
-s<-
-s>-
_GI_
-s>-
:z3:
-&-
of course, correct
Ex. 35.
-G>~
-iP
-*-
si
-<&-
22:
is
certainly
STRICT COUNTERPOINT
26
The even movement

F in the same way
the
of the minims does not
draw
attention to
as
Ex. 36.
1
I
22:
(d) is
spirit
even worse.
It is
not bad music^ but
it
is
foreign to the
of the period.
All effects of this sort can be avoided by bearing in
mind the
following points
P^
(i)
Rarely,
if
ever, use
an auxiliary discord on the third
crotchet.
(2)
As
a general principle, do not use a passing note on the
third crotchet, except

(a)
In a part using four crotchets in the bar.

Ex. 37.
THE PREMISSES
Such an
effect as the following
Ex. 39.
-f^
(2)
should be carefully avoided

(3)
27
STRICT COUNTERPOINT
28
^
7?
*'~*
1
THE PREMISSES
1
29
STRICT COUNTERPOINT
30
Palestrina. Credo.
Missa Brevis.
Ex. 45.
-T_
-G>-
:p:
-o-
-p-
:t=;:
However, the examination candidate may be warned
that if
he adopts the sixteenth-century principles in regard to consecutives, he will most assuredly fail. And it must be admitted
that there is some point in criticizing consecutives from the
modern rhythmic point of view. If Strict Counterpoint were in
exactly the
same position as Greek or
we might teach it
Ego et tu \ we are not
Latin,
Because we write
induced to write I and you '. But music is music, whether it be
written by Byrd or Bantock, and it would be unwise to allow
a beginner to write anything that is wrong from the current
exactly as
it
'
is.
'
standpoint.
We
should accept everything that
is
right both
from the old and the modern point of view. But we should be
careful that the modern statement of technique does not prevent
us from using resource which was good under old conditions
and remains so for all time, and also that it does not lead us to
adopt procedures which are quite foreign to the period.
CHAPTER
II
FLORID STRICT COUNTERPOINT WITHOUT

A SEMIBREVE CANTO FERMO
was seen in the previous chapter that the semibreve
Canto Fermo was merely an artificial device, serving as a sort
of prop for preHminary study.
It
1.
In the second stage of contrapuntal study
it
is
eliminated as
This does not, of course, mean that it must

Indeed it might occur in every bar in different
a constant factor.
never occur.
parts, but its
presence
is
not a necessity.
Whether a semibreve be present or not, the parts move

exactly as if it were there, except that when two chords a bar
are used, they need not have a note in common. The semibreve
2.
C. F. artificially enforced this.

Palestrina.
Ex. 46.
f'y
(a)
3.
-<s>-
All semibreves follow the scholastic
first
species prin-
ciple.
(b)
ciple.
All unrepeated minims follow the second species prinBear in mind that two chords a bar may be used without
restriction.
(c)
All unrepeated crotchets follow the third species prin-
ciple.
(d)
All syncopated
minims follow the fourth species
prin-
ciple.
idioms of Florid Counterpoint are used

over the time duration of a semibreve (two accents) no matter
(e)
The melodic
FLORID STRICT COUNTERPOINT
32
whether a semibreve be present or not (see the above example

from Palestrina). See also the following
:
Palestrina.
Ex. 47.
This
is
a very striking fact in the music of the period, and
vast importance.
4.
Sicut Cervtts.
the
It is, in fact;
ke}'^
is
of
to the situation.
In the present work no notes save semibreves ma}^ be
repeated, except a crotchet
anticipating
the resolution
of a
discord.
5.
The harmony should be changed on
a change be desirable
it
the second
minim
on the fourth crotchet

Ex. 48.
-S>-s-*-
-o-
I^J
Palestrina.
Ex. 49.
Missa.
J
-G>-
-&-
At tern a ChrisH Mtinera.
!-
1^1
-<s>-
:p^=^
-if^
-tf-
r
">.
-P-
is-
^2:
-9-
r
6.
If a given part proceed as follows,

Ex. 50.
:r=p
it is
best to treat the
first
if
may, however, be occasionally changed
2d:
crotchet as an essential note.
WITHOUT A SEMIBREVE CANTO FERMO

7.
Such a bass
as
Ex. 51.
(a)
'<^'
-fSh
8.
demands
that the
The ornamental
~-?Z.
-^
-^-
generally
33
at (a)
should be treated as a discord.
resolution of a discord
may be doubled
in time value
Palestrina.
Ex. 52,
Stent Cervus.
For the discord

9.
still
resolves on the next
In Scholastic Counterpoint
it
is
weak accent
(a).
generally agreed that the
melodic idioms of florid species should be varied as much as

possible ; for example, it is poor to have consecutive bars of
various species unmixed.
In the present work the student
need not be so particular about this. Dignity and simplicity of

style are two essentials.
10. The student should aim at good imitations, and rests
may be frequently used in order to introduce them.
It has
11. One very characteristic idiom should be utiHzed.
fallen out of use on account of the one chord in a bar myth.
Some would
the
J837
FAD;
in
the following example.
Ex. 53.
(a)
-G>-
le^:
zcrz
-&-
be syncopated, as it
the true view is that both
at {a) could not
harmony
cords.
hold that
is
not part of the
F and C
are con-
34
Palestrina.
Missa.
Ex. 54.
-<5>-
r
#
^1
,<s?-
:s
li^zis:^:
-O-
_c^
ii
-<^-
:p-
n:
Iste Confessor.
.^=*'[S*-
-Q.
122:
-<s>-
--
1^2:
-s>-
In the period; the second of two tied notes was always

of the same value as, or half the value of, the first. The following
12.
are not a regular part of the technique

Ex.55.
:q:
^W=^
Examples.
Ex. 56.
C.F.
&^
ad^- :q:
-9
'-W
jd
W^
-,^-^
35
-&-
te
m-=^
3:
EtEE^
Ex. 57.
:rS=
z=& -M:
-0-
zp:
-<S
s ES
S
SEM
m.
r#i
&
:p:
t-
<9-
Z2_
:t:
-o-
-#-
:p:
:p=
-(SI-
i^ziz:^
;^^-d--gE
36
tq=4
nîSh
fezzp:
_J_-^
9 ^9-
:g
-I:^:
:izL
-P-
%
-&-
-&
'^
^^P-n
-<s>-
i^îstzg^
=]:
-O-i-
37
Exercises,
(i)
Add
1:2==:
Alto and Bass in Florid Counterpoint

:p:
-is-
:p:
=?2:
~ir
:q!
^2:
I=c2:
-^
-s>-
-s>
--
--
p:
(2)
-<s-
Add A. T.
-p
*P
-^
(3)
B. in Florid Counterpoint
iS>-
^r=3
s?-
-&--
.W=^^W
.-^-
3EEEL 1^=^
:^=^
dziE-l:
-i(S"-
:q:
P-
-s>-
--]-
--
Add
S. A. T. in Florid
^F^
ipiq:
fc2zE33^
m,
i^:
2:^:
(4)
:sz:
Add
-^ -
Counterpoint
-&^^
-^zî
11
L^.
p:
-&-
-^-
A. T. B. in Florid Counterpoint
-Gf-
-&-
9-
3&
-^_z_
-o-^-=1
H
-<s>-
râ
-_p
-s-
-(Si-
-- :2:
jz:
^2:
fS-
38
fc:f=fc:p:
Add
(5)
-j^
~&~
:p
S. A. T. in Florid
in imitation of the C. F.
îi*=#:
=i:
-^-
let
each part enter
-gi
"
g-
:P==^
ip:
-p:
-#-
:t=:
:s2
-G>-
-^-S*-
-Gf-
lit
'JCl'.
Add Soprano and Bass
(6)
}*S -p-
-P
y~r""^:
-o-
23:
%
Add
ip:
-o-
TZ.
:p:
-o-
xz
S, A. T.
S53
l!^S^
9 W-
pirlz
1=1:
L-z^^
-<s>-
^^
>-p-?
:^
ii
-.s-
-f^-
:î:s:
Add
It:
?^
s=*-^
(8)
Counterpoint
^^11^:
-<5>-
li/ziszia!:
^-
it
^.
(7)
<3-
-,^-
-e?-
=P-
?2:
isz:
-<s-
S. A. B.
-P-
^-
Kfc^j-LZ__-:ii
-(&-
-W
-P&~
-f^
:zL
-.^-.
fci
-^
1@-
Ui*"^
ly-u^-<SJ-
-IQ_
-5>-
22:

(9)
Begin as follows, and continue for about twelve bars

(a)
22:
?ES:
^^=S=F=i-2l
-G>-
fek=a
W:3r.
-^
-w.
39
CHAPTER
III
HYMN-TUNES AND THEIR SIMPLE TREATMENT

we combine first, second; and
series of chords moving in minims
If
I,
fourth species,
we produce
Ex. 58.
t%^
-JC^J
:c?e3:
-&-
2^=3=^
i^^^
~Gi-
-&-
-&-
-f^
-<91
-&-
-fS-
-^
T^
-s-
r^-
-o-&-
-&-
I
&c.
iS^
22:
Of course, each bar may contain one or two chords.

2. The exigencies of words demand repeated notes.
(a)
Repeated minims
(b)
Repeated minims between two bars are equivalent
in the
bar are equivalent to a semi-
breve.
to
syncopation (fourth species).
Repeated crotchets are equivalent to a minim.

Thus the above example may be re-stated as follows
(c)
^^
|si ^
s!
~-<-f^
I
-^
^&s^
t.
As
gj-
:p
-G>-
p_
--
_CL
J-
JT^-
:^S^
-(3
the presence of a semibreve or
=!:
d=g:
J
/fs-
<s>-
its
equivalent
-^-
is
the two chords in the bar need not have a note in
unnecessary,
common
HYMNTUNES
STRICT COUNTERPOINT ON
41
Ex. 60.
Tjrsi
-&-
-o-
Z^2L
l^t.
-&-
'1
!
-Gt
-<'-is>-
?3:
3.
all
The
-&-
->-
progression of chords in minims forms the skeleton of
One chord
contrapuntal work.
common
'&-
each bar
in
is
of course quite
Ex. 61.
:gs^ i
^^-
MS
-&-
-&-
4.
This skeleton
may
-&-
'J^-
^_
-^-o-
:p:
2=e
-G>-
:?2zi]
23:
-o-
jd_
:p:
ig
be ornamented by the use of unessential
notes.
The
Nota Cambiata should be used
characteristic
Ex. 62.
1-
z^.
^
The
:22:
?2:
'
r
-ri
:p:
-'-
-o-
.<J.
-fS>-
:p:
ip:
student should guard against such a procedure as

Ex. 63.
-&,
r^
-Qi-
^z:
-p^-
-&-
rgL>
STRICT COUNTERPOINT
42
Contrapuntally
an accented auxiliary note, and it is

of the period. The passage should be
flat is
foreign to the spirit
amended thus
Ex. 64.
^> <^,
-<^-
'^
:p:
:p:
3Z22:
-o-
-o-<s-
5.
may
Strict Counterpoint
be applied in harmonizing the
Plainsong melodies that were used in connexion with the Latin

hymns of the early Church. As they are modal, the harmonization should also be modal.
It must be assumed in this treatise
modal harmony.
-He should
examine the various examples in the new edition of Hymns
Ancient and Modern, in the Oxford Hymn Book, in Church
that
the
student understands
Hymns
An
(new edition), and in the English Hymnal.

example is quoted below
Hymns
Ancient and Modern^
Hymn
(New
~\-
-Gf-
-&-
I
-s>-
ip:
-G>-
^^ ^
^G>-
:o:
-G>-
-S>-
-g;
-J=t
-G^-
-^
-e>-
-<s>-
-s>-
-fS-
^:
-&-
-Gt-
T^
-Gi-
:s^:
-!S>-
-<s-
^-S- -IZd
-Q-
:^
&-
-O
f=F=f-
-d_
*O-
i.
:=]:
l!5z:^:^:
S^=g=^=P=S
-^-
edition).
Mode
Ex. 65.
-<s>-
T2:
pz
T3--
-s>-
f=f
:g=
ON HYMN-TUNES
43
/TN
W
free,
should be explained that the rhythm of these melodies is

and the notes have no definite time-duration. Of course,
the
melodies are for unisonal singing, the harmonies being
It
played.
The
6.
history of the English Metrical Psalter as set forth in
Grove's Dictionary, and the article on Hymn-tunes in Stainer

and Barrett's Dictionary will show the student three uses for
Strict Counterpoint
The adding of plain parts to a tune in the Tenor or Alto.

The adding of plain parts to a tune in the Soprano.
The adding of more elaborate parts to a tune in the
(a)
(b)
(c)
Tenor or Soprano.
Examples of these
will
now
The adding of plain parts
be given.
to a tune in the
Tenor
Setting of the Old looth by John Dowland, in Este's Book of Psalms, 1592.
Ex. 66.
-s>-
^r
-A-G>-
*^"
122:
:?:i=z|zi^:
Z2:
r-
:=]=
f^r
4 s
d:
-<^
-&-
2:^:
-G-
:p2_
I-
r:g:
3ZZS2:
STRICT COUNTERPOINT
44
:s2:
=s
-^
-&-
-.^-.
^-
-<s-
-o-
-(S>-
'P^
J-
22:
:p:
32:
-O'-
-p-
f-f^;
-G>-
:^
t:?-
~1-
-^
-(5>-
2:^:
^2:
22:
-&'
2322:
22:
]^
-<S-
-iQ-
mr
j_^4__^
-&-
-P
i-
The adding
22:
22:
or-
-&-
Soprano
of plain parts to a tune in the
Soprano and Bass by Gibbons.

Ex. 67.
~1-
'n
22:
@-
-o-
-s>-
rriz22:
:g=
îzz:^
-s-
:^:
-Q-
-<s-
-i0-
~^<n
-9i-
---]-
=F^
-fS>-
^:
cîHzig
nro:
-|Q-
-<s-
-^-
:ci:
-Gi-
-(S
:e^
jCa
hn^
nez
:p:
23:
<s>-
-^23:
23:
2'S?2:
|-p-
-&-S>-
f=r
23"
d-
22_
J=J.
-&-
:p:
'JPL
:|^
-o-
-<'-?s?-
-G>-
-&-
P-EES
23:
ON HYMN-TUNES
45
rr\
iEEEE^.
-S-
-g
:p:
^ A ^
:p=
More
-Gi^^
--^-
-rGf-
-(^-
m.
^-
-G>-
-G>-.
-O-
tS>-
O-
lesz:
T
i
-<^-
?5=zp:
f=^
elaborate Counterpoint to C. F. in
Tenor
Ravenscroft's setting of the Old 107th,
Ex. 68.
-A-G-
When
(a)
(a)
as
--^
-&-
we
sat
-o-
.CZ.
Ba
:t:
When
we
by
(S>-
:|?:
iS>-
tzzj?:.
=P
Ba
sat
by
-^_
-&,s>_
22:
as
we
sat
-^
e>-
:p=
^^=^=Jr-
C.F.
-O-
-f^
-(S>-
Tjr
_[_:
When
Z2:
When
-f-
we
Ba
:e^:
sat
:5=^:
Ba
by
by
STRICT COUNTERPOINT
4-6
(^)
r=i}pz=
-s-
:^:
-o-
And
-<S>-
Si-
-&-
-Q-
-P=
/S-
re
?2:
:t:
231
-
mem
-<^ fri-
of
S>-
Si
?2:
Si
->-
brance
-<S>
<S
of
Si
-iS^-
Z2:
mem
(0
i^
-iQ
-&-
brance of
And
And
:^:
brance
And
-<9-
-S)L
122:
122:
:C3:
brance
-iS>
of
S)-
Si
ON HYMN-TUNES
-G>
-e*-
The
-<s-
wil
1Q-
The
wil
-e>-<S>-
ft
The
@:
'^
wil
-!-
:q
t:
The
wil
^^
-9
low
trees
-(S-
-^5-
low
trees
?2:
low
^-
ip:
-&-
:z2:
up
Ih~
<S-v
-^&|-
up
-^-
123:
-<s>-
trees
up
on,
<S
22:
::p:
low
47
122:
trees
up
STRICT COUNTERPOINT
48
The
following points should be noted
(a)
The prepared
(b)
Six
six-four.
This
suspended.
to five with the fifth
is
a very
characteristic idiom of the period.
The
(c)
pedal six-four, and the anticipation of the resolution
of the syncopated discord.
The use
(d)
(e)
The use
strict
when
of a single quaver,
reason for
it,
there
is
no technical
pointing to secular influence.
of a chromatic semitone
is
also an infraction of
usage.
Exercises.
I.
(a)
Harmonize the following Plainsong melodies
Mode
Iam lucis orto sidere.
-&
ZC21
-<s>-
-&-
2^:
-&-
23:
viii.
22:
-o-
(0
:p:
:?z:
T2'-
'^
-G>-
h-
->-
22
o-
ez -o- 1^
(2)
(2)
2?
O-
22
1-
(2)
:?:
-S)*-
2^:
--
-^-s>-
{b)
-o'-
-<s^-
(i)
The
(2)
May
-(S>-
-j.
:s^:
-<-
-s*
melisma.
be treated as unessential notes.
line indicates the
Splendor paternae gloriae.
2i:
2:^:
-G>-
:p
-e>-
-=T
jdr.
Mode
h5>-
p:
-e-
-&-
^s^-
2^:
i.
ON HYMN-TUNES
i
w
:^-
-G>'
-^
-jdl
-tSi-
:s
-Gt-
-^~
^-
zî
49
-^
22:
f-i
^-(SI
-S3-
Veni Creator Spiritus.
(c)
is:^:
-<s
1^:2:
P=
S.
:p:
-tSi-
-*i-**
-^-=,Q=p:
:p:
-S)-
d^^
?3:
:^=i^;
3^H3
P:
Add
2.
o-
i(Si>
viii.
:t:
-s>
-&
(S>
:p=^-
:^:
-Sf-
G>
Mode
:c^:
t=p:
:p:
in plain
Counterpoint
:p:
-.<si-
-o-
is:;^:
-si-
A. and B.
-<s-
-<s>-
:e
-G>-
to the following
tunes
Salisbury.
{a)
ir
22:
-0-0- ip: 2^=2^:1^
P:22=p:!zpn
^=pi|g^p-p-Q
izz:
-G>- :pzp:
-S)-
Ed-zz:zS-
(^)
-!S-
-&
P=
=1=:^:
:22:
:tz=t:
(c)
H-&-&-
*2[t=::
Iziit:
Bristol.
::e2:
1221
_^
p:
-s>-
-Si-
Z3:
p:
-s>-
i^zi^zzdzl^
oo- ^-
-P
-<s-
-<S>
!S-
1^=1:
-&-
tM
Winchester Old.
~G>-^&^-
ife
i
1837
ip:
-fS*-
-G>-
-9-
-cz:
-P 1=^ :d1221
-&-
?^-
-&&-
:1=^:
GfGt
^2=
HS>H
STRICT COUNTERPOINT
50
{d)
i~b
Dundee.
ON HYMN-TUNES
51
(b)
-G>
-G>-
:e2:
i^-
=jZZ=]
-s>-
:p:
22:
:[=e2:
^
?^:^=|:
--
e-
\~t^-
:^=g=^: -s123:
:qz:^z=dz^j
-G>-
C*
z^-.
<S>-4f>-5
fe
-<S>
^îê
tn
-<^
~J~\
G>-
:tz=Q:
-(S
&
S>-
-^-
i=ÊE^^^^==
7--<s-f^-
s>
43
<s>-<5>
:p;
-
p
-
-<Si-
2izzgE?
:erc^:
-<5^
=P=^:
:^:
-r^&~G>-
(S*
-G>-
-JCt.
-&
-.Mtl^l
-&-
STRICT COUNTERPOINT
52
Start
CHAPTER
IV
STRICT COUNTERPOINT ON A CHORALE

I.
The Canto Fermo
is
a Chorale in semibreves and minims,
as for example
Ex. 69.
/_s
^:pq--s>-
"Cj
:^=p=tt
b=
2.
to
To
=P2^
p
=t
this a certain
:e^;
number of
Dundee.
:=F
I:^z:g:^ ts^;
az22:
isizli
parts (for example, three) are
be added in imitative Strict Counterpoint.

3. Each bar is equivalent to one bar of Scholastic Counter-
point.
The minims
principle,
4.
It
of the C. F. therefore follow second species
or fourth species as at
would be wise
Counterpoint so as to
Ex. 70.
(
1-
{a).
harmonize the C. F. first of all in plain

get an idea of the harmonic basis.
to
STRICT COUNTERPOINT
54
Nearly
note against note Counterpoint, but minims
all this is
follow second or fourth species principle.
At
{a)
we
use the
prepared seventh, at {b) we use the prepared fourth combined

with the consonance of the sixth.
The decorated score should in the main follow this harmonic
basis, though minor deviations may be found to be necessary.
Remember:
5.
{a)
All suspended discords
must be prepared by a semi-
breve or minim
(3)
They must occur on

the next
(c)
the parts
All
the strong accent, and resolve on
weak one
follow the melodic idioms of a bar of
Scholastic Counterpoint
{d)
(|)
passing note should rarely be used on the third
crotchet except in a part using four crotchets in the bar

{e)
An
auxiliary discord should never be used
on the third
crotchet.
The Counterpoints should begin
6.
the
first line in
should be
7.
fairly
When
some form of diminution.
the C. F. enters, the added parts
Some
and re-enter with a point of

Before the
When
should not de-
part should rest momentarily,
imitation.
first line is finished,
an imitation of the second

9.
Crotchet movement
uniform.
generate into mere notes.

8.
before the C. F., imitating
some
part should start with
line.
the C. F. has finished the
first line it
should rest for
a time, to allow the parts to imitate the next line before
and so on
10.
till
its
entry,
the end of the Chorale.
The double
bars, of course, are omitted.
end with an accented minim, regard it as

lasting in effect over the next minim.
12. Carefully remember that such things as the following are
11.
If the C. F.
not Strict Counterpoint
ON A CHORALE
55
Ex. 71.
-J--
3d:
--
SEp-
TIM
Jff=^
-3z=:^
-\r-
J_s^_J_
-<5>-
-s>-
-J:p:
-<s-
:s2"
^^
tj'r
:p:
Students are very prone to make such mistakes.

signature were % these examples would be correct.
13.
The
following
is
a working of the problem
If the time-
Ex. 72.
(a)
zq:
2^;
Fr#
2:
--
les:
?=E
/^
-N
^^g
ip:
-S>-v
SfE-^Z-Z^.
x^-^
m-3L
^^
g^
-<s?
(6)
ig^
--
:t=i<S)-
G>-
:22:
s-
-<^-
al
*-
i=[zd
^p^^
:p:
-.^-
:3:fc:
-fS>-
-<s-
?*
STRICT COUNTERPOINT
56
:q:
==:=^=q:
zî
-^
-g
a/-
-jct
m-
:o:
ipzit:
^^
:k
PEe:^
-fS>-
:c^:
-<-
-^-
:^:
=^=i^
-^-
~q:
^^=^
-cz:
_q:
-o-
:c5:
ip:
-a
.p.
1
It:
ic)
:feê=^:
^^ :p:
?:
:p:
-Mz^:
:q:
gj:
-^
(^)
-(S-
ee:3^^z3ee
-o-
^^
-t
vr-^
-(
C^
I
M
^.-5
.^
:?2:
:p:
:<:2:
It:
itz
--
-S-
:f_-^:
~~
Iz
^-
"^N
--
i3Lzr_^:
-<s>-
:q:
ie)
SE==x
'jOL
z^L
-is>-
:s2:
:t:=[==z?
-^
(-
ON A CHORALE
57
ilrzzzzq:
-j
=1:
-o-
e>-
^_p_^_^^_p:
M^fc=
--
m
y-
ifc^r:
^'s.
:^:
III:
'-T=-V-
-^-
=|:
->:
^^
~J-^
:c3:
:q:
:q=
ri
STRICT COUNTERPOINT
sB
14.
Exercises.
Add
three parts in imitative Strict Counterpoint
Ex. 73.
St. Peter.
{a)
_^
-o-
:p:
;^ê3^
:^:
rr\
-i5>-
-G>
gj-
i^zzzeîzd
-G>-
is^lli
-S"-
-f^
:c2:
/TN
=F
^^=F
-iS>-
:c^:
<^-
-Gi-
ic^-
22ZIIII
-<5>-
St. Gall.
rq:
'm-t2l
:p=?2:
1-
iS-
-<S
-o-
-&-
-.<s-
-G>-
=P
<s>-
3^
=!::
-^
:5^
fe=^=a=F
l^^H.
^^
-<s>-
-Gl[
-0-
-O
G^
-iSI
-(S'-
'I2i
Winchester New.
-ri
G-
-i
r^-
-Gh
'JZT.
-G)-
= -p:
22;
-<5-
-ec-
-s>-
rtzii:
-Gt-
c^-
-!-
;=t=:
:Z2:
--^
2:
122:
:p:
-G>-
-G>-
:e
-G-
-Gt-
T2--Gt-
:^:
:^
ON A CHORALE
59
Winchester Old.
{d)
H -S'
rJ
&
-G
-JZL
-G>-
rT\
iQZ:
?2:
-f^
:p:
iS-
rc^:
-<s-
:Z2
rr\
^-^
-o-
-^-
-&-
:2i:
jj
-s-
ic^:
St. Bride.
(^)
:M=^
-G-<s>-
-c^-
-!S>-
-<s<-
:p:
-<!5>-
-s-
?2
-s>-
-<s>-
-O-
2i
^:
-Gf--^-
-s>-
-Gh-
32:
<s>-
-s>
1221
-<S>-
s-
CHAPTER V
MADRIGAL AND MOTET WRITING
Before
1.
the student attempts to write Madrigals and Motets
he should critically study a good deal

of the music of the period. It should be analysed under the
following heads
(a) Technique.
in sixteenth-century style,
(b)
Characteristic idioms.
(c)
Accentuation and rhythm.
Form.
(d)
The Masses,
and
studied,
Motets, and Madrigals of Palestrina should be
in
addition
the
Gibbons, and a few others.
church music of Byrd, Tallis,

The art of Counterpoint had
work no novelty in the use

of resource is to be looked for. Composers contented themselves with ordinary canons of Strict Counterpoint, and quite
a number of idioms may be regarded as common property.
reached
its
zenith, so that in all the
Techm'que.
2.
The
(a)
parts are not to be in Florid Species, as
stood in the scholastic work, that
may be used
species
is,
as regards idioms.
indiscriminately,
and
time, the procedure being influenced largely

set.
No
is
underAll the
any length of
by the words to be
for
The
student should carefully beware of over-elaboration.

composition of the period contains anything like the elabora-
tion that
work.
was
it
I,
some examiners require
In
were carefully recognized that the time

no one would dream of producing such a monFancy an eight-part score with all the parts moving
fact,
if
it
fairly fast,
strosity.
in a piece of eight-part florid
somewhat as follows

*1
j7
9 J
6r
n
The
tf
J
tf
r
thing
is
unthinkable.
(0
Cj'
The problem merely
r
resolves itself
into a juggling with notes.
two crotchets on the strong accent be followed by

a minim, the latter should generally be tied, except at a cadence.
{c) The use of quavers should be very sparing.
{d) All discords of suspension should be prepared by a semibreve or weak minim. They should occur on the succeeding
strong accent, and should resolve on the next minim.
{e) Most of the music of the period is published in % time,
which is equivalent to two bars of Scholastic Counterpoint.
Minims represent accents. Some publishers have substituted
our modern % time. In this case crotchets are accents, and each
{h)
If
crotchet
is
equivalent to the scholastic
minim
62
Remember that in applying the technique of Scholastic

Counterpoint, we do not vary the time value of the notes of the
(/)
Crotchets
species.
(if
not repeated) are always written according
to the third species principle,
them be crotchets
according to
following
even
if
movement
the only
against
minims are always written

second species principle and so forth. Thus the
Similarly,
also.
incorrect sixteenth-century technique
is
Ex. 75.
2:
^=^=s=^.
Gt-Gf-
-1&-
^2:
But the next example
is
-&~
c2:
-s>-
:[=
-iS>-
Z2_
-o-
ro:
-A-
3^:
22:
correct
Ex. 76.
S^
-G>-
-G>-
fs^r=r
@it
ig)
:p:
-&-
-o-
fS-
The
minims and
-Gh-S2i
introduction
of words
demands the
crotchets, as well as semibreves.
are equivalent to
first
species principle,
Ex. 77.
if
used strong to weak
Palestrina.
Aeterna Christi Munera.
Ky
ri
-I-
22:
:z3_
lei
:p:
^-^
repetition
-10-
of
Repeated minims

Repeated crotchets are equivalent
ciple
second species prin-
to
Ex. 78.
Ihid.
iî=q:
:e2:
122:
Si
^r
1:
Be
prepared discord
pated
uihq:
o-
'
63
may
ne
di
be struck, instead of being synco-
Ex.
-f-l
Ihid.
79.
1
64
Palestrina.
Ex. 80.
La
-Q.
Mk^^
f
:s2:
La
med
med
La
ill
HGH
'-3rczz=rzzrz=^
O-
H-k5>H
med
La
med
-&
m-
:p:
-s>'^--
11
si
z*^
-<st-
Z2:
ZIZIS2:
e-
-rH(SH
-^-
La
med
La
+1<9H-
î^t
-<S)
--n^w^C31
I-+S1+-
La
med
La
^
2^
med
Wm
(^^^(Sfl
"CJ"
med
Gibbons sometimes resolves the discord before the proper

but this is altogether irregular in pure Strict Counter-
time;
point
Ex. 81.
-^
Gibbons.
Dainty fine
-o-
:f_zz3^:
-s>-
-j-
?==pc
-s<-
:[=
3.
Characteristic idioms.
t-
.^.'
m:
bird.
It will
:p:
be useful to have a
list
of

common
idioms that are
been
given, but a fairly
The
(a)
Some of them have already

property.
complete table will be convenient.
anticipation of the resolution of the discord
Ex. 82.
Palestrina.
Aeterna Christi Munera.
X
-<5>-
^^=S
-s-
:?2:
:S=EEEa:
G>*9'-W.
r-
J-
_c^_
-(S-
A.
:p^q
:t:
The avoidance
(^)
65
of the Quinta Falsa by lowering the bass
note a semitone
Ex. 83.
Lassus.
'-'^-
Sffl
^^
'jC2-
-z^z
Ma
to
na
-O-
:g:
i^zd=^:
/S>-
-Q-s>-
123:
-fe
:?2_
-e>-
:t=:
IQZ2:
The
use of the fourth over a pedal as its own preparation,

the part next above the pedal being the real bass
(c)
Ex. 84;
Ibt'd.
cqniQ:
l^ %Tz:
(S>-
m^r-
.^_
-Q_
^-
{d)
The prepared
proceeds to the
fifth
fourth falling to the third, as the sixth

:
Ex. 85.
Ibid.
-^-
=t
<r:y
-tSi-
:S2:
-o-<s-<s>-
-j:^zz
-s>-
:s3iiz:
'C5'
1837
66
No
cadence must end with the minor third from the bass.
The major third is constantly preceded by the minor third in
some other part, and immediately followed by it in some other
(e)
part
Farrant.
Ex. 86.
i
w
gEfeEilEEi^î^^
-fs-
-t
And
His
:^-
:^ J-
mer
cy
them that
on
is
Him, throughout
fear
all
m=ifr^=p=^=4
j
Magnificat.
t:
h.
-T2-
=]:
-sifS>-
1221
tr-
'-'=\-
-^
"P^,
ge
ne
He
tions,
J-
G-i
?2:
3t:r*
ii^
:<&-
-<S-
hath, &c.
I
-ts>
~-f^
(/)
The
use of the Nota Cambiata:
Ex. 87.
gS
Palestrina.
-<s>-
-O-
;^,q:?i: :
-<s>-
sn
.Q_
:%-
:^
tei=-J.7
^S
:il:
:?2:n
J.
SfejM
Ego sum panis.
W-
-<s>-
3^^^^
15p;
1^31
i.
-G-
=^

(g)
The
6.5 with the fifth syncopated
Lassus.
Matona
Ex. 88.
m
-Q-
Palestrina.
niia cara.
-Gi-
Isfe Confessor.
=r=^=P
9 g3
'^
'.'X2
-O-
j^^
-G-
:q:
-&-
-&
Z3:
-<-
and the reverse

Palestrina.
Aeterna Chrisii Munera.
Ex. 89.
~n
-iS^
-eîî^S'-
rj-
Îf
M>3k\-
^J_
-Q-
-<5
-H<^Sl-
^^=
(/s)
The
-^-
following endings
Batten.
Ex. 90.
Deliver us.
men.
:=]=
:e2:
-<5>
"C?'^"
'-X
-<^-,cr
:**
-. _^_
HS>H
^=
-H<S'H-
''^p'
-c^-
Gibbons.
Almighty and everlasting God.
Ex. 91.
MS:
w
Y
-jî
-!S>-
-G)
"C?"
^7=1^:
67
:1ttt=:
HHfS'H-
->-
-H<Si|+-
?2:
-it5rr
E 2
:q:
68
Nunc
Blow.
Ex. 92.
1=3
^*-
Dimittis,
men.
men,
-&-
:c2:
(S*-
:^^-
-<S>
*P"
-^
J_
^g-aizr!:k^
^^-^=EE=o-
JW^
-G-v^
4'SH
Bevin.
Ex. 93.
end.
:=i:
-s-
:^:
-c?
3--=^ft^p3=w
-r2-
a=i:@
Ex. 94.
7T
3 -Q np^:
-<^-<&-
-e>
-<s>-
Dimittis.
men.
-X
-(SiS*-
Nwic
r-
HS>H
-HS>H-i-
-^-
Byrd.
Magnificat.
men.
A
:=P
s>
-1=^-
21^--3
(S*-
4tg
ll'^li
--IPiT-
-HS>K-
-0-
'0\
'
Gibbons makes frequent use of this cadence (see his CredO;

Benedictus; and Magnificat).
(/) ScaHc passages based on a plagal cadence are also very
common.
{a) Tending downwards:
MoRLEY.
Ex. 95.
Burial Service.
men.
S^
.^.
-<s>-
1
-T<S>-
ÂGW
HSfi
-o-
-<s-
"iC?
^
hd:
]~
t^- :^
i^ji^rr

Farrant.
Ex. 96.
Bcmdichis.
men.
end.
-r-
69
HGiH-
iq:
ilmip:
fe H&rH-
^J^tsr:
-^
-<S>-
"?
f:^r
-1-,-
-J- :ri'str^]
Q fe^:
p=g^-|-
-,
^f
:^z:s
l-kS>H
-fVSH-
Farrant.
Ex. 97.
Credo.
:|2:
HH
-HSfl
r--^
r
u
'
HSW
-9
out
--
-p-.
rprr
-Qrsx
zirsni^-izx -j:
:s2:
iS>-
:.Qh
-S2-
^&H
-<s-
^
Bevin.
Ex. 99.
A
"O
HSiH
|?Ek:
r
-&-
Magnificat,
men.
-S>-
-s>-
-^- :p:
-A-
-&-
^ '^L
-^-'-
end
'-^-
r-^
Farrant.
with
^--
î^:
HS>H-
Tending upwards
Ex. 98.
World
-tf-
^?
<rJ"s"
EES
(6)
-|&-
-tS>-
Magviificat.
men.
^p
oi
ig^
-^-
gEJ
"P"
~&-
-<S>-
At^}^-HSH-
'ôr
s-
-IMI
:p:
-/9-
:p:
-^
-e-
1f^"
70
Ex. loo.

Henry
VIII
(?)
Lordj the Maker of all things.

Aldrich.
Ex. 103.
with
Thy
cious
pre
Ml
7*
Te Deiim.
blood.
iq:
=];
-tf
z^z
<s-
M-Jiz^z
-G>-
-0-.
-&-
-s>-
Aldrich.
Ex. 104.
to
gen
er
Jubilate.
tion.
-<S>-
-<Or
A
mt^^
T"
c^z
-Gt-
-&~
-a-
-Gt-
Aldrich.
Ex. 105.
God
my
Sa
-s>
î^:
--
-[
of
22:
"P"
-G>-
his
hand
Magnificat.
-
maid
t-
hearts.
their
-*-
E.<S>-
-O
hum
en.
=^=^
&
-^
(S* TI
s
:t=[==ti
and
ble
meek.
hS*-
X5:
^.
t<s>-
le:^:
I:
_d-
TT
:q:
1^=*:
:^:
"p-
:?3z:ti
i?:^:
1-
of
-^-
:|:
-^
viour.
-<s-
-o-
_<i_
--
^&-i ^-
f:
-
Q53(9
-^-
-o-
72
face
The
of
all
peo
Student will recall
a long
rejoice
its
end.
pie.
use in Child's
'O
grant the King
Blow's 'The Lord hear Thee', Croft's 'We will

Goldwin's I have set the Lord alway ', in the Jubilate
life',
'
',
F by King and
Attwood, in Walmisley in D, and in a wellknown double chant by Hayes. The idiom seems to have an
extraordinary fascination for church composers; Aldrich could
hardly help doing it once every page.
in
4. Accentuation.
{a)
In using the Melisma, the syllable often
commences on an
unaccented note
Byrd.
Ex, 106.
*^-
Ê$;
Come,
come
-0=ri.
help,
help
Ibid.
^--i-
His
blood
j^zni^z^
-&-
blood
sweat.
The bar-line as an indication of rhythm must be ignored.

The rhythm is perfectly free, and should follow the natural
accentuation of the words.
The effect will often be that of
{b)
consecutive periods in different rhythms
'Come, Shepherds, follow me.'
Benet.
Ex. 107.
:p:
iz=t:
--
dance with
M:
^pe
ness,
with
glad
-Gi-
glad
with
glad-
-a-
ness,
glad
with
ness,
with
:p=q
ifzze^:
glad
ness, with
ness, with
il#5^
with
glad
-S>-
glad
ness, with
with
glad-ness,
p=
with glad
ness,
with
student must not
glad
fall
ness,
ness.
:p-
:!=::
glad
-^-
:^
^S>-
glad
r=i:
-a:t=^
nth
?F=
ness,
glad-ness,
-s*-
glad
ness, with
toi=
-jril
glad
_P
:=]=
ness,
ness,
:=]:
s>-
:t:
glad
with
The
with
t---
dance
f|:
ness,
'JOL
ii=|B
i:
glad
M:
_l
dance
ft
with
-iS>-
--F
1^31
glad
dance
ers
lov
:c
-<9>-
lit
y-
with
ness,
;!fe^g
dance,
--
:^:
glad
73
zzip:
glad
with
into the error of criticizing the
accentuation of the above as being
faulty.
All this music
The rhythm
originally written without bar-lines.
was
of the Alto
would be accurately interpreted thus

Ex. T08.
p!te
ii*l'
lov
ers
^fe _p
glad
~<s>-
:^:
dance
with
IK
:e^t
glad
-&
(S
ttP=
ness, with
glad - ness,
s=t^
<s>-
C^ziii^:
glad
ness, with
;BEte
glad
ness
:c^:
-
ness,
with
74
one of the most enchanting effects of the music of the

period is obtained by the combination of various rhythms one
voice singing in duple rhythm, while another is employing triple
rhythm. And in church music one of the chief ways of avoiding
regularity of rhythm was to follow a few bars of triple rhythm
by a few in duple time.
In
fact,
Ex. 109.
Tallis.
H^
The
:^x
iSh-
jeL -Gt-
pa
glo
zq:
:q:
5.
22:
ny
of
-e?-
the
-c^-
pos
praise
ties,
Thee.
Form.
The essence of the music
of the Polyphonic Period
is,
of course,
There may be, indeed

that the parts are in
it is good that there should be, short periods in which the voices
move simultaneously in blocks of harmony. But in the main
A voice starts with a formula
the following is the principle
which the rest imitate. When the composer thinks this formula
has been continued long enough, he proceeds to treat another
It is,
in the same way, and so on till the words are exhausted.
of course, better if some formulae can be developed from prethe main
imitative.
ceding ones, or
if
new formula can
derive
its
raison d'etre from
combines with an earlier one. The work can be

well rounded off by using the same formula for the end as for the
beginning (see Blow, My God, my God ').
The difference between the secular and ecclesiastical music
of the period is entirely one of sentiment.
Masses and settings
the fact that
it
of the Canticles will dictate their
Examples for
No
own
forms.
one can hope to write good Strict

Counterpoint without an intimate acquaintance with the music
of the period. The second volume of the Oxford History of
Music and the early chapters of Walker's History of Music
6.
in
study.
England should be
read.

The
following
will
list
Tallis.
Services.
be useful
(Boyce Collection.)
(Church Music Society.)
Bevin.
Byrd.
Farrant.
Masses.
75
,,
J,
Gibbons. Novello.
Palestrina. Aeterna Christi Munera.
Papae Marcelli.
Breitkopf
&
H.
Iste Confessor.
Missa Brevis.
Motets.
O Jesu Fill.'
Hawkins, p. 336, vol. i, and examples

Oxford Hist, of Music, vol. ii,
'Quern dicunt homines.' Hawkins, p. 340, vol. i,
and examples in Oxford Hist, of Music, vol. ii.
Sicut cervus.'
B. & H.
O admirabile commercium.'
JOSQUIN DES Pks.
'
in
WiLLAERT.
Palestrina.
'
J5
Ego sum
Thou art
J?
'
Handl.
Byrd.
panis.'
Bosworth.
Peter.'
'
In divers tongues.'
Novello.
'
The righteous
Bosworth.
'
Bow
Thine
perisheth.'
Novello.
ear.'
Sing joyfully.'
Souls of the righteous.'
' When Mary to the temple came.'
'
J)
'
ECCARD.
Batten.
Bateson.
Gibbons.
Deliver
'
?>
us.'
Holy, Lord God Almighty.'

'Almighty and everlasting God.'
'
Redford.
Hosanna
'
Rejoice in the Lord.'
to the
Hymn-tunes elaborately treated

Palestrina.
'
Hymni
Son
of David.'
in the style of
Motets
B.
totius anni.*
&
H.
Madrigals.
The
student
will,
of course,
recall
the
names of Lassus,
Willaert, Festa, Wilbye, Benet, Bateson, and others.
The
selves
following are a few examples that readily suggest them:
Palestrina.
Benet.
'
Weep,
All creatures
(J
,,
B.
6 Madrigals.
(J
=
=
&
H.
Novello.
silly soul.'
scholastic minim.)
now
scholastic
d=
are
merry minded.'
minim, except the
scholastic d.)
,,
final section, in
which
76
'As Vesta was from Latmos
Weelkes.
(J
WiLBYE.
Sweet honey-sucking
(J
Hill descending.'
Novello.
scholastic d.)
scholastic
bees.'
Novello.
except in two periods, where
d=
scholastic d.)
In the first instance it would be best to imitate the Palestrina

madrigals as they are the purest in style. With the time-sig-
^ J = the scholastic minim. When

J = the scholastic minim. Some of the
nature
the time-signature
is J
English madrigals
are transitional in style, so that the student must be prepared

for
some innovations
in them.
Examples.
I.
From
the Magnificat.
Elway Bevin
(circa 1590).
pen
xt
-&-
-s>-
=]:c^:
-S-
-j^l
J^l
@1:
S
^
ici:
-S>-
-s-
:=!:
iE^
vant
:s=e
t:
-s--
-s'-
:p:
:t^
-s>-^-
-Gh
122:
.<s-
=J=t:
-Gt-
-^z
3L -Gh
X2:
:c^;
-'-
'f^==J
el,
-^
-&-
-o
s>-
:=F
:c2:
Is
-S>-
-o-
'JOL
As
he
-!S>-
fS-
=]-
-e?-
:c^==
:2
-C^-
-(S>-
he
-iS>-
1=:
.
he
:c3:
-<s<-
2^:
:=i:
:p:
As
^3^
prom
:
As
2
^
his
prom
:^:
jC
-<9-
As
he

z^zzr-
iip:
--
flp~a^: -s-
ed
our
to
-]-
=q=::
izp::
:c2:
-e?
fore
fa
77
-s>
is:
tbers,
(0
-&-
-tf-
-<s>-
prom
is
t&~
s>-
t:
ed
to
our fore
=:
iq:
fa
thers,
{b)
1^=^:
ed
to
fore
-cz:
prom
is
-a
-'S-
=]-
fa
- iq:
ed
:p:
to
bra-ham
:t:
- sour fore
-&-
-<
thers,
-s>-
:[=:
2^:
3: IQZZIZiP=
3:
-<s-
C2:
::
-9
and
his
thers,
fa
G>--t^
seed, for
^:
-Gf- -%r2Z-A
-O-
ev
(0
-e>-f(S>-
t:
ft
bra -
:^
-s>-
bra
ÊrZ^
tzztz:?^:
:p=t:
ham
and
his
le^:
-h-
-^-
:a:
3ê
ham
and
:p:i
his
:=^p:p
and
his
seed,
Running
for ev
seed,
iS>-
rp=: <s>itii
seed,
^:
for
-3=
-G>-
-S-
1 <S>-
for
In the Boyce Collection this

is
-e*-
fec=:t:
:q:
~o-
-t:
above, however,
{h)
jgz^:
:t
:[i:
bra-ham
(<?)
-<s-
er.
is
scored in
time.
The
obviously the correct rendering.
into the unison is a constant feature of the
period.
This juxtaposition of F and Y% is quite characteristic.

There was no horizontal reason for the sharpening of the F
in the Alto.
But in the Soprano it is sharpened for the cadence.
[d] The suspension at this point is quite irregular.
[c]
'
{e)
Nota Cambiata.
'
78
II.
From
the Missa Brevis.

Palestrina,
Ex. III.
^
^
122:
-<s>-
iq:
ste
Chri
-(S-
:e2iz
<S>-
Chri
231
:p=p:
-F-^
ste
lei
m:di
s;
-^
ISZ
-o-
^:
:^-.
t:
5!^^
lei
'^
221
a-\-^
^-
-P
:p:
:t
zp:
le
-e>-
-e>-<s>-
Chri
ste
^^
*:
32:
122:
Chri
ii^#
-e>ste
:p
s-
-Tjr
|g
(6)
Z3_
lei
-.S>-
--&-
^:
Q-
-(S>
le
son,
-<S>-
Chri
-<S>-
Z3:
ste
-O-
79
(0
-G>-
:p:
-o-
ts-
-e>-
li:
le
:Z2Z
:c3:
-<s>-
%
Chri
.Gt
Ee^
-P^-
:t=t
q-p:
le
-^^
-s>-
t:
1
251
ste
son,
-iS>-
-S-^-
:t
:p:
p-
So
7f-r

(m)
1
Q,
^.
8i
82
par
che'l
mi
cor
toe
-G>-
E
la:
gj
M-
-s-
che'l
cor
mi
t;
1^
cor
-G>-
par
'rjr
(S*
-J?=.^^
G>-
chi,
na
dol
g2
j|!e>
mi
toe
-<s>-
-#^=
::;:p=g2:
122:
na
chi
dol
S>-
1i===^
na
_Q_
dol
-<S>-
cez
-O
"g^'
-S>-
toc
na
chi
giÊfe^*,^ÊgE:E|^
smi - su
ra
nuo
ta e
fe
cez
P
za
smi - su
ra
va,
smi su
nuo
ta e
S>-
-<S>
smi - su
ra
va,
-&
1221
cez
-s>-
1231
ta e
nuo
va,
nuo
-P
-1^
-P-
ta e
ra
-&-
P=
-
dol
:^:
:p:=rjiâ:
(-
-ry
<9-
smi
su
ra
ta e
nuo
g^:
nuo
:t=t::
smi-su
ra
ta e
nuo
va,

-G>-
l^f
:?2:
E^
t:
do
Cre
-ts>-
123:
-s-
o-
:s3:
-el
che
qui
:e=P^F
L_
._|
Ifci
va.
Cre
do
che
qui
tro
si
mi
(o)
)S>
Cre
83
-<S)-
Cre
do
-<S
Q P
che
qui
si
do
, ^tro
va
p-o[=:q
-s>:[i=zt:
che
qui
-Q_
si
84
122:
!::zz:|2z2:
-s>-
-31
g^ -^
-^<s>-
stra
si
:q:
-<s>-
-/S"-
na
dol
cez
P-
za,
non
puot'
P=^
dol
stra
:c~
n3n
za,
itiizd
u
puot'
-s>-
:s3:
dol
stra
-<s>-
na
.^=^1
se
cez
dol
-SJ-
-<s^-
nfin
puot'
-&-
:c3:
chfe
cer
:p:
e?-
G>-
:t=:
da
Ê ^&
fei-
non
za,
-1^-
:4
scir,
za,
*ii^-f^-
j:
stra
cez
sua
bel
za,
lez
-US)!-!-
:b:
:c::
ft
non
se
scir,
sua
da
bel
lez
za,
(0
-q:
:s^z=t:
che
--
:t
cer
to
un
:q_
:S2:
:F-
:2:
che
non-
se
scir,
lu
-G>-
^: -O-
-<S>-
-.o-
i?=2:
-<S>-
-s>-
123:
-Oche
to,
cer
.l
to
un
ta
lu
coa
le,
<S>
-P-
-s>-
me
ta
-<s-
che
S>-
:p:
-C2
ta
che
le,
^-
Z3:
:?!?:
?^=t
to un
lu
me
ta
to un lu
=^^
4t
z:
me
:p:
-<S-
cer
le,
cer
to
un
..-P P-
ipzzp;
lizi]
lu
me
ta
le,

-&-
-^-^
r^ziri^Q:
-OSI
e>-
stra
85
:?3:
dol
-(-
=t=^-:
122:
^<s>-
SI
W
con
:z=-_=:p=n
na
dol
122:
:s3:
stra
dol
:|223:
stra
za,
f-tra
^&-
^^=i
tr-
cez
^&-r^^-P-^:t=^^c4
:t:
TJ^
na
dol
86
-<s>-
:p^
G>
=^-x=z:p^
da
:c?:
:g2:
-jS>-
fc^
scir,
non
se
sua
4^
-.*3
:t:
-P-
da
sua
=*tzzd
-^bel
7--r-
bel
non
'XîZLI
puot'
puot'
231
-<s>-
rpzzTL
t:
t:
lez
non
puot'
et
za,
non
P-
scir,
se
-<s>-
non
puot'
da
-<s>-
i^:::^:
=P^
scir,
sua
:p
iq:
&-
non
za.
<S>-
za,
1^~
?=
lez
non puot'
-rJ
lez
123:
scir,
iS>-
bel
lez
or
p_-iZQ:
:t=!r_:
da
112
p p
fE^t
sua
bel
lez
-<2^-
-P=^
siia
bel
non puot'
:?2:
scir,
puot'
scir,
se
non
da
se
non
da
Notes on Ex.
This Madrigal
is
M^l
::
-
siia
lez
za.
-<s>
-h
non
inr
bel
lez
za.
ii2.
written in the Dorian
Mode
transposed.
Each bar is equivalent to two bars of scholastic Counterpoint.

{a) Canon at the fifth below, repeated by T. B.
[b]
2),
The second
so are the third
point
(c),
is
fourth
derived from the

{d),
and
fifth {e)
first
(bars
this last is
and
com-
bined with a new figure (/).

{g) Short canon between Bass and Soprano.
new idea, closely imitated.

(/) More than two leaps in the same direction.
(k) The figure {g) combined with one derived from
(/) Compare the treatment at (h).
[h]
(a).
,
This is an excellent example of the development of a Madrigal

from one or two ideas only, e.g. (a), {g) and (//), (g) combining
with a variation of
{a).
87
be seen that two chords

over a semibreve are the rule rather than the exception.
(n) Passing note on third crotchet in a part not using third
(m) If bars 4-8 be studied,
will
it
species.
The law of
be kept when all
(0)
moving part does not appear
the lowest
to
The student should

notes are essential.
music
the
of
the
period.
watch this point in studying
IV.
Cantiones Sacrae, No. 23 (Motet).

Byrd.
Ex. 113.
'^2i
Be
r:
i
w
-^-v
;s3:
X2:
-G)-
:z7"
Be
-s>cla
et
die
-3^
:s2:
:=^
-Gf-
-s>-i-
:2Z
-<S-
iq:
O-
'jC2L
et
cla
^1
Be
It:
ne
die
ii
=^:
r^=
d^zc:^:
ne
IQZ
-<S>-
die
:3:
cla
et
^^=^'tas,
-<9tas,
(a)
-pii:
-(S>-
22:
-s-
Be
die
ti
o,
-^-
:=]:
:c?:
cla
et
-<S>-
-p^
jz=
T
Be
ne
die
#==
:c^:
et
^--
cla
--
88
-fir
MADRIGAL
-o
-Gh
:p:
MOTET WRITING
:p=^
ti
zzz^t:
*P=
t
ac
P-
AlSib
iS>
P-
o,
gra
89
-
g
ti
90
i
w
':B=^-.
E3P
-Gf-
^-
t^
o
(S)-
fc
Ezzm
-o-
'-d'-
:c^:
gra
et
ti
M:
:i=q:
q=:^:
ti
-^rum
-jî
ac
-Gh
-
jQ_
-o-
-Q-
ho
nor,
vir
ti
izzq:
-|Si-
:i?=t:
y-'
rum
ac
>-
iE5
-G>
*=
&
:t
-G>
-s>-
^êH-
ho
o.
-o-
l===j:
^=ciz=^
ac
^^=^-
nor,
-<s>-
22:
ho
ti
->-
nor,
f^-
-^-
vir
tus
X2:
tus
vir
IHHD
ho
nor,
et
-s*-
(S>
-.<S
^:
:p:
ho
-Q.
-.Q-
:p=t:
I!
nor,
vir
^~,
:p:
-fHr
ho
tus.
&-
S
^C=^
qzip:
-o-
tus
et
:5zEt=
:
for
ti
-<S>-.
for
ti
tu
tu
21
-!S>-
-.^-
-iS>-
ct
tus
vir
nor,
do
De
do
-s>-
et
"p2
na
De
-JOl.
^
J^.
=t
-
no
-(S*-
stro

=^P=
idzizzz^n.
for
ti
tu
J^l
igi^Tizrs:
EE
De
do
-G>-
stro.
De
no
-G>-
-<S>-
:t=:
et
stro.
-^-n-
zzzztiz
t-
for
et
-iSh-
:o:
-s-
:3:
:*2t
ti
De
=1:
+ie?t4-
izzqzresizzi^:
-iS>-
:c2:
:p;
ipn
:2:
fe
-
ti
-^-
tu
Tq=^~
:e^:
do
De
T^'-^~0-
n=
?^5
G>
:
o
=1=;<s
1221
no
in
-<s-
:s2:
tu
do
De
no
se
cu
la
5'S'-
stro,
-S-
cu
stro
tE^S
HI
stro,
i^pi^^zîi^zq
-j-^-g-a-jS'- :p:: :p: ;^_P__,C2:

lizit:
De
for
se
in
stro.
se
-S-
cu
la
se
MADRIGAL AND MOTET WRTflNG
92
^-
;^
IC^ZIZZt
In
(0
=1
*^
(g)
cu
se
I-
3i=Sr
:p:
l^'
H^r=p:
:c3:
--iz^
rum,
lo
--J-
:q;
-G>-
la
se
-o
:^z:s2:
F"
cu
M:
rum,
lo
:p:
-e>-
:p:
:ciz=t:
R:
cu
-s>
o-
rum,
lo
-<3
2i:
(^)
-<s>-^-
-s>-
s^-P^
:g3zz
:c2.
la
i:
cu
se
lo
rum,
IQmen,
-^
/S"
cu
o-
a <scu
:i=p:
men,
-s>
(g)
_Q_1_
:p:.
se
-(-
in
(^)
:?2:
EÊ^ÊE^
la
se
lo
rum,
-<s>-
-^-iSh-
-&
cu
-e>-
-s>-
:^
-^
&-
h-
lo
rum,
men,
ZZPZDI -Plo
rutn,

^^^
'jCJtKG^-
93
:s3:
IQZII]
men,
t==^.
Gt-
:p:
_c2_
cu
cu
la
12:3:
lo
-^:n-it|g^
-&-'-
:c3:
-s-
^1
e.*-
-G^-
W-
:p^=: izp;
-.-si-i-
cu
s>
3=EE^B--ij
-<s>-S'-
cu
se
la
lo
:q:
rum
-9-;-
lez:
-r
:z2:
-S>-
In
cu
cu
se
la
2^
-s?-
-|S>-
s-
S^pÊÊ^=f
rum,
lo
;q:
-S'-
/Ti
se
:pn
y:
-iSJ-
-e>-
-P-
=:i
-P
4B
cu
lS~
se
la
p-
[-
ft
cu
&
ft
(g)
f^-
:ti^=zt.
:e2:
cu
la

#_a,
-j
i-j
lo
rum
-(S-<s-
-<s-
z^=?d:
la
|S>-r-
-^-
5?t=t:
-<s-
lo
rum,
:c2:
men,
94
i^
:q:
-^:
(5----
-(S'
li:
Z^JZH^liZ
>
cu
-G-
:pzzzp2:
-tS>
^zizp:
rum,
-s>-
<s-
:q:
men,
-Q-
lo
rum,
In
A
:zp='
-o
-<s>-S>-
^-^ÊE.^
i2=t
.
_z:t:
lo
rum,
lo
-<s-
:e^:
-(S*-
rum,
lo
:p:
:p:
iczz::
-o-
->meii,
-(SJ-
-G>-
"^3
"
-^-
-&>-
V.
cu
lo
(c)
-^-
:^=2:
:p:
-<s>-
g^^^^^^^^
A
men,
-<s>-
rum,
lo
^:
31
-/S-i-
:f?r^:
i=iz=:p:
:f3:
men,
:mi
:S5:
A
-<s-
men,
:S2:
men,
i|=q:
:?Êa=^~pcu
lo
rum,
-(S*-
men,
:S2:
Hit-
men,
_!2_
95
?^^S:
-fS>
;fef=:
?S
::sr-lJp: -<s^
--S-
iqziziq:
A
-S-
isx
U^
-p:
:Z3_
&-
-o
i?::^:
ft
A
e=irr^:
:t=^
H(S>H
iq:
;s3:
at^
A
^laiz*^P=i
=]:
-^--
<-;-
:i:
Notes on Ex.
(a)
The second Soprano and
(b)
The
-s>-
-HH^H
113.
Alto of the opening bars are

here transferred to the Tenor and Bass.
in the
clash between
second Soprano
is
C and C
ff
is
characteristic
the sharp
a cadential convention.
Nota Cambiata.
(d) This is a stock formula of the period.
interesting to note the various occasions on which
(c)
It
it
would be
is used by
different composers.
(e)
Here
the termination of the
Nota Cambiata has been
forgotten.
(/) Irregular to
the
same
in
part.
(g) This species
and
have the chromatic alteration of a note
though taught in Morley's Plaine

from later treatises.
easie Introduction, has disappeared
This example by Byrd
is
practically quite
strict.
Some
examples, however, are freer, exhibiting the use of J^ J^ and

J J J^, and the resolution of a prepared discord on the second
crotchet.
In the motet
'
In resurrectione
'
he uses quavers on
96
first beats of the bar.

Such things, however, are too rare
be
regarded
as
anything
to
but exceptional procedui'es.
No
composer approaches Palestrina for finish and accuracy of
the
technique.
Exercises.
(i)
Set the following words in Polyphonic style for S. A. T. B.
Lord, have mercy upon us, and incline our hearts to
keep
this law.'
Begin with the following formula, and treat it imitatively in the

style of the Kyrie in Palestrina's Mtssa,Aeterna Christi Munera
\
W^^
Lord,
(2)
:1:
-S>-;-
-!S>-<s-
-SJ-
i^:
-s
have
irier
cy
up
on
Set the same words in plain Counterpoint, in the style of
Farrant.
(3)
Set the following words for S. A. T. B.

'
Benedictus qui venit in nomine Domini, Hosanna

in excelsis.'
Start
%
^
_C2_
HS4+-
Be
fr
3!;
IdZIZ.
die
tus
qui
-S>-
-S-
:q:
Be
(4)
--X
-ri^-
-<S>-
ne
-=]=^=P^
lizf-^zê^f^zd
:t=:tz=t::
:p-
die
-<9
t-
-<s>-
tus
qui
Also,
'Agnus
Dei, qui tollis peccata mundi, miserere nobis/
Start
S^
-G>
-s>-
122:
~m
T2i
ipizq
tzitnzt:
Ag
EB
-s>-
:22:
Ag
-JOr.
-.S'-
:c^-=
De
-f^-

(5)
Write a Nunc Dimittis
of Tallis.
(6)
Counterpoint in the style
in plain
should be modal.
It
Add
97
A. A. T. B.
Bevin.
P$:
He
na
"C?"
ter-ed
proud
scat
tion
of
the
&
Y-
might
v^
t:
:t:z=t:
hath
(7)
ex
alt
ed
-G>-
He
-e^
-kS-
hath
->-
down
put
:ri.-
l^=
their
and
seat,
p e-,
^:
^ri 11^
i=t
-
im-ag-
IP
-^-
from
:|Z-r^3
the
-s>
-.z^znn
^^==1:
-^=P=
arm
his
e?-i-
in
y
the
-1^-
hearts.
their
T^-Z=L-\-IlZ
-iS>
with
^^==3=1:
^
-s'Cq:
^=
:c^=<s-
strength
=?4*z=i
:]=q:
G>-.-
ed
t2L
hath
he
shew
hath
-(S*
1231
k^^l^^
:g=g^=pi=
-e^-
-1;q:
hum
the
ble
t=1-
meek.
and
Set the following Chorale in the style of the Palestrina
Hymni Totms Anni

Effi:
2^:
&-
=1==^
-G>-
:p==:qz=z:
-G>-
;o:
f-^
-&-
-^-
:ti=t:= :^P=
:q:
-<^-
:si=:c^:
S=P=l^zEe:
-G>- 'OtZZCZ.
-e>-
icj^:
3i^3
98
Start
mEEEEz
-P-
=q:
.p-i=
zzx-TQ:
&-
-<s> Pî
:q;
-<-
?5:
0!
b-i
p:
S=5
-<s-
hS>-is'-
ifizziit:
:x:
^r?=
(8)
Add
parts for S.A.
Alio
ri
&-
ti
:p
tur
-p_.
-P
di
&-
bus
P
/o
di
-s> 1-P
iu
sti
:e2
:^=:iz:t.
]3
a,
t
in
-P
:p:
-t:
in
a,
^-
ti
Byrd.
-1
&-
P=E
:^!=zt:
-
bus
tu
-P
:p:
-<^-
et
~?zr
ti
-iSt-
:p=
-J?D1
pa
t
dan
ti
pa
?i=^:
-P-
'^--0-
-*-
:t=^:
r:)
:tr=t=:t
bun
:p_^._
et
-#-
:t:
;t:
dan
lU
IS
ti
feê^^g^=fi
tE^-i
h-
tu
-h-
:tz=t::
ft
T. and B. in the style of a Motet:
:t:
-P-
sti
-O
0-
^-
<s>>-
(a)
{a)
-P
:t:
(2)
i.
^f^lÊ
sti
i :p
(S>-
bun
99
lOO
(9)
Set the following words as a Madrigal for S. A. T. B.
me where
Tell
Or
is
Fancy
bred,
in the heart or in the
How
head
how nourished ?
begot,
Reply, reply.
engender'd in the eyes,
With gazing fed ; and Fancy dies
In the cradle where it lies.
Let us all ring Fancy's knell
I'll begin it
Ding, dong, bell.
Ding, dong, bell.
It is
Shakespeare.
any
Utilize the following formulae (at

(a)
3!:
(6)
(I)
-<5>-
-&-
Tell
me
(2)
?3:
1221
'JOT.
--ii~&
Fan
where
derived from
or
derived from.
-Gt-
(i)
122:
:e^=:e
{c)
pitch)
the
in
heart.
(2)
-mhow be - got
(d)
=T
=e^:
it
T^zmcJ
is
en -gen
der'd
-d
^_ i^
.
in
the
yo
S
eyes.
Invent the remaining formulae yourself.
Printed in England at the Oxford University Press
cy
bred.
3 5002 00148 3978

Kitson, C. H.
Applied strict counterpoint,
MT 55 .K69
Afe
Ki-tson,
C.
H.
Applied
a-trlct.
1874-1944
counter point.
*USIC tlBRARY

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^"

M.A. (CANTAB.), D.MUS. (OXON.)

Oxford University Press

the advantages that

them from having understood and practised the

application of Strict Counterpoint in composition in the strict

a short treatise on the subject might

Very few teachers encourage

the study of Strict Counterpoint

purely technical and analytical aspects.

certain that very few students understand the function of the

semibreve Canto Fermo.

fewer realize that

eliminated^ and that the application of the technique of Strict

Counterpoint without this constant factor results in composition

of the Polyphonic Period.

previous treatise, The Art of Counterpoint, dealt merely

we cannot form them

into a complete sentence, as

represents the synthetical aspect of the subject.

of the arguments that are put forward, both in

support of and in opposition to the study of Strict Counterpoint,

show such confused and misguided

ideas as to what precisely

has been thought well to

show the reasons which have led me to

that the student

tolerably proficient in Strict

with a semibreve Canto

Fermo, including combined Counterpoint.

induce teachers and examiners to encourage

students to pursue the subject of Strict Counterpoint beyond

purely grammatical side.

they are enabled to

only possible criterion, that of practice.

the study of a dead

study merely the

grammar of a language is a sheer waste of valuable time no

point rational and real, by showing

only logical basis and

Hymn-tunes and their Simple Treatment

Strict Counterpoint on a Chorale

Digitized by the Internet Archive

2010 with funding from

Boston Library Consortium

THE PREMISSES OF STRICT COUNTERPOINT

Those who have read

the various treatises on the subject

same example may be

being correct or incorrect.

say that in the following

incorrectly quitted by leap, because

no part of the chord G, B, D, which is implied on the first

Further, another theorist would omit the following from his

inversions, and the first inversion of the diminished triad, can be

used, and therefore the combination at

outside the scheme.

regarded as a kind of appoggiatura to the A.

be advanced as illustrations of the

diversity of teaching that has arisen.

that the melodic interval of a diminished fifth

some note within

one theorist allows the use of four quavers