Treatise On Count e 00 o Use Rich

Chiuubaii
^rcs^
Utiles
COUNTERPOINT, CANON, AND FUGUE

OUSJELEY
ILonbon
HENUY FROWDE
OXFOHD UNIVERSITY PRESS WAREHOUSE

7
PATEENOSTEli
HOW
Clareniroit
IBttSB
Scnts
A TREATISE
ON
COUNTERPOINT, CANON
AND
FUGUE
BY THE
Rev. Sir
A.
F.
GORE OUSELEY,
Bart.,
M.A., Mus.
PROFESSOR OF MUPIC IN THE UNIVERSITY OF OXFORD
Second Edition
at the clarendon press

M.DCCC.LXXX
\^
All rights reserved
Doc.
TO
JOH STAIIÊR
IN
ESQ.,
M.A.,
MUS. DOC,
ACKNOWLEDGMENT OF MUCH VALUABLE AID
GIVEN IN THE PREPARATION OF THIS
WORK FOR THE
THE FOLLOWING PAGES ARE DEDICATED,
WITH EVERY AFFECTIONATE REGARD.
BY HIS OLD FRIEND
THE AUTHOE.
601373
PRESS,
PREFACE.
The
present
" Treatise on
There
and order
is
in
work
is
intended as a companion rather than a sequel to the author's
Harmony."
a great difference of opinion in different countries as to the method
which Harmony, Counterpoint, Fugue, Form, and Musical Aesthetics

In
should be studied.
Italy,
custom to study Counterpoint
example,
for
it
has been
then Fugue, then
first,
quite
(till
Harmony
Germany, and France Harmony has always been taught
land,
branch of the subject.
But upon a
seems more reasonable to study
author's
have
Treatises
been
written
with
Eng-
any other
before
of the whole matter,
careful consideration
Harmony and Counterpoint
principal reasons for adopting this course are stated in the
both the
the
recently)
whereas, in
simultaneously.
body of
this work,
view to this method
it
The
and
of
treatment.
Many
persons conceive that the restrictive rules of Simple Counterpoint are of
no great value, inasmuch as they are never followed
works of our best composers.
But
this opinion
arises
in
all
their
from an erroneous idea of
the object which these rigorous restrictions are intended to attain.
of Elementary Counterpoint
is chiefly useful, as
melodies into one harmonious whole
by
facility
as engendering habits of
in
For a course
combining many
smooth part-writing,
successively vanquishing the various technical difficulties which ever stand in the
way
it
giving
rigour in the
and as making
free composition
comparatively easy afterwards
with what must be acknowledged to be the drudgery of the
1)y
contrasting
earlier
processes.
PREFACE.
viu
By
tlu;
study of Kcstrictcd Counterpoint the
caruful
tools of his art;
and without such drilling he
acquires
t\'ro
will never
Let him then not grudg-c the lahour he bestows on such
command.
use of the
the
have them well under his

exercises, for
they will stand him in good stead at a later period of his progress in the
The
Fugue,
up
who has
student
at the
this course
carefully
mastered
the
of Counterpoint
elements
same time studying the laws of Harmony,
recommended
is
by carefully setting out the Organ-Fugues of
open score, in the proper
clefs,
noting any peculiarities they
at the
may
same time analysing
present.
He
will
also
art.
Sebastian Bach in
J.
their
find
and
to follow
construction,
much
benefit
and
from
the opposite process of condensing into an organ arrangement the open scores of
good Motetts, Anthems, and
]\Iadrigals,
by the best masters of the sixteenth and
seventeenth centuries.
He
will
still
have to
learn Instrumentation,
Form, and General Com])osition,
before he can be said to have completed his musical studies.
The present work does not pretend
to
any great originality of design.
only advantage which the author hopes he has been able to secure in
the methodical arrangement of
\\ith
which
it
larger
it,
consists in
various parts, and the character of the Examples
illustrated.
is
Some apology
somewhat
its
The
is
due
for
the size of the volume.
It
has indeed swelled to
dimensions than was originally expected or intended.
But
this
could not be avoided without sacrificing some of the best Examples at the end of
the book, and such a sacrifice the author was loth to make.
Marc/t,
1869.
TABLE OF CONTENTS.
CHAPTER
I.
General Observations.
1.
Harmony and Counterpoint
distinguished.
Species.
3-^5
Definition of Counterpoint
2.
Compound
point divided into Simple and
3.
7.
Counter^yoint of
tJie
against Consecutive Octaves
Consecutive
Thirds and
Fourth or Tritone.
this Species,
and
in
1 0.
Two
The
4.
and
Sixths.
different
Fifths.
8.
False
11,
Second Species.
2
Description.
Species.
to
9.
7.
Two
Fifths
Relations.
Licence
allowed.
Two
Precautions.
10,
One
Two
9.
"
Parts.
5.
The
and Octaves.
The Augmented
Canto Fei-mo
"
of
&c
III.
notes to One, in
Rules, Exceptions, and
Peculiar
in
of Motion.
sorts
Hidden
12. Additional Eules,
CHAPTER
1.
6.
note,''
Examples of Counterpoint on a
Parts.
II.
First Sjyecies, or "note against
Concords and Discords allowed.
rules
Counter-
Restrictions as to Intervals and Progressions
CHAPTER
Of Simple
Simple Counterpoint divided into Five
11.
Parts.
8.
Examples
of
this
Counterpoint of Three notes

12
CONTEXTS.
CHAPTER
Third
1
General Rules.
4.
Four
Species.
5.
Examples of
notes to Oiie, in
How
7.
Admits only of Minims.

4
9.
of this Species.
2.
Definition and
Example
10 12.
Counterpoint
this Species.
General Rules.
3.
and Explanations.
4.
Rules
of Syncopation.
and
CHAPTER
VIT.
Note against
note,
Examples of
of this Species.
Two
Parts.
Restrictions.
Examples of
5.
in Three Parts.
Second and Third Species
Four
3.
8.
More Rules
31
VIII.
24. Rules and
Restrictions.
Triple time
CHAPTER
Rules and Relaxations.
Ttvo notes to One, in Three Parts.
6.
Third Species.
1, 2.
23
this Species
Ancient way of saving Fifths not recommended.
Examples
Discords
Examples
VI.
Licence allowed as to Hidden Octaves.

9.
Second Species.
5.
3.
13.
28
CHAPTER
1.
Parts.
Additional Remarks
First Species.
1, 2.
Two
Syncopated Counterpoint in Triple time
defined.
6, 7.
8, 9.
Additional Rules.
Fifth Species, or Florid Counterpoint, in
Elorid
save
V.
Syncopated Counterpoint, in
CHAPTER
1.
to
Additional
18
Rules and Examples.

14.
How
6.
this Species
Fourth Species.
prepared.
page
Parts.
to avoid the Tritone.
CHAPTER
1.
Two
Ancient Licence not recommended.
Consecutive Octaves or Fifths.

Rules.
IV.
34
IX.
notes to One, in Three Parts.
Examples
of this
Species.
4.
Combination of
38
CONTENTS.
CHAPTER
Fourth
General Rules.
1, 2.
Dissonances.
8.
Species.
3.
9.
X.
Syncopated Counterpoint, in Three Parts.
To guard
Pedal
6.
Additional Rule.
against
Hidden Consecutives.
Rule
Bass;
Examples of
exemplified.
this Species.
CHAPTER
General Remarks.
2.
7.
4, 5.
page
Rules about
Remarks.
Consequent
Concluding Remarks
10, 11.
XI.
Examples from Fux.
Florid Counterpoint in
3.
Two
Parts
at once
51
CHAPTER
and Third
First, Second,
1.
43
Florid Counter2)oint, in Three Parts.
Fifth Species,
1.
xi
Relaxation of Rules.
Examples of eacb
2.
Species, in
Doubled Notes.
Species.
XII.
5.
Four Parts.
General Rules and Relaxations;
Combinations of the Three Species
6.
CHAPTER
54
XIII.
Fourth and Fifth Species, in Four Parts.

1
4.
Rules, Explanations, and
ferent Bass,
method.
9.
and new
7.
Example
Cautions.
Diminished Fifth
of
Resolution of Dissonances on a dif-
5.
thus obtained.
efifects
when
6.
allowed.
Four Species combined.
10.
Use
8.
of the Pedal
Palestrina's
Examples of Fourth
Examples
of
Species.
Florid Counterpoint.
11. Florid Counterpoint in Three Parts at once
CHAPTER
Of
1.
Relaxation of Rules.
2.
What
Examples of Counterpoint
terpoint
is
of
more than Six
more than Four Parts.
5.
8.
3,
Certain Licences
Examples of Counterpoint in Five Parts.
in Six Parts.
Parts.
XIV.
meant by "Real Parts."
4. Introduction of Rests.
allowed.
6.
Counter2)oint in
66
7.
Progression of Basses in Coun-
Peculiar Licence allowed.
9.
Curious
CONTENTS.
xii
PAGE
Combination found
or Eight Parts.
in old compositions.
10. Tlie
two ways
Seven
of writing in
Additional advice, and Exuniple of Counterpoint of the First
1 1.
84
Species in Seven Parts
CHAPTER
Of
1, 2.
Explanation and Description
and Directions;
Examples
or Irregular Imitation
at
Imitation.
Examples
XV.
of Imitation analysed.
of Imitations
at
other Inten'als
Examples from
by Contrary Motion, with Rules and Examples.
tation
recte et retro," witli
Example by Dr. Crotch.
13. Imitation of Diminution.
Canons
16, 17.
Examples.
in
14.
Three or in Four Parts;
Of Double
point at the Octave,

point
at
the
2.
7.
Tenth.
11.
5.
10.
Imitation
Free,
Imi-
"per
15.
Of Canon, with Example.
Azopai'di's Bass
Themes;
various
Examples of Canons
18, 19. Various
Definition and Examples.
Sala.
Imitation by Augmentation.
12.
Other kinds.
CHAPTER
1.
Definitions
3, 4.
the Fourth and Fifth.
94
XVI.
Counterpoint.
Various kinds.
Examples from Fux.

Examples from Fux
Rules for Double Countex--
6.
8, 9.
and
Rules for Double Counter-
Cherubini.
11.
Example
from Fux of a Subject in Counterpoint both at the Octave and at the Tenth.
12
15.
Rules
for
Double
Counterpoint
at
the
Twelfth.
16, 17.
Examples
from Fux, and Observations
117
CHAPTER
Of
1.
Definition.
2.
Trijyle
XVII.
and Quadruple
Examples of each kind.
3, 4.
CHAPTER
Counter2)oint.
Other sorts of Counterpoint.
.135
XVIII.
Of Fugue.
1, 2.
Explanation and Definition.

of a
Fugue
3.
Various kinds of Fugue.
4.
Constituent parts
251
CONTENTS.
CHAPTER
Of
1.
of
Definition
the "Subject."
XIX.
and
the Subject
Ansiver.
Definition
2.
xiii
"Answer."
the
of
page
3.
and
Eules
Examples from Reicha
153
CHAPTER
Of
1.
times
2.
Certain Variations sometimes necessary.
must be considered
the Countersubject
than One Countersubject
Counter subject of a Fugue.
the
Definition and General Rule.
XX.
Rules.
Some-
3,
Second Subject.
as
4.
More
The "Codetta" or "Conduit"; Example 163
5.
CHAPTER XXI.
Of
,1
of
Definition
making
word
the
Strettos.
of
the
the Stretto.
thing
Example.
Canonical Stretto, or
5.
" Stretto
4.
Various Rules for
Maestrale."
Strettos
6.
by Inversion
167
CHAPTER
Of
\, 2.
XXII.
and
Episodes, the Pedal,
Object and Use of Episodes
how
constructed.
Fugues of Imitation.
The Tonic
9.
The Coda
Dominant
Pedal.
8.
Pedal.
Form and Arrangement.
of the Exposition.
10, 11. Additional
17,
Rules.
How to introduce
18. How to make
2.
12, 13.
Fugue
How
interesting.
21
22. General Advice to the Student.
The
170
to
Modulations.
3
8, 9.
6.
Rules
and Examples
Fugal Modulation
Rules.
introduce the Subject or AnsAver.
15. Additional Caution.
the Pedal.
ample of a Four-Part Fugue.
its
Exposition.
The Counter-Exposition.
7.
6, 7.
XXIII.
General Structure of a Fugue
14.
for Contrapuntal
5.
4.
General
Examples
3.
Other kinds of Episode.
Episodes.
CHAPTER
1.
Coda.
the
16. Inverted Pedal.
19. Instrumental Fugues.
20.
Ex-
Analysis of the foregoing Fugue, bar by bar.

23. Conclusion
179
CONTENTS.
xiv
THE EXAMPLES.
LIST OF
PAGE
Twelve Canto Fermos
No. 1. Eight-Part Florid Counterpoint.

No.
2. Eight-Part Anthem
No,
3.
No.
4.
No.
5.
Xo.
6.
No.
Canonical
Two
for
By
Miscellaneoiis Examples.
of Canon.
By
By Zimmerman
A. Scarlatti
220
in
7.
of a
Canon Four
in One,
Xo.
8.
of a
Canon Eight
No.
9.
of a
Canon Nine
No.
10.
By
Two.
By
in Four.
By
in One.
231
236
Travers
of an Infinite Canon, which ascends a tone in pitch at each i-eturn.
248
Martini
Canon by Triple Augmentation,
13.
Example
of a
Canon by
No, 14.
228
Purcell
F. A. G.
of a
No,
By
by Inversion.
12.
No,
226
Marcello
Examples
Example
11.
210
214
Canon Four
No.
202
F. A. G.
By Zimmerman
of a
By
By
Choirs.
199
Perti
Harmonizations of the Scale.
Examples
Example
Example
Example
Example
Example
197
to be used in every Species of Countei-point
Examples
of Infinite
of
Canons at Various Intervals.
Ketrogi-ession, or
By A. Andre
....
By A. Andr6
"Canon
249
252
Cancrizans."
By
A. Andr6 253
Subjects in Double, Triple, Quadruple, and Manifold Counter-
point
254
No,
15.
No.
16,
Examples of Subjects
Example of a Fugue
No.
17.
Example
and Answers
for
for
Fugues
Three Voices, and One Subject,
of a Four-Part Fugue.
By
Cherubini
263
By
F. A. G. 0,
,273
278
CONTENTS.
XV
PAOH
No.
18.
Example
of a Four-Part
Inversion.
No.
19.
Example
By
No. 20.
J.
Example
By
of a
J.
Fugue, with Three Subjects, and an Answer by
Sebastian
Bach
302
Four-part Fugue with One Subject, containing Diminution.
Sebastian Bach
of
325
Choral Fugue with
Two
Subjects
and
in Five Parts.
By
L. Leo
No.
21.
Example
334
of
Five-Part
Choral Fugue, containing
Augmentation.
By
361
Dr. Croft
No. 22.
Example
of an Eight-Part
and Augmentation.
By
Fugue with Two

F. A. G.
Subjects, containing Inversion
377
THE PEINCIPLES
OF
COUNTERPOINT AND FUGUE.

CHAPTER
I.
General Ohservafions.
Eeicha,
(vol.
i.
p.
nimes."
" Traite de
Haute Composition Musicale"

Les mots Contrepoint et Harmonic sont syno-
in his excellent
87), says
"
This statement
correlative terms, yet

shall be soon explained.
incorrect
surely
is
for
although
Harmony and
The chief difference between
the point of view from which
it is
regarded.
the
When we
of harmonized music from the harmonic point of view,

attention to the chords of which
resolution,
We
and
derivation, as
look at each mass of
they are
Counterpoint differ completely, as
is
it
is
two
consists in
look at a piece
we
confine our
composed, to their preparation,
explained in our " Treatise on Harmony."
harmony
as
it
were perpendiculady, up and
down the paper, referring each note of which it consists to its proper
bass.
But when we look at a piece of harmonized music from the contrapuntal point of view, we mostly direct our attention to the melodies
B
THE PRI>X'IPLE8 OF
of
should consist,
each part
whicli
another, to their fitness for singing,
We
contrapuntal development.
vation of the
chords they
and
left to right
may
with
one
to their adaptability to further
look at these melodies as
along the paper, from
lontally,
combinations
their
to
and
produce
jointly
were
it
liori-
harmonic deri-
tlie
kept out of sight.
is
The two aspects then of all harmonized music are perfectly distinct
and complementary to each other. But, on the other hand, it is perone involves the other
fectly true that to a certain extent the
preparation and resolution of discords according to the rules of

necessarily involve a progression of the parts,
exist without forming
Counterpouit
2.
it
least,
is
called the " art of
a correct definition of
kinds.
divided into five species
is
notes to one
(3)
Four notes
(5)
Florid counterpoint.
we
will
3.
rules
can
Harmony and
Therefore
as
it
it
combining melodies."
exists in
to
Of the
(1)
one
modern
and Double.
Simple,
be considered in order, beginning with the former.

point
while, at the
for contrapuntal purposes
considerations.
may be
divided into two
is
one sense, intimately connected together.
Counterpoint then
Such, at
And
are, in
harmony
chords (consonant and dissonant), which chords
harmonic
include
necessarily
for the
and thereby form melodies
which are used concurrently, and therefore contrapuntally
same time, no combination of melodies
These must
Simple Counter-
Note against note

(4)
times.
(2)
Two
Syncopated counterpoint
subdivisions of Double
Counterpoint
speak hereafter.
The
as
older writers on Counterpoint
to
the
employment of
imposed very
intervals,
many
and
rigid
rules
were
strict
of which
derived from the mcomplete notions of harmony which were prevalent

at that date
ecclesiastical
harmony.
others had their origin in the imperfect scales in which
melodies had been composed before
the introduction of
In modern music, of course, most of these restrictions should
COUNTERPOINT AND FUaUE,

But
be modified or discarded.
still
it
be a valuable exercise to
will
the student of counterpoint to subject himself, in the
some
at
least
of tliese
old
rules,
as
instance, to
first
him
give
it will
the
habit
of
economizing his resources, and making the most of small materials
and then, when he comes afterwards

have acquired a
The
otherwise attainable.
not
the
facility in
write in a freer style, he will
to
mechanism of the
of composition
art
rules in question will therefore
now be
laid down.
4.
No
melody may proceed by any of the following successive inter-
vals
angmented
diminished
aug-mented
diminislied
augmented
major
seeoncb
fourth,
fourth^
fifth,
fifth^
sixth,
-f^-
-!S>-
=1^
ife:
-&'
1?^
:S^=
:ar^=j$d:
diminished
minor
major
augmented
diminished
seventh.
seventh,
seventh.
third.
second,
except in certain
cases,
are tolerated ascending,
when
the major sixth and
augmented fourth
and the diminished seventh allowed
in descending
only.
The allowable progressions

-Gh id:
-(S>-
:32^
* G>-
in melodies of this style, then, are
^21
}&-
-S'
-G)-
-(Sh-
-G>-
-Gh
minor
major
minor
major
perfect
perfect
minor
major
second,
second,
third,
third,
fourth,
fifth,
sixth,
octave,
and these may
all
be used cither ascending or descending.
THE PRINCIPLES OF
The
case
in
which the augmented fourth
is
tolerated
is
in
this
jjrogression
No.
1.
^m
ni:
^^^^^^^=
'"''! ' '"'''*
tl,P
tl.o
!Ir
other
*'
ô^-^ding major .ixth
notes are stationary, and the
-G>y
tolerated
is
harmony remains unaltered
-Gh-
22:
:z2:
when all
thus;

The
which the diminished seventh
case in
minor mode, and then only descending
in the
is
;
allowed
is
when
it
is
thus
-<S>'
122:
3^
'jr^:
jC^
-G^
s>-s>-
Z2:
5.
The reason
for the severity of these restrictions
point in this style
is
meant
is,
solely for vocal performance,
that counter-
and therefore
only the easiest intervals are admitted.
Note. The
freely
four vocal
employed in
clefs
thoroughly familiar with them.
on Harmony
"
also,
e.
two
staves,
" open score "
and
in
use,
treble
to
viz,
treble,
the student to write out in
in their proper clefs.
and
bass,
^Yill
be
in the first chapter of our " Treatise
in Hullah's admirable
and bass) the examples
tenor,
alto,
of counterpoint ought to render himself
They are explained
more completely,
It will be very serviceable

(i.
now
this treatise, as every student
" Treatise on the
what
in this treatise,
is
Stave."
called " short
which
will
be
score
given in
CHAPTEll
Of
11.
simple counterpoint of the first species, or ''note against note,"

in two parts.
1.
This
is
counterpoints.
the most
And
rigorous,
difficult,
and uninteresting
of' all
as the contrapuntal rules concerning concords
any mitigation
discords are observêd without
in this
most severe
and
species,
this appears to be the proper j)lace for their enunciation.

2.
The only concords recognized
fect octave
(or
unison), the perfect
in strict coimterpoint
fifth,
are the per-
the major and minor thirds,
the major and minor sixths, and their compounds.

3.
and
The
admitted are the second, the seventh, the ninth,
discords
lastly the
fourth,
which
in
counterpoint
strict
is
always treated
as a discord.
The diminished
fifth,
and the augmented fourth, can only be used
in strict counterpoint as passing discords.
All these discords require preparation by one concord, and resolution
on another (except wdien treated as passing chords, which never occur

in the first species of counterpoint), as will
be more fully shewn here-
after.
4.
There are three kinds of motion
Similar motion
same time.
is
when two
Example
parts
similar, oblique,
move upwards
or
and contrary.
downwards
at the
THE PRINCIPLES OF COUNTERPOINT AND FUGUE.

~F'
THE PRINCIPLES OF
by contrary motion may perhaps be tolerated though octaves
never may, except in counterpoint of more than five parts, of which
fifths
we
shall
Examples.
have to speak hereafter.
:q:
-Gt-
s>-
'JOl
-S'-
-2L
1^21
-Gh-
_"?:>
-<s>-
zz:
-<s>-
r^
-<s>-
122:
'JTJl
1^21
:zz2:
<s>-
Not allowed
Very Lad.
than
'
-o-
:^2:
-s*-
-(S-
Very bad.
'
in less
Tolerated occasionally,
hut very
six parts.
rarely.
The student should beware, however, of availing himself of this

licence of using fifths by contrary motion in the present species of
The old writers always disallowed it.
counterpoint.
6.
It
is
forbidden to proceed to a perfect concord by similar motion,
except when one of the parts moves only a semitone, and not even then
if
For the ear or imagination of the
hidden consecutives are produced.
hearer will supply intervening notes which are not actually sounded,
and may thus produce the
effect
when not
These imaginary octaves or
"
actually written.
hidden consecutives."
:c2:
-Gf-
-O-
~rJL
-G*-
-^-^
6
happen that the hidden
fifths,
even
fifths are called
For example
'Gh
When, however, one
of consecutive octaves or
122:
-Gh-
~nr
-<s>-
-^Sr
of the
fifth
parts
may
hidden consecutives would not
only moves
be a diminished
arise
thus
a semitone,
fifth,
in.
it
may
which case
-O'
^^
-s>-
-(S-
-^&-
'^2zzza
-&-:s-
z:^:
-o05
C5
This would be tolerated.
But
it
best to avoid even this licence in counterpoint of the
two
species in
7.
is
parts.
long series of consecutive thirds or
monotonous
first
It
effect.
diate succession
is
better not to have
and these should
sixths
produces a very
more than three
in
imme-
major and
be, if possible, alternately
minor.
8.
By
False relations are forbidden.
simultaneous,
same name, but accidentally altered
t^
t^-
false
relation
false
JS=^^F
avoided
relations are
meant the
is
note of
the
Example
pitch.
J=d=
ttp=
t^These
immediately successive, sounding of a
or
d=g^
-Gi-
-&
r--r~Y
by
one
altering
of
the
"tt^
notes
chromatically, as thus
J^d=d:
rp
But
flp
-<s-
j^&-
-Gf-
T~r^
-G>-<S-
in a really strict piece of counterpoint such
l&:S^
cases
ife^
t^
will
rarely, if
ever, arise.
9.
The augmented fourth
horrent to strict counterpoint.
or tritone
The
c
is
an interval pecuHarly ab-
old writers give a variety of rules
THE PRINCIPLES OF
10
for
its
avoidance, regarding
it
in the
of a false relation.
light
It is
not allowed to exist between the upper note of one chord and the
lower note of the next
for
example, the following progressions are
forbidden
'TZi'^
-r^-
'O-
~j:jl~.
10.
The
first
-G>~
S:
species of counterpoint
because every note of the "Canto fermo"

jDanied
by one note
to
Usually
it.
all
only, of equal
-S>-
f IJEES
-<S^
called
is
(or
" note against note,"
given melody)
length, in the
the notes are semibreves.
-(S?-
is
accom-
counterpoint added
For exampile*
Counterpoint.
'-&
-&Z2:
22:
-s^
1^21
:q:
-<s-
-s>-
Z2:
IZLZ
:^z:
4f^
-&-
Canto fermo.
^3
-<s5
-&-
Z2:
-fE^
;5
:^:
-<s>-
Z2:
or with the canto fermo given in the upper part, thust
Canto fermo.
n?-
-<&

The
11.
first
note of the counterpoint must be an octave
unison with, the canto fermo

part, it
may
11
also begin
or,
with the
if
to,
or
in
the counterpoint be in the upper
fifth.
In either case the conchiding
note must be either the unison or the octave.
The
last
note but
one
of the canto fermo should always be a whole tone above the concluding
notes,
and the counterpoint should always
rise to
the final by a semi-
tone.
12.
The student
will
given at the end of this
now
take
treatise,
some of the subjects or melodies
using each as a canto fermo,
first
in
the lower, and then in the upper part, and adding counterpoints to
them according
to the rules laid
down
c 2
in this chapter.
CHAPTER
Second
1.
In
it
This species
species.
of counterpoint
there must be
sists of semibreves.
a semibreve
also.
Tivo notes
two minims
is
III.
to
one, in two parts.
easier
to
manage than the
last.
in each bar, if the canto fermo con-
In the last bar alone the counter^Doint ends with
Every bar contains two
beats, one
down-beat, and
name them, a strong or

accented time, and a weak or unaccented time.
They were respectively
called "Thesis" and "Arsis" by Fux and the older contrapuntists.
one up-beat
2.
shall
or,
as
Cherubini
and
others
The down-beat must be a concord, except in

be explained hereafter. The up-beat may be
certain cases
which
either a concord or
a discord.
If a discord be thus placed, it must be preceded and followed by concords, and the melody must not proceed by a skip. Such
discords are called "passing discords."
Note
airainst note.
-s>-
-<s>-
Two
notes to one.
-.^
-s-
Examples from Cherubini
-<s-
-<S-
-&-
-<s>-
-(S-
H^-
-jzL

i^z:
-^-
1^2:
HEÊg^
-^-
1221
i^z:
'JTU.
:iz?2:
-S-
'TH'.
-1^-(S*-
-cS*-
-s-
Z2zzi:
-s*-
^2:
3EaEE^^
13
12:2:
-<s-
-^
THE PRINCIPLES OF
14
The
4.
the
of
relation
false
described
tritone,
in
the
preceding
chapter, can be easily avoided in this species of counterpoint, thus
False relation
avoided thus
Another case
avoided thus
The student
5.
advised to avoid a skip of a minor sixth in this
is
species of counterpoint, as it
intervals,
first bar,
The
when
final
in
correct
Ml
way
(sujiposing
by a whole
the last bar but one,
commence
at the up-beat
^
-T
tone),
is
the canto
by a
fifth
by a major
followed
leading thus up to the octave of the final
:^==
-^
of terminating a counterpoint
the upper part
regularly
with two notes to one.
put a minim rest at the beginning of
letting the counter23oint
d-'-i
7.
easy to sing than the other allowed
easily got rid of
It is considered elegant to
6.
the
and can be
is less
on
to
f^-
-ts^-
of this
fermo
thus
fall
p
species,
to
the
the down-beat of
sixth on
the
weak
time,
thus
122:
"CT"
and
a
if
fifth
the counterpoint be in the
lower part,
it
should properly have
on the down-beat of the last bar but one, followed by a minor
third on the
weak time
-="-
thus
^lo~
i^f^

8.
We
will
now
give examples of this species
Counterpoint.
gEl^^
122:
Counterpoint.
r^
^ ^_
,
^2:
Z2:
fS>-
^21
(S
4t-
Canto fermo.
I!
15
-G>-
(S
_CZ_
THE PEINCIPLES OF
16
Sometimes, in order to secure a melodious flow of connterpoint,
9.
bj
a
a discord
licence,
case, of course,
cords
may
the
be introduced on the down-beat.
notes
In such
on the adjoinmg up-beats must be con-
thus
'^-7z^-
:^
i^z:
iq:
zi:
iîz:
:22:
-^:jr
This licence, however, should be used with caution, and only

parts
move
when
the
in contrary directions.
10. There
is
a kind of counterpoint inte mediate between this and
the next species, which

three minims,
is but seldom used.

In it every bar contains
and every note of the canto fermo is lengthened by
a dot.
11.
In
this variety the
two
last
laws which have been already laid

one.
minims are governed by the same
down
in the
case of two notes to
Examples
Counterj)oint.
ZijL
:2i=
Z2. ^
:?2:
i^
--^^=^
z:^
(S>-
221
1^=^
O-
'B
Canto fermo.
i^
i^
Z2:
:^2:
b6
-o-
hS*-
122:
#^^^-^
17
CHAPTER
Third
1.
the
In
last
species.
species
this
Four
IV.
notes to one, in two parts.
of counterpoint every bar except the
must contain four crotchets against
first
the semibreve
of
and
the
canto fermo.
2.
Skips should be avoided as
greater than a
3.
ceeding
much
as possible, especially intervals
fifth.
Every bar should commence with a concord.

crotchets
may
be
alternately
The three suc-
consonant and dissonant
but
every discord must be preceded and followed by a concord, and no

discord
-y
may
be attacked by a skip.
1
Examples
THE PKINCIPLES OF COUNTERPOINT AND FUGUE.

4.
The unison
allowed in this species, except on the
is
19
first
note
of the bar.
5.
Zarlmo,
this species,
Fux, and
when
other
the second or fourth crotchet
case they allow a concord to follow by a skip
:?2:
-9-
-s*-
"C7"
is
f
e^-
ii:=o:
point of which
it
it is
by
is
dissonant, in which
thus
:g:
^^rf
î^^
'-QT-
and Fux explains
allow a licence in
old contrapuntists
-&-
-^s*-
122:
-s>-
certain passages in florid
a simplification,
e.
^
-s-
-iS*-
But Cherubini demurs altogether

would rather write thus
to
the use
of this licence,
-&-
the whole, Cherubini's view seems to be the more consistent
and reasonable.
The student
is
therefore
recommended
counterpoints as the above, although they have the

classical
6.
and
1221
^^
XT
On
counter-
g.
simplified into
-''^3-
rr
"C7"
reference to
-Try
"CT
to avoid such
sanction of great
composers.
To save consecutive
fifths
three, crotchets are required.
or
octaves,
more than two, or even
All the following examples are faulty.
THE PKINCIPLES OF
20
i
W
^^
^t^^=i
-<s-
6785 8565
-J
^s^.
^^^.
^-jtJ^zst
-TOr
3458 5678
I
î
i
^
'^
'^
'
I
7.
The
interval of the tritone, or
augmented
fourth, in
the melody
must be studiously avoided, and will not be made better even by

fiUing it up with intervening notes, excejDt when it forms part of
a series of notes, proceeding diatonically through it and beyond it.
Examples
êSE
^=at
:^2:
-<s-
-^s*-
S
Z2:
(S*-
Wrong.
^-g
icz
ii*^
-s*-
Rio'lit.
Wrong.
S
:z2:
:?2:
1^2:
fES
lliffht.
-s*-

8.
It
is
commence the first bar with a crotchet

The first note after the rest must always
elegant and usual to
the last example.
rest, as in
21
be a concord.
9.
There should never be the interval of a seventh between any
note and
the
next
hut one to
or any larger interval
does not
fall
under this
be a ninth,
eighth however, being a perfect concord,
the
should there
Still less
it.
rule.
Examples
--
Wrong.
-^
Right
Rie-ht.
10. In the last bar
be a third.
If the
but one the best plan
counterpoint
diatonically to the octave
i
And
if
then
rise diatonically to
Rig-ht.
the counterpoint
is
is
in the
is
to let the first crotchet
ujDper part,
it
will
ascend
thus
--^
1^2:
~C5"
in the lower part, it will
the octave or unison
w^m
-<s<s>-
thus
fall
a third and
THE PPJNCIPLES OF COUNTERPOINT AND FUGUE.
22
11. It is sometimes necessary to allow

the parts to cross.
But this
should never be done tHl every other
mode of escape from a difficulty
has been tried in vain.
12.
The
folloA\ing
examples will serve as models.
--]=
P^=?i
^5Pj
^^=^=^
Canto fermo.
i?:^:
;3E
^TT
-Gh
~r2L
^^n^:^
:2_
3^^^^S ^3F
-<s>-
-o-
Z2
Canto fermo.
xz:
-<s>-
Sfe?*=^r ^-^
;e^!3^
-^
'ZîL.
tî^H
a=*:
-s>-
iq:
i:2L
B^f J p f
-&>-
Z2:
CHAPTER
Of
V.
Syncopated counterpoint, in
the fourth species.
tivo parts.
1.
This species admits only of minims, and a concluding semibreve.
2.
semibreve
is
said to be syncopated
when
struck on the
is
it
up-beat, and continued over the down-beat of the next bar
i
or,
as it
is
-.
now
In the
:?2:
-<s>-
-Gt-G>-
usually written
E!^
3.
53
last
jî
z:^:
rj;
iQ.
.e>-
1?:^:
^-s!=
-Gh-
example there were no
ever occur on the up-beat
Nor must they
discords.
but on the down-beat they are permitted,
provided they are prepared and resolved according to
harmony which
refer
Chapter VIII.
Example
>
thus
to
suspensions.
J J_Jq^
i
Z2:
i^
See
-jzt
" Treatise
-&-
s>-
the
on
i:
rules
Harmony,"
~?2
-&
-G>7
of
THE PRINCIPLES OF
24
Always
4.
let
ceding chord.
Always
5.
dissonant note be heard as a concord in the pre-
tlie
This
called preparing
is
dissonant note by
the
resolve
it.
letting
descend one
it
degree to the succeeding concord.
The
6.
By
made
serve
as
the
preparation
leaving out the dissonances, the derivation of them
clear
s>
may
See last example.
for the next.

7.
of one dissonance
resolution
be
will
thus
^^-
i^
-G>-
i^
1^21
-j^z
-<S-
\Z2L
-Gh8
Let us take this example, and leave out
tlie
when
dissonances,
it
will
become
S
I
8.
by
-G>-
resolve a
series
i^^
If
we
the octave,
we
of seconds
1^21
by the unison,
or
:^ -^
or
<s^
will produce,
-<s>-
ocJ^^^_^.^:
I!
-G>-
z:
"O-
when analysed^-
or
-<&
of ninths
shall produce hidden unisons or octaves.
'-^=^
ffi^
-&-
ZIZL
CJCJ
i^ A
-(S>-
221
'Tizr
G>'
And
same way the following succession
in tlie
._C2-
-s*-
-S>-
~-T^4^^^ô-
J!EigG>-
when
25
z<S-<s>-
122:
-^-
îT^F
/S'-
-iS"-
P#"
analysed,
thus-
resolved into consecutive fifths;
is
-S>-
iFE!^&-
:^:
:?^
-s>-
:z2:
-s-
1^21
-^-
-^s*-
-(S-
1^2:
-<s>-
All counterpoint of this species should be tested in this way.
The dissonances of the fourth and ninth should be avoided as

much as possible, when writing in no more than two parts. When the
9.
counterpoint
and when
10.
is
it is
upper
in the
part, the best dissonance is the
seventh
in the lower part, the best dissonance is the second.
Every bar ought
to be
syncopated whenever
it
can be done
without either going beyond the limits of the voice, or leading to

frequent repetition of the same phrases, or involving liability to contraof a graver kind.
puntal errors
syncopation
11. It
rest,
is
by a
In the
the
arise,
difficulties
last
first
bar with a minim
perfect concord at the up-beat.
bar
but one,
if
the counterpoint
is
the upper
in
syncopation of the seventh should be invariably used
that of the second,
M -&o-
-r
the
be interrupted for two minims, but never more.
usual and elegant to begin the
followed
12.
part,
may
Whenever such
the counterpoint
if
-^
^-
22:
or
is
in the lower part
:::î==g--g
^^j^
and
thus
-<s*s>-
THE PRINCIPLES OF
26
The following examples"'
13.
-^
'(',
:z2:
.^n
are intended as models-
^ ^=^
P^=^^^
3^
fS>-
Canto fermo.
:q:
221
i!
Qiqzzpzi^^=1
Êi
22
:^=^
.C2^
in'
-<s-
-s>-
12:2:
^2:
-^Sh-
(S>-
1!S>-
22:
4r^
-.S>-
-<s-
22:
Canto fermo.
fcffi
I 1^=:^
-<s>-
22:
^=^^=P
11
-<s>-
_C2_
22:
22:
^21
.C2_
zz:
1^=3?
-<^
22:
2:2:
I^Z
-<s>-
^^
C2-
g:]T~"r^^
3
From Fux,
"
:^r^::
Gradus ad Parnassuin,"
p. 74.
=S
:?2:
22:

There
14.
a variety of this
is
Of
fermo.
this
an
^2:
(S>-
sometimes used, in which

against one dotted semibreve in
species
are placed in every bar,
three minims
the canto
27
example
two
or
will
be
sufficient
explanation.
^m
rJ
-^
>-
:^
--^
^~
=?:2:
q=f
-^
Canto fermo.
W^
rzf
:?2:
iq:
ffiEs:
-s*-
76343a 766
?2:
:^=^ :^=^
f^-
:^:
-^=^:
:^=
:^:
tSt-
pzgp>-^|E^^
-f-
_C2-
+ai=22=z:
-S>V-
43676
76
-^
122:
-7^-
Canto fermo.
:^z:
1^21
W^
Z2q~p:
:^
221
:& e; r^=^:z:&z^ ^==^

3
2
3
-Q.
1^2:
-S*
-<^
-&-
:q:
-<ST-
(S>-
(S-
icz:
fe
y--^- ^21
B:
2
|(S^
i^
-^
^(^Q Q
3
:g r^
3-23
E
PTP ^ i^
2
Z2:
CHAPTER
the Jifth species, or florid counterpoint, in two imrts.
Of
1.
VI.
This species comprises
the other kinds of simple counterpoint
all
combined, or rather used alternately, together with certain ornamental

(or " diminutions,"
variations
the
sake of
elegance,
to
as they are sometimes
called),
added
for
which the name " Florid Counterpoint"
is
attributable.
The
2.
first
bar should begin
with a minim
rest,
or
sometimes
a crotchet
rest,
followed by a concord.
The
last
bar but one should be formed as in the fourth species,
3.
described in the last chapter.
Two
4.
quavers in one bar, together with dotted semibreves and
minims, are admitted by

(a)
No.
way
of elegance and variety.
In case of syncopations, in
I.
Simple Form.
-^l
following manners
tlie
Yuriatiou
ii'S
-&
Variation 2.
1.
-Gh-
:^
-<s-
3.
=&
'C7-
i iz:^
fZjr
-^z^
Variation
y^
-&-
THE PRINCIPLES OF COUNTEEPOINT AND FUGUE.

No.
Simple Fokm.
II.
^-f^-
Z2:
Variation
:2:z
Variation 4.
-&-
Quavers
quarter
1221
should
of
Variation 6.
:^2:
-S^-
-<s>-
never be
admitted in the
but
the
bar,
^^
(^_
-m,
tr^--
-^
22:
-<s-
Variation 5.
-e^-
(/3)
Z2:
-s-
Variation 3.
^^^HEEdf^
-Gi-
=!'i:^_z :^-atrf
-<s-
:S2:
Variation 2,
1.
29
only in
first
unaccented
or
third
portions
thus
Ko.
No.
1.
^^
No. 3
2,
122:
Z2:
-s*
In the last example four quavers are introduced. This is,

however, by no means recommended as a frequent practice.
Quavers
(7)
should never
move by a
skip,
but
always
dia-
tonically, as in the preceding examples.

5.
may
The following examples of
florid
counterpoint altered from
serve as models
'W=^
S ^
^^- 5t^
fS-
H=^
Canto fermo.
S;
xz:
rcz
-^-s-
-ry
Fux
THE PRIXCIPLES OF COUNTERPOINT AND FUGUE.
30
C5:
-r^L
mCanto
i'ermo.
T^-
-C2_
gg^F=^-t^:g^j^
-s>-
Z2:
-Gh-
1^21
CHAPTER
Note against
First species.
1.
All
VII.
note,
iyi
three parts.
the rules whicli have been given for two-part counterpoint,
apply equally to the present kind, except where otherwise specified.

2.
far
a major
e.
i.
As
as
or
possible every bar should contain complete
minor
Harmony," Chapter
3.
If the
triad,
canto fermo
descend to the
Canto Fermo.
its
first
inversion.
on
III.
hidden octaves (Chapter
may
or
harmony,
See " Treatise
final
is
II,
in one of the
sect.
6)
is
so
upper
parts, the rule
far
relaxed that the
by a skip in similar motion
thus
about
bass
THE PRINCIPLES OF
32
In three-part counterpoint skips are always to be avoided, unless absolutely necessary.
The
5.
chord
contrapuntists generally avoided the third in the fin;J
old
or if they
major third,
used
preferred
fifths,
(the
all,
To modern
they always made
This
major.
it
ears a concluding chord
composed of
In
without any third, sounds harsh and crude.
counterpoints,
three-part
at
thus introduced into the minor mode, was called the
if
" Tierce de Picardie."
octaves and
it
third
therefore,
being
the
following
always made major):
to
are
positions
T
>
-!
:',
be
*i
-y
These are placed in the order of merit.

Tlie
0.
and sixth ought never
third
them must be heard simultaneously
in
to be doubled,
two
neither of
i.e.
This rule
parts.
may
be
may
be
relaxed, however, in case of emergency.
In
7.
this species of counterpoint neither of the
upper parts
at the distance of a fourth or an eleventh from the bass part.

interval
between the two upper parts
The
9.
Never allow a part
fourtli, e.g.
to be
stationary on
10.
We
now
Canto fermo.
,
\?^
or \o
one note for more than
bars at most.
tliree
II
be a
bar but one must always contain a complete chord.
S.
last
may
But the
subjoin examples to serve as models.
33
Canto fermo-
>
W^
zzr~r^~
fjr
-^
-s
-G>-
:C2ZIL
-s-
:q:
122:
1^21
-s-
-<s^-
t::?-
L'^z:
-^-
Z2:
-G>-
Z2:
-s>-
-o-
CHAPTER
Second
1.
The
Two
species.
VIIT.
notes to one, in three parts.
old contrapuntists laid
it
down
that
it
by introducing contrary motion
consecutive fifths
is
in
allowable to save
the
inner
part
thus
22:
--^-
e
But the student
is
-(S-
fS-
-G>-
-jTJL
iq:
strongly advised not to avail himself of so question-
able a licence.
The two minims must be placed exclusively in one and the

same part throughout a piece, and the other two parts nuist contain
2.
nothing but semibreves.

3.
The third
may
be
doubled on
the
up-beat,
down-beat, except in cases of absolute necessity.
but
not on
the
THE PRINCIPLES OF COUNTEEPOINT AND FUGUE.
The unison should be avoided generally on the down-beat, but
4.
allowed on
is
and
35
last
5.
up-beat.
syncopation
It
is
of course allowed also
in
the
first
is
allowed in the
last
bar but one,
as
in
the
Examples
fourth species.
No.
the
bars.
I.
Canto fermo.
1^21
fe^
-s*-
Wd&ÊE^
22:
-^=^
-<s-
s>-
:^
Z2:
(St-
z^-
Z2:
g:
-f^
22:
-&-
'.Z2L
:j!zz_
THE PKIXCIPLES OF
36
No.
II.
fS-
ffiî
^Î=Z^
î =^
T^-
iÊE^
Canto fermo.
lU-
:z2:
Effi
^^^
-<S'-
-<s-
1^2:
s>-
PE^
Z2:
-s>-
--r^
^2:
(^
:?2;
2z:
^~
:&
pfa
-s-
-o-
12:2:
:zc2zz
-e>-
-<s>
-s>-
-s*-
No.
III.
5E^<^~
Z2:
i^z:
-<^-(S>-
Canto fermo.
3!==^-li=t-
ffi^J^
ry
hS^
-(S>-
1221
1^5=1
-^
O-
-(S-
-/S-
-lS>
X2:
g;
r:^-
tr-
37
CHAPTER
Third
Where
1.
If not,
let
The only
species.
Four
notes to one, in three iKtrts.
possible, let every bar
the
cases
complete chord be
in
IX.
commence
witli a complete chord.
introduced at the third crotchet.
which a complete chord cannot
be introduced at
when a complete chord wôuld produce consecutive

octaves or fifths, or when a transient dissonance (or passing discord)
is employed.
But such cases should be carefully avoided in general.
either
2.
one.
beat,
No
are
syncopation
The
is
allowed
following are the best
in
this
species
in
the
last
ways of concluding
Cauto fermo.
-S
=Jf^:
-S)-
"C7"
Canto fermo.
Canto fermo.
is
Z2: '-'^^
z:2:
-o-
:i:2r.
hS-s>
-Gf1221
-o-
bar but
39
Canto fermo.
U-H
it^
3?
'JTJL
-^-
-(S>-
:fi^:
icz:
Canto fermo.
-^'
1^21
J-|^
TTT
1.^
Canto fermo.
%-
122:
s>
-<s>-
:JIq:
U:
The following examples
3.
No.
I.
are intended as models.
EE!3:
-<s>-
^^>--tfF^
Canto fermo.
:z2:
feEg
122:
-cs-<s-
z:2:
:q:
gEfi
-o-
rr>~r"^n^
-s-
:z2:
:^2:
THE PRINCIPLES OF
4Q
No.
II.
IS
w~r
S=p:
;s
=1222:
1221
WM
-Gh-
-<s>-
:?:2:
Cauto fermo.
1^2:
-<s>-
J!
1^2:
-s^-
-s>-
^ssg ESSSfES
-S*-(S'-
-<s^
-s>-
No.
'It^~
-s>-
1^2:
-s>-
I^
^^^=^
122:
1^
1^2:
-s>-
III.
TT
122:
1^2:
-iS^
-s>-
Canto fermo.
B^
IE
fefe^
122:
"C2:
1*=^
-<S>-<s>-
E^
:22:
^^^
-r-
r *
f
"
41
THE PRINCIPLES OF COUNTEPtPOINT AND FUGUE.
42
4.
After taking
the
various
given
subjects
at the
end of
this
volume, and treating them according to the above models, the student
will next combine the second
and third
each according to their respective rules.
-f^^T-^^-^^-
species of counterpoint, treating
An
example
is
subjoined
CHAPTEE
Of
1.
same
the
As
fourth
Syncoixded counterpoint, in three parts.
sjjecies.
canto fermo and the syncopated part, the
as regards the
flir
X.
rules apply here as in the fourth species in
The
2.
third part, which
concords both with
Thus,
syncopations.
the
if
two
of semibreves,
consists
canto fermo
parts.
must always form
and with the
resolutions of the
the syncopations are removed, there will remain
regular counterpoint in three
parts of the
first species.
For example,
take the following

-G>-
--^
i=^F='-^
If
22:
we remove
fS>-
^-
-(S>-
T^
fS^
Z2:
-s>-
the syncopations,
it
-Gh-
1^21
(S-
^2:
-&-
:q:
will stand thus-
:q:
THE PRINCIPLES OF
44
-S>-
3i
iiz:;z
i!
3.
By
T^
32:
-iS-
1^2:
hS>-
-o-
-<s>-
:c2:
-<S'-
1^2:
1221
test,
we can guard
against hidden fifths or octaves
by removing the syncopations, they cease to

be
Let us take two progressions by synand analyze them in this way the result will
be instructive.
For,
hidden, and are instantly detected.

copation,
;22:
i^z:
a similar
by consecution.
45
where we resolve the counterpoint into a sequence of sixths.

may be tedious, but it is not absolutely incorrect.
Such
a series
-^ r^-
1^2:
-G)-
iq:
-s>
Siffi
:p:
:P2:
:^::=[^
S-f^
-s>-
122:
:^
-fS*-
-(S*-
:c:z ~^^^~f3-
(3545
8
-<s>-
h^=^
:?:
.5^-^5
3
i!
i^z:
-s*-
^
z:2z
Analysis
-fS*-
F* E!
:^2:
-<S>-
1^233
122:
-^'-
:q:
&
-fti--
&?in^
where we
z:^:
find
-1^-
-^
a most objectionable series
therefore such a series
is
The student is recommended

the same way.
Note.
All
example
in
-S*-
:z:5:
Z2:
-.s-
122=
consecutive
fifths
pro-
to test all his syncopated counterpoint
the best writers and composers of the sixteenth and seventeenth centuries
but
it
fifths
seems such an unaccountable
severity of this style of composition, that Cherubini
and
of
1^21
utterly inadmissible.
were accustomed occasionally to save consecutive

last
-&-
122:
"?>"
These were hidden, but not destroyed by the syncopations
duced.
in
-(S"-
-(S*-
"C?~
warning the student against
its
is
employment.
by means of suspension, as in the
licence,
and so inconsistent with the
quite justified in pi-otesting against
it,
THE- PEINCIPLES OF
46
In this species
4.
the
all
dissonaDces
may
be used, viz. the second,
the fourth, the seventh, and the ninth.
The dissonance of the second can only be used
i.
should be accompanied either by the perfect
in the bass.
fifth,
It
or the perfect
fourth.
The dissonance of the fourth should be always accompanied by
ii.
the
fifth,
and
resolved on the
third.
It
can only occur in one
of the ujDper parts.

iii.
The dissonance of the seventh should be accompanied by the

and resolved upon the sixth. It can only occur in one
third,
of the upper parts.

iv.
The dissonance
of the ninth should be accompanied
and resolved on the octave.

upper
Where
5.
It
parts.
possible,
should contain
every bar
case,
the
one or two notes, or a rest
may
be interposed.
it is
When
syncopation
a syncopation
may
be
but
the bass remains stationary on one note for several bars,
allowable to resolve one dissonance on
tionary bass of this kind

first
omitted for
another.
This should not
be done unless the bass sustains one note for at least two bars.
the
third,
can only occur in one of the
when such cannot be the
6.
by the
is
called a Pedal.
of a series of discords
The intermediate
sta-
It it always necessary that
introduced on a pedal should be pre-
pared by a concord, and that the
on a concord.
last of the
discords
may
series
should be resolved
be prepared and resolved
on one another, provided only that they are resolved by descending

one degree.
Examples

No.
I.
^: r^ -G>-
i^-
5=^=^21 =^ -^
IZJ.
(S>-
-B
a z:=22:
No.
fv
^21
T^-
fS*-
-<S-
Z2:
1)
Z2~::i^^2
-s>-
Z2:
-<s>7
jr2.
-Gh
Z2:
-Gh-
7^
-fSt-
-G)7
Canto fermo.
47
:g2
-^s*-
5G 30 7t!-'7 ^^
5(3
.5
II.
Canto fermo.
-f^-
-s-
Tjl-
-<s-
Z2:
-s>-
122:
-(S>-
S
3
It will
the bass
is
i^:
-(S*-
:q:
the part next above
regular counterjioint to the uppermost one.
:?:2:
6
5
It
it
is
of the
In the last bar but one

seventh,
the fourth,
when
when
it
the canto
is
-s-
i^:^:
always
tliat
is
while
strictly
in
it
were,
in chains,
desirable to introduce the dissonance
fermo
the canto fermo
:P^
would appear, as
to usurp the office of the bass, so far, while the bass

8.
^-
be observed, on examining the above examples,

stationary,
Eg^
Z2:
--s>-
1^2:
7.
-^fS*-
:^^p4^
w^
-^TN
is
is
in the
in the
lowest
jiart
that of
middle or in the upper
part; and that of the second, when the syncopations are in the
bass.
THE PRINCIPLES OF
48
9.
No.
are given as models-
I.
iS>-
-.
Z2;
fSt-
rz^zziz^^
ZI2_
T2L
-rS>-
-<S-
Canto fermo.
1^2-
fe
-fr^
-(S>-
^n
-s-
Z2:
-s^
:a:
Z2:
1^21
:^2:

n
49
50
The student
10.
will not require
point in triple time, as

11. After
its
any examples of syncopated counter-
rules are the same.
having carefully added counterpoints of this species to the

the end of the volume, according to the
subjects given
at
down
chapter, the student will do well
in this
species,
first
to
with the second, and then with the
canto fermo in the different parts alternately.
iiiles laid
combine the fourth

third,
putting the
CHAPTER XL
Of
the,
Little need be said
1.
of
this
species,
^V^
as it
thiêe j^ctrts.
is
merely a com-
and the variations and ornaments of which

admits have been sufficiently described in Chapter YI.
bination of the four others

it
Florid counterpoint,
fifth species.
It will suffice then to give
2.
No.
some examples from Fux.
I.
!^
:^:
:^3
tffiez
-^si
Canto fermo.
:^2;
-G>-
:q_
-s>-
-jr2L
-<S-
2:2:
I!
-jr2L
zz:
-S>-
-^-
-s>-
Z2:
I
I
rcz:
-(S>-
-lS>-
221
-fS-
:^
-yS'-
-<5>-
1221
Z2:
-<S>-
-<s>-<S>-
-<s-
II 2
THE PRINCIPLES OF
52
No.
II.
Canto fermo.
22:
-^
-<s-
1^21
SêeS
>
a^lt
CJti
-S>-
22:
-2-
22:
:r:zL
-o-
-<s>-
CJl.
-^
1^
=^^:îir
Hidden
^^^
fifths.
octaves.
<Sf
-s>-
:z2:
-s-
KB.
No.
S^^
Hidden
-<S>
-CS>
?2:
N.B.
III.
a?:
;c2i
22:
zz
-<s>-
-<s>-
Canto fermo.
t*
-<Sh-
~^n
S^
:c2:
^"
EES=
T^3
-(S-
-f^
N.B.
^g

-Gf-
1^21
1^21
(S>
At
in
32:
-<s>-
12:2:
the
^
-I
places
the "hiding
T=^-
g-^
53
-<s>-
122:
:^2:
-Gt-
:&
TP-
:^=1M
marked N.B, Fux has made use of
of consecutives," which
;tt^
we do not
certain
hcences
advise the student
to imitate.
3.
the
After adding
florid
student will find
it
counterpoints to the subjects given hereafter,

interesting
second (or two notes to one)
and
to
combine this species with the
also,
counterpoint where the canto fermo
florid
fe^=^^^
finally, to
is
write each part in
not placed
thus
^=f^
tj
Ci-
>iznz=^_l_=g:fa
-~*^^
feffi
msE
-G>-
122:
-<s>-
&c.
-<s-
CHAPTER
Of
and third species of coanterpoint,
the first, second,
in
four
j^ctrts.
In four-part counterpoint the severity of some of the foregoing
1.
rules
necessarily
is
The
2.
relaxed,
on account of the necessary doubling
of
and consequent awkwardness of progressions.
intervals,
triad consists
of only
one of these must be doubled.

the minor third than the
are
XII.
forced
to
fifth,
We
In four-part writmg
is
better to
double the octave or
major
the
an incomplete chord,
use
must be simultaneously doubled.

possible.
sounds.
three
It
third, or the unison.
it
is
evident that two
This should be avoided as
should also avoid doubling the sixth, unless
we
If
notes
much
it is
as
abso-
lutely necessary.
The
3.
many
The
should be kept, as far as
parts
parts
may
Consecutive
occasionally
fifths,
hij
may
be, equidistant;
one another, to escape a
cross
and
two lower parts should be avoided.
successive thirds between the
difficulty.
contrary motion, are allowed between the three
upper parts, but not in the
bass.
It is also
allowable to proceed to
a perfect concord by similar motion, except between the extreme parts,
where
Note.
to
generally forbidden.
is
it
In
the
case
of the
two
last
chords the extreme parts sometimes are forced
proceed to an octave by simihir motion
until every
4.
means to avoid
It is
it
but this licence should never be admitted
has been tried in vain.
however forbidden to approach a
luiison
by similar motion.

5.
No
dissonance should ever be resolved by crossing another
55
jpart.
Examples
:^:
iS>-
T^
:t
:^
&
'
Q_
:^
It
common
7.
recommended
is
wroiif
that
tlie
first
chord should be a complete
chord, tliough cases sometimes occur
The foregoing
wrong".
6.
(S*
where
this is impossible.
observations, together with the rules already given
to counterpoint
two and three
be sufficient
in
relation
to
guide the student in the compositions of counterpoints of the
second,
and third
species.
in
It will
now
be
models of each kind.*

No.
1.
Canto fermo.
First Species.
parts,
enough
will
to
first,
give him some
THE PRINCIPLES OF
56
No.
1
II.
Second Species,
No.
I.
Canto fermo.
-
-4-
-,
57
THE PRINCIPLES OF
58
No.
II.
i!
122:
T^
-(S-
-s*-
T>
s>-
Canto fermo.
isz:
i^z:
i!
-iS>-
-G>-.rs:
Z2:
-<s>-
i^:
Ê^
VT~^
-G>-
-s*-
^"^
-(S>-
22:
Jiz:
:^:
59
No. III.
-^
22:
-<s>-
122:
ISX
221
-<s>-
-&>-
ISX
-<s-
1^21
-<s^
i!
^r?'
Canto fermo.
I^X
te3S
X2:
-<s>-
-(S-
22:
-(S*-
-<s>-
-^>-
22:
122:
.^2-
Z2:
iq:
-S>-
-<S'-
:tf^
22:
22:
221
-(S*-
-^-
-(S-
-G*-
-s>-
-<^-
g^
-OL
-(S-
-cHs-I
-&-
22:
:z2:
-o-
lifo:
22:
-&-s'-
-c^
THE PRINCIPLES OF
60
No. IV.
35
*-
~7T
zz:
Z22:
-<S>--
:^
i31^=^
:^2:
-<s-
-s-
-9-&-
22:
>^2:
Canto fermo.
hs>-
s>-
:^2:
22:
^s>-
-<s^
:s2:
-<s^
-s-
:22:
-S'-
Third
No.
61
Species.
I.
W^^
S3^
ittei
Canto fermo.
fcdi
:q:
g3e
-s-
-G>-
:2z:
-<s-
:?:2;
1221
22:
-s>-
1^2:
1^21
3!EE^;
-(S*-
it:^
=^#-
-Ql
-O-
-s*-
ff^
î
321
:q:
Z2:
:c2:
-G>-
-ZJl.
-0-<s-
-o-
-<s>-
-<^-
-<s-
-(S-
221
ife
-s>-
-(S:z2:
THE PRIXCIPLES OF
62
No.
II.
1^2:
22:
-<S>-
lf==f-^-ir
S^
22:
-G>-
-(S>-
-<^-
# bJ f
IC2:
-<sf-
-G>-
Canto fermo
-<s>-
22:
221
^==r=it
-o-
@^
-<s>-
-(S>-
-<s>-
-(S*-
-S>-
-<S-
Z2:
22:
<s-
Z2:
=5^
-^4-î^îr=^^f=F
<s>-
-&-
22:
i^z:
-^-
:tfQ:
-(S>-
-<S'-
No.
63
III.
-ts-
122:
icz:
-<S'-
-s*-
:^2:
-<s-
Canto fermo.
fe
e
-<^
rj-
Z2:
*qt
3:
Z3:
-O-
-<S-
-<S'-
j_
i;.^
12:2:
1221
22:
:z2:
-s>-
:Jf^
-s-
THE PRIXCTPLES OF
64
No. IV.
zz
22:
icz:
-1^-
-<s>-
Canto fermo.
-<s>-
122:
i^z:
-<s-
hS"-
:?2:
::c2:
-<s>-
S^
_^
r^H^r"
-<s^
22:
-s>-
122!
-C2-
2^2:
^ ^ H^
I
22:
-<S-
-<S-
-TQ-
-e*-
-<si:z:2:
:^=P^
^d-^-r-id
#=^
^ ^
^ ^
1t^
-s>-
-S>-
312:
-<s>-
J^
-(S*-

8.
After
exercising
his
species
third species in
the
of the parts, such,
Ft^
the
in
from Cherubini
as this
in
the dif-
canto fermo in the bass,
(S*'<Si-
tSi-
-Gi-
-<s>-
tea
species
his second species in the alto, and his

Or he may adopt any other arrangement
^2:
-Gi-
three
tenor,
treble.
e.g.,
various four-part
these
in
may combine the

For instance, he may place his
parts.
fost
diligently
student
counterpoints, the
ferent
himself
65
^21
-^-
--pz
-G>-
22:
-^(9-
i^
i^:
IfiQI
122:
-iS>-
wm
iS
Canto fermo.
m=(\
-&
hS^
22:
-G>-
:q:
Z2:
i^z:
221
-s-
221
-&
22
T^
?2:
-s>-
221
-<S-
-<S-
^^^
221
-O-<S-
-(S*-
12:2:
22:
^-^^
-s^
-S"-
-s>-
22:
^=1
CHAPTER
XIII.
Fourth and fifth species of counterjôint

1.
A FEW
additional rules
in four parts.
and cautions are required
the fourth species of counterpoint in four parts.

species in fewer
will
parts
be noticed as they
2.
The student
is
remain in
force,
except
treating of
in
All the rules for this

in
certain
cases,
which
arise.
advised to
make every chord
complete, whether
the syncopated note be consonant or dissonant.

3.
The following examples of the ways of employing dissonances
are taken from Cherubini.
No.
1.
No.
2.
No.
3.
No.
4.

No.
No.
5.
T^
-(S>-
-S"-
:cz
8.
-G>icz:
-O-
-s-
~ry
-S-r-<S>^
No.
7.
1^21
1^21
-r^L
-(S^
No.
6.
67
-o-
:^
-s^-
HS-
Z2:
-<s-
-<s>-
-(S-
22:
these, Nos, 1
-^
Z2z:
Of
-s*-
:z2
X2: -r2L -f^-
iQ
and 2 give the use of the dissonaDce of the fourth,
3 and 4 that of the seventh, 5 and 6 that of the ninth, 7 and 8 that
of the second.
4.
If
we
test the
recommended
in
above examples by omitting the syncopations, as
Chapter X.
3,
we
shall
find that in
all of
them the
chords are complete.
5.
breve
It
in
is
allowed sometimes to put two minims instead of a semi-
the
accompanying
resolved on a different chord

obtained.
so
parts,
;
by
The annexed examples
this
that
the
dissonance
means great variety of
are from Cherubini.
may
be
effect is
THE PRINCIPLES OF
68
Treatment of the Fourth.

No.
No.
1.
2.
122:
<S-
T^
-<&-
tS>-
&-
-s>-s-
:^:
22:
-s'-
,5
4
-s>-
:q:
-c^-
:?:
:P2:
:^
Treatment of the Seventh.

No.
"^
No.
1.
qzzq;
-s>-
1221
-o-
-s>-
221
z:^:
-<S>-
^M-^-
1^2:
(S^
No.
3.
122:
(S-
2I
H^^-
-<S>-
(S-
:z2:
No.
2.
-<s>-
-cz:
-<^
:c2:
4.
1^2:
-^-
-<s-
?2:
?2:
-G>- r:z.
^1=^21^
:^2:
-,s-
1^21
-<S>-
22==^

No.
No.
-o-
13-
No.
6.
7.
&
Z2L
Z2:
-C2-
69
-(S>-
:^
-<S>-
^21
^21
fS>-
-&
-,^
:-
I
uS:
--
fS*-
^21
-^-
T^-
-<s>-
C5:
-<S-
^21
ifd:
-<s>-
-^
-<^-
hS*-
cz
:&
i?:^:
and 7 the dominant or fundamental seventh is, as

were, accidentally produced, and treated as an ordinary dissonance.
In Nos.
5,
6,
it
Treatment of the Ninth.

No.
No.
1.
T2L
J^
f^
-(S>-
22:
iS>-<s-
-^-
|S>-
T^
221
-^-
122:
~o-
3.
-S>-
No.
2.
(S*
s>-
T^
-^s*-
-^-s>-
122:
-TD
'
iq:
fS-<s>-
221
z:=U
THE PRINCIPLES OF
70
No.
No.
4.
3Ê;EÊEg
hS-
m=p^
6.
:^=^
-Gh-
-<S>-
-<s-
1^2:
No.
5.
ITjL
-^-
-<s>-
ft
:p^
:^2:
1^2:
-<s>-
-^-
=P^
iSi-
^2zzn
2>:
22
-<s>-
:^
jrzz.
-fst-
1:
zi:
1^21
3=H
-<s>-
Treatment of the Second.

No.
No.
1.
No.
2.
-TTT
Z2:
-lS>-
No.
3.
1^2:
-^- ~j:2l
-(S-
hS^
22:
-lS>-
Z2:
-<^
221
_C^
-^?-
-(S*-(S>-
-iS>-
r^
:?2:
-s>-
-rr
22:
22:
-is>--i-<s>-
irZEL-CZ.
4.
22:
-^
Z2:
-s>-
rj
22:
-tS^-G-

No.
No.
5.
^21
Z2:
71
No.
6.
7.
-s>-
nrcz:
-o-
_C2_
-<s-
-^
In Nos.
s>-
-Gh-
:z2:
Z2:
f^-
^-
-s>-
4 and 5
I^
1^2
-<s^
221
|S>-
accidentally produced,
On
^m
-<^-
-<S>-
22
rJ
C2:
rJ
the third inversion
of the dominant
and treated as an ordinary dissonance.
seventli is
testing the ahove examples
observable
that although
others which
with an
will
asterisk,
by removing the syncopations, it is

many of them come out correctly, there are
not bear
the
and the student
is
These
last
have been marked
advised not to
adopt them except
test.
as a lare exception.
6.
The use of the
desirable.
of the
fourth
examples
pedal, especially towards a
(See Chapter X.
6.)
Palestrina
without preparation
on
often
pedal,
close, is
often very
used the dissonance

as
in
the
following
THE PRINCIPLES OF
72
No.
i^-
No.
1.
2:z:
221
-s>-
?=2:
-G>-
3.
ig
(S>-
:^2:
-(S-
-is>-
-<s^
jOl.
-<s-
-<s>-
1^2:
-<s^
_C2_
-<S>-
2:2:
i^
122:
t:^
-fS"-
54.*^
8
4
-i^-
zz:
122:
-Si-
-s>-
i^z:
No.
No.
3.
-&p^
4==L
1^21
-(S>-
^21 fS-
:?2:
TTT
-&z
-s>-
-(S>-
-<s>-
-e>-
-(S>-
22:
P=^
4
-Gh
^.
'JU~-
-G>-
-Gf-
1^
-Gh
-G>-
-& -&
?:
_cz;
4.
-s>-
r:?
1221
-<S-
"221
-<^-
:z2Z
2:2:
:q:
:^2:
=1

7.
The diminished
fifth is
with the sixth in the

seventh.
allowed in this species,

inversion of
first
the
m^
and may be introduced
Some examples,
into
any of the upper
chiefly
4.)
it is
joined
the dominant
It
should be
thus
1^2:
-o-
:a:
when
chord of
See "Treatise on Harmony," Chapter III.
prepared by a sixth, with an ascending bass
8.
73
parts.
from Fux and Cherubini, will
now be
given as models.
No.
I.
-&-
Z2:
-(S>-
-Gh-
-^-
-et-
ts>-
tÊffiB
=1
1-y.
_-^:&_f:^
f^-
Z2:
-s>-
-iS>-
:^
^2:
^S-
-&
1^21
THE PRINCIPLES OF
74
No.
II.
rJ
:^
:^=P2:
'-f^=^<s>-
22:
-<S>-
32:
-^-
-(S"-
TTi
-'S-
-o
Canto fermo.
221
Effi
-s>-
-<s>-
-<s^-
-^Gh-
'TTT
iSh-(S>-
rJ
Z2~
zz^
32_
-Gh-
@^
Z2:
-s-
^
i
-o-
f=^
-<S>-
-S-
-<S-
Z2:
g=^
-s>-
321
-S>-
:c2_
-<^-
-S-
^^
-fS-
-<&-<s>-
Z2:
-Gh-
-<s>-JTZ.
No.
III.
-(S*-
I!
-7^"
32;
-s>-
z^
1221
-ry
-S-
I E!^
^ ^-
r2
7^
-<s>-
122:
(S*
It
?=:
Canto fermo.
-G>-
rr
-<s>-
^
1
Z2:
:sz:
-s>-
^21
THE PRINCIPLES OF
76
No. IV^
Canto fermo.
fe
>
:a:
TJ-.
-7=1
J!^ -ÊB
S:
-Gt-
r3
<S>-
1^21
:^
:^z=i2^
1^2:
ICZ
-s>-
-o-
-<s>-
-<s>-
:^^,=
^2:
-Q-
S>-
-f^
s^
i^z:
o-
-f^-
'-B
m
m
-<s>-
T2:
J^~l^
22:
-s*1
p^
-^-
-G^
TT
ti&-
-OIL
C^_

No.
77
v..
T2L
22:
icz:
-^
-<s>-(S>-
Canto fermo.
-(S>
L?:z:
*^-
-s>-
1^2:
izz:
22:
-Gt-<s>-
>
:T=g
-^
:^
-^
22:
_C2_
1221
r^
122:
-<S-
Z2:
22:
1221
-S*-
22:
-O-
Z2:
-&-
-<^-
'^
:^==:?:>:
1^21
-^-
-(S-
-<S-
?=2:
-<S-
-^
1^21
:rz:
T2-
^-
-O- :if^
J^
-e?-
78
THE riUNCIPLES OF
9.
The next example
j^z:
z:
is
a coinbiiiation of thn
^^=PS
:=2
la:
^^^^^^
T^
W-
-iSh-
-^
PL
f
_Q_
-fS>
-f^>-
1^1
-(S>-
-<s^
-*-^
22:
T2:

10.
There are no special rules
few examples, therefore,
will
79
for florid counterpoint in four })arts.

sufiice
to
shew the student how he
should proceed.*
No.
I.
Canto fermo.
zz:
1^21
|_^^^^
#^
~^S-
-^-
-Z2L
-^-
fS>-
-<s>-
-<S'-
-S>-
-<S-
T^
Z2:
icz:
'ZJL
Z2:
I!
:^2:
-c^_
zg^
-(^
1^2:
-<s-
Z2:
=P=1^
1^21
-<^
-S>-
-^S>-
-(S*-
-s>-(S>-
22:
i^z:
-<s>-
Z2:
ie:
-^
-o-
These examples are slightly altered from Fux,
22:
=i^
THE PRINCIPLES OF
80
No.
II.
iq:
-s>-
-S>-
z^
-<s>
122:
:p^
I!
-(S*-
fcffl
2q-s==^
13^^
'^=T^
^21
-<S-
C2_^_j^_
Canto fermo.
-Gi-
m=^-
221
22:
ITT"
Z2:
-<S>-
-^<^-
-^
1^21
4^
-^-<S>-
m
@:
-f^
-<s^
-<s-
-<S>-
-<S>-
^
22:
-iS>-
T2L
-1!^-
^2:
-<s>-
-G>-
-Gh
:z2:
-^s>-
22:
Z2;
hS^
COUNTEEPOINT AND FUGUE.
No.
III.
l l~^
7j_
T2--
-<s>-
-G>-
ifp=
Canto fermo.
122:
1^21
i!
ffi^
(^
-S*-
-<s>-
EE^
-<&-
-<s>-
-<s-
1^2:
3:2:
22:
22:
'ZZll
22:
THE PRINCIPLES OF
82
No. IV.
1"
a^
rj
'
-Tjl.
TT
-Gi-
22:
-S>-
z^:
32:
-S>-
-f^-
Canto fermo.
'Ê:
jr^.
t^
-^
ffiEE
\ZJL
2:5:
-(S>-
^=?s:
ai
:?
-(S>-
^^^
Z2:
f^^P^
=^^=F
1221
1221
:c2:
:i;^:
22:
i?:^
-<^
-<s>-
-<s>-
^
-C2_
-s>-
-e>-
^riZJEZZf^
:c2:
^21
-(S>-
-<s>-
=1M:
-Gh-
-(S>-

11. Florid counterpoint
Or
species.
Of
this
may
it
be
may
itself
be combined with any of the preceding

introduced
kst method the following
i! :q
83
in
two
jjarts,
C2.
T^
-^-
T^
three.
in
an example""
is
-^^^^^
-<s-
or
I^
<^-
22:
ZC21
-rd
-&-
SffiEE^
1^^^^
_,^_i.
te
"^^m
:p3:
w^
1221
:^2:
:?2:i tei:
*z=z^
:C2:
:^
-/S>-
-Gf-
-s-
-hr^
-<s>-
:^:
-fS^
2^
icz:
3^
:if^
fî-L
z:^2:
-<s>-
=C2Z=I ^^.
From Cherubim.
:p=
i*:^
/s-
zmzz^î
hs'--
CHAPTER
Of
1.
When we
counterjyoint in
XIV.
more than four parts.
write in more than four parts, all the rules already
given remain unaltered, except in the particulars which
be specified
the chief peculiarity being the relaxation of the stringency
number of
of the rules as the

2.
hereafter
Avill
great deal
parts increases.
of music
really does not exceed four, or
the place to treat.
We
appears to be in
even three.
many
parts, while it
Of such music
this is not
shall only speak at present of counterpoint in
more than four real iKirts, i.e. "parts which proceed together, and yet
have each a different melody."
3.
When
the number of parts
exceeds
(though of course not consecutively).
five,
Consecutive
motion are also allowed, even between the extreme
may
also be sometimes,
though
rarely,
the latter of the two be a diminished

4.
If in florid counterpoint in
duced, so as to reduce the

to
four,
three, or
four, three, or
be used
by contrary
parts.
Two
fifths
used in similar motion, provided

fifth.
rests are intro-
of parts in simultaneous
movement
two, then the rules which govern counterpoints of
two parts come into
additional parts
fifths
more than four parts
number
may
unisons
recommence
force in all their rigour, until the
their action.

5.
The student
will find it a very useful exercise to set the various
subjects given at the end of this treatise

all
the different species.
models, one of the
No.
i^:
85
in five part
It will be sufficient to give
first species,
and the other
counterpoint in
two examples as
florid.
T.
22:
Z2:
-<s>-
z:^:
-s-
1^21
:q:
S>-
t^-
-o-
THE PRINCIPLES OF
86
No.
II.
e
r^'
I!7
2:2:
Z2:
^=i=^
iZX
::iEE
-h-
i^^^
?
z:^:
E&
^::z
-^-
1^^^^
-s^
-c^
-^-^
fs:^z:
-yS-
Canto fermo.
zz:
-<s-
ei
-o-
-<s-
:s
g
^x
-&
-<s-
-<s^
Jip:
s^^
^-r-!S-^
1^21
i^J-
hS-
-S^
-<S^
-(S-
-f^-
1^21
2:2
B=P=
..^
^ÔQ ^J
iS>-
icz:
4f^2Zil
JP^-
:q:
-(S*-
-fS-
~r^
-(S>-
:c2:
-<S'-
-<s-

In
the
foregoing
example
advantage has
87
been taken of various
relaxations of rule, which the student will detect for himself.

6.
We
will
now
give
canto fermo, in six parts.

in florid counterpoint.
No..
I.
-9^-1
two examples from Cherubini, on the same

The first note against note, and the second
THE PRINCIPLES OF
No.
Canto
-y
II.
f'ermo.
'

rs)'
89
THE PRINCIPLES OF
90
No.
No.
4.
i^^
-^
1^2
-s*-
-r
C>
-O-
22z:^2:
-^-
:?2:
5.
i^:
-s>-
Z2^2;
-^122:
iq:
:^::2^2:
-^-
-<S-<s-
i?:^:
It
in
different
9.
zi
31-
important that these very discordant notes should be placed
is
octaves,
so
a seventli or a ninth.
when
1^21
-<s>-
that the discord
And
shall
be at the
distance
of
this combination should never be allowed
writing for less than seven parts.
Sometimes
in
the
old
composers a very curious combination
is
found of the fourth and
minor third, the fourth being afterwards

on a major third, thus producing a kind of false relation.
resolved
This
is
also
in
peculiarly prevalent
century.
to
the
It
the kind
specimen
is
among
the
old madrigaliau composers, and
English school of ecclesiastical music of the seventeenth

is
mentioned here, because
of discord
it
is
more or
less
analogous
has been last described. The following

from an anthem by Orlando Gibbons " Hosanna to the
Son of David."
Îiich
91
N.B.
3^
'm.
g=p:
T^-
T^
^^
c^
-j^
îs>-
-fS"-
&
0*
"C?"
iSEB
N.B.
-(S*-
-s>-
12*:
zii:
(!S
g:
ft
-e?-
z:^:
is
?;
^-^
z:i:
This
<
:^:
1^2:
iQ.
:^:
-^-
:2
22:
-s*-
j^
"?2"
-^-
-c:^
"o
5
4
blO
Z2:
03
8
a model which should not be followed, unless with the special
intention of imitating closely the style of that particular period.
There are two ways of writing in seven or eight parts.
10.
first
is
by arranging the voices
and treating the whole
when
into
writing for
two
choirs,
score in their
in
as one choir, exactly as
fewer parts.
each of
four
The
order of acutenesa,
we have
hitherto done
The second is by dividing the parts

and scoring for them in this
parts,
order
THE PRINCIPLES OF
92
r Soprano
f Treble
Counter Tenor
Alto
Primo Coro
or
<!
Tcnorc
Basso
(^
~)
Tenore
or
rj
all
f Treble
Counter Tenor
Basso
If the music
Alto
Secondo Coro
is
through.
First Choir
Tenor
Bass
l^
Soprano
unison
<
")
-{
Tenor
(^
Bass
Second Choir.
only in seven parts, the basses will generally be in

If
it
is
in eiglit parts, the basses will be distinct.
Occasionally, however, in seven parts,
instead of the basses.
some other voices are
in unison
In any case the two choirs should be made to
alternately and responsively, in four-part counterpoint, every now

and then uniting in a burst of seven or eight-part harmony, by way
sing
of contrast.
The
effect
of this arrangement
is
often sublime.
11. In writing for two choirs, it is always desirable to make the

harmony of each choir complete for the two are usually placed at
some distance from each other, and some of the audience must of
necessity be so near to one choir as to hear the harmony it produces
;
almost to the
exclusion
of
that
produced
by the
other
choii\
To
accomplish this without falling into danger of forbidden consecutives is

the chief difficulty of this species of counterpoint. At the end of the
volume some specimens will be given. It will suffice for the present
to give an example of counterpoint in seven parts on a canto fermo.

Canto fermo.
93
CHAPTER
Of
Before proceeding
1.
necessary to
upon
as
discuss
the
to
Imitation.
speak of double counterpoint,
subject
will
it
which may be
of Imitation,
counterpoint, and an
simple
a corollary to
XV.
be
looked
introduction
to
by which the same melody
or
double counterpoint and fugue.

Imitation
2.
phrase
is
is
a musical
artifice,
successively introduced into the different voice-parts, according
from those which govern
to certain rules, derived
Example,
-^
-4
<s^
iS
g^
r-
parts.
^=^-^^-^
:z2
lS>-
^21
two
--
:z2
in
florid coimterpoint.
^ê^ÊS^f^^^
r^dt:
^^ ^3^^
1^^
:W=^
T^^=^
"^:7"
^-^-^r=w:^=^
#1.^--^=
95
THE PRINCIPLES OF
96
Example from Cherubini.

antecedent
3E^
con-
^3=^ ^-^
-(S*-
T^
-<s-
i!
TZZ^.
zi:
-<s>-
^2:
-Gf-
'Tzr
cedent
ante
consequent
antecedent
sequent
i^:
rs>-
-^s-
tj
p-
:f^
-s^
:i^
^:
;s
'-&=^'-
:^
Z2:
-Gh
2^^
:5^2zd=^
z::z:
consequent
3.
The leading part
is
called
the
antecedent,
the
fullowing
part
the consequent.
4.
Imitations may be at any interval.
In both the preceding
examples the notes proposed by the antecedent are repeated exactly
b}'
Thus the
the consequent in the unison or octave.
When
the notes remain unchanged by the imitation.

the imitation
of imitation
fourth.
is
said to be strict, or regular.
can be
attained
also
when
it
And
is
intervals
such
is
the same
taken at the
between
the case,
strictness
fifth,
or
97
Examples of Imitations at the Fourth and Fifth.

No. I. At the
S -^
T^
:^:
No.
--^
(S-
fcffi
ts
-^s>-
^-=^
11.
At
^'-^^^
At
iS>-
q: :&
1221
-^
:^
-iS>-
Z2:
^^m
r^-r-
^=^1
the fourth below.
iS
1=5
3=2=^
^^^
i?=^
^^
t
g^
'^^=L
-P
-(S*
--^
the fourth above.
No. III.
g35
Ol.
:^=^
4^
-_j
below.
T^
.CL
S!E
fifth
:zc2:
H
Coda.
-<s>-
THE PRINCIPLES OF
98
No.
IV.At
the
above.
T^-
5^
i3
fifth
=p=;^
^^^^L
Z2:
^îizli
E^
Coda.
-r%^
e=^
^==&=^ ^^L^
2^
-s*
:r2.
-<^-
<s-
Z2:
In each of these examples accidentals have been mtroduced in order
sometimes a few notes,

end,
the
in
at
order
added
to make a proper
not in imitation, are
cadence in the key. Such an ending is called the Coda,
to render the
5.
When
imitation strict as to intervals
the imitation
is
at
the
second,
third,
sixth, or seventh,
above or below, or at any compounds of these intervals, such as the

ninth, tenth, thirteenth
exactly
all
required to
the intervals
make
or fourteenth,
proposed,
as
a tolerable harmony.
becomes impossible to follow
it
too
many
We
accidentals
would be
are then at liberty to alter
major into minor intervals, and minor into major, so as to keep the
antecedent and consequent
in
said to be Free, or Irregvlar.
the same key.
The imitation
is
then
99
Examples prom Sala.*

No.
-e-
I.
At
the second above.
r^ZQi
fS- '^~-
-P
(^ C2:
-s>-
-Gh-
:E!
-:^=n^^
ir.;
"r^
c^.
II.
At
1]^ft
the seventh below.
-C2
:^^-^
ii
:Qzzp2:
:f^
No.
-7"=^-
q:
f^2-
iQzzps:
(S>-
:^:
:?2=^
122:
:^2=rr^z^zi=?zzc&^=Z2ZZ[:r2:
|S>l(S>-
No.
III.
At
:^2:
hSH-
the third above.

-s*-
-<s>-
=w=
gE
-(S>-
-^-
iq:
S^^^^
-s*
-s-
:g:2
-S"-
Z2
"^^
c^:
rj
nj
T-'^'
-s-
s>-
-S-
f J'
'^
Z2:
^<Sti-
-y^-
Eegole del Contrappunto pratico,
:q:
di
Nicola Sala.
O 2
-^
Napolitano.
(S*-
15
vols.
-tt^
fol.
|^<^H-
Naples, 1794.
THE PRINCIPLES OF
100
No. IV.
Z2:
ffi
f^ ^^^- T2i
?2z;
Iti-
1^21
;:?iffiz^
6.
At the
i^
sixth above
-O- ^2j
221
2-p^
-P^
<s>
^P=^ V^
t^v:
movement
third, the
is
that
hy
In this species the consequent exactly reverses every
of the
antecedent.
If
the
antecedent has
consequent must fall a minor third.
fallen a major second, the consequent must
Thus the whole
forth.
WEJ^'
:q:
The next kind of imitation which comes before us
contrary motion.
so
~^=?2T
:<-
-<S>-
:c2:
melody
is
If the
rise a
risen
a minor
antecedent has
major second, and
and great variety of
inverted,
effect introduced.
7.
In order to
thus treated,
in
it is
know what
when
each note of the scale will become
usual to construct a table, after the following fashion,
which the notes of antecedent and consequent are placed under each
other
Here the
figures above
those between the

notes.
and below give the degrees of the
staves
The semitones
scale,
wliile
give the intervals between the two sets of
are marlvcd with a slur.

For example,
if this
101
were the proposed antecedent
'-^^
W^^^
the consequent would be as follows
^^ê;
8.
*=^=s^=
The two next examples,
major and minor modes, formed
in the
on the above system, are from Cherubini.

No.
I.
m^^^=^^
-
i^^-^.^-^-f^=f,^^p=J^^
r^
rj.
Coda.
^cJr^
No.
-^ -&
-Gh
"CT
II.
-s>-
VF=Wî^=;^
CJ>
'
*T=Cif
-^s>-
iiz:
Coda.
22.
9.
Sometimes
it
is
^ ^3
desirable
to
=i^
atitici:
employ the
contrary movement, with a view to varietv of
following
eJBfect
^
i^
Q-ri
rj
table
for
THE PRINCIPLES OF
102
-^j-
-Zjr
-Q_
-/S>-
-l
"r^
a~
'^J
:^ ^-
-S'-
2^=^=^
Gh
-G^-
-^
122
and the following example from Clierubini
izz^z:
C2:
is
It^f^
E
fS-
Ê^^
-^
=5=
constructed in this manner-
-o-
221
-O-
D^G
Coda.
It
ggPr^-Ftef T^
221
#f!
:z2:
S:
hardly necessary to observe that the consequent
is
WI
here placed
is
an octave lower than the above scheme indicates, but that this transposition makes no difference to the counterpoint.
10.
The
strictest
kind of imitation by contrary motion
semitones are so placed as to
and consequent.
To obtain
correspond
this result the
exactly
in
is
the
wdien the
antecedent
two following schemes are
used
No.
'C?"
122:
I.
For the
-s>-
:z2:
221
-<S-
major mode.
-^-
12^
Z2:
-s>-
-&-
Z2:
221
-<S>-

No.
II.
For
103
the minor mode.

1^21
-G^-
-G>-
122:
-<s-
hS-
Z2:
-<s>-
1^:2:
-<S'
1221
-<S-
Z2:
-<s-
The following examples from
Clierubini
will
illustrate
221
these
two
systems.
No.
I.
Major
^:
mode.
id^^
-Gh-
"CT
1^-
^tz:^
1^2:
-s*-
<s-
^:
H=^
:^=
^21
:gzi['^=fg^
:z2:
lS-
Coda.
(S>-
Z2;
"^
'
No.
II.
Minor
-fS-
=$^#=P^=^
T^
^-
d- :^
hs'
at^
mode.
::i(^2:
#-
g:
-S"-
^J_*:
-|S>-
X2:
e;
-fS>-
-(^
^-
THE PRINCIPLES OF
104
^^Ê^
CÎ
:&
izd:
r::>
1^21
Coda.
^n=:^
11.
may
Imitation
by reading
produced
by Dr. Crotch
No.
be retrograde,
also
the
antecederii
will illustrate this
the
i.e.
bachmrds.
consequent
may
be
The following chant
method.
No.
1.
J:
-<^-
q-^zztf^
--^-
2.
-<s>-
Si
s:
-s-
fr
"O"
.Q^_
ig
s;
"^^
-S"'JOl.
<s>-
^ff
3.
EEES
.^2.
j;::^-
m^
No.
4.
!:
-<s-
-^^
_C2L
P^^-P-"
"C?"
-s
-<s>-
:^
-<s^
division
of
the fourtli
a piece
is
will
tlie
be seen that in each

chant
division,
in
imitates
the
the
same
first
of
the
s>-s>-
:^:
voice-parts
by retrograde
way, imitates
said to be " per recte et retro."
-^-
-<s>-
it
-^-
iS:
-s>-
Here
-S>-f5>-
-(S>-
r^ o.
:^
:^
-S-
-^S*-
No.
.Qr>:
\X\q
-<s>-
the
third
motion,
while
second.
Such

Imitation hy augmentation
12.
this
notes
species
of
often
is
introduced into fugues.
the consequent repeats the melody
gieater value,
for minims, or breves for
substituting
semibreves
minims
(if
it
for
of the
interval,
this
last
for quavers,
it
may
variety
in the unison,
r\
is
also
is
and so
forth.
In
antecedent in
crotchets,
semibreves
be ordinary augmentation)
or even sometimes quadrupling the length of the notes,
minims
105
i.e.
substituting
The augmentation may be
at
any
be by contrary motion, or retrograde; although

not often used.
The following simple specimen,
taken from Cherubini.
THE rRINCIPLES OF
lOG
K
i^-
t^=t
-&
-fS>-
j:^:
:q:
IZZ.
-I
(S>-
:^
P^
*-
i?P=
-c2:
zz:
1^21
-^-f^
-<s-
Pî^=F
'G-
Coda.
-?^-(S-
f^f^r^
are
14. Tliere
mav
be met
many
witli in
other kinds
note,
carried
it
is
Canon
on
strictly
called
fugal
"two
in
chapter.
canon
We
and
But
it
it
is
come
to
is
made
to a
has
strictly,
following
is
note for
more
canon
concluded by a coda,
is
continually
regular close,
below,
an
not been
nothing
to
it
than
at
example
the
of
imitation
recur to
the be-
called
lujinife,
is
have already given an example of a

octave
as
in this work.
If the
rigidly.
If
one" in the
Tlie
wliich
i)roduced,
Fitiite.
Circular.
purposes,
consequent repeats the antecedent
as never
ginning, so
or
is
of which
Cherubini, Marpurg, Reicha, and others.
thought necessary to enlarge on them
the
-s^
imitation, specimens
(jf
they are comparatively useless for
15. AVlien
22:
canon
finite
commencement
of
an
circular
infinite
or
this
jeS^
T^
:^z
^21
-<S>-
(S^-
T^~
'^'
^:
:s
t^: :E=E
two parts
only.
in three
and are
all
No.
-9
^-#-<S>-
^-+-
But
it
and four
is
time
parts.
now
to give
examples of imitation and
The following are taken from Azopardi,*
based on these two themes
1.
1^2;
No.
_fQ.
122111,
:^:
our examples of imitation and canon have been hitherto in
IG. All
canon
-s-(S-
-/s*-
l=i
107
-(S>-
Z2:
:z2:
-(S>-
s>-
:s2:
~C2:
2.
s=îl
rjz2z
-CZi
-i^^
-G>-G>-
:z2:
* "II musico pratico," Francesco Azopardi, 1760.
Z2:
:z2:
-<s-
THE PRINCIPLES OF
108
Example
I.
In
three parts.
Imitation in the two
.Q_
^
rj
:^:
SEEf
-I
-M<SH-
^m^
\
-<S>-
zz:
J^-
uj3|jer parts.
4]^:
^.
:;
Z2
-|->SH-
-^q
Example
treble
part
II.
is
In
not in
four parts.
Imitation at the
imitation, but
as
it
is
109
second above. The

" ad libitum," the
called
bass contains the second canto fermo of Azopardi, as given above.
!!
-<Sf-
^:
î=^t^
ii^
=$=-^
-&-
-HiS'H-
SEE?
n
:qi=^2:
M-
^s>-v-
:p==^
-H<S>H-
THE PKIXCIPLE8 OF
no
2^23
-^-
~f^
-s-
-^
iSW-
H&W-
:i|^:
s>-
_Q_
W-^(^ ^=^=P=^
^2:
fSf
Z2:
-H*s^:-
^=^2
221
-^-
.^_
-HSH-
fc2^:
=ij
SH-
Coda,
-HSH-
-(S-
rtS+1-
41^
41^
HS^
1^21
-HS>H-
*^
Example
there
is
III.
Here
the three upper parts are in imitation, so that
an antecedent, and two consequents
seventh, and the other at the

n
Ill
fiftli
one of these
below the antecedent.
is
at the
THE PRINCIPLES OF
112
ferino, for the
sake of variety,
or one of the inner parts,

Cheriibioi also
may
also be
transposed into the treble,
and the process repeated
his advice is most

no better collection of examples can be found anywhere.
excellent, as
18.
We
will
now
give
"three in
it
is
called
one,''
between two
If
parts,
some examples of canons
premising that when the canon
voice-parts,
form.
recommends a study of the examples of imitation of every
kind in Marpurg's excellent work on the subject
parts,
new
in that
"two
in
is
in tlnee
produced simply between two
one;" when between three,
it
is
called
two canons are carried on simultaneously, each

making four-part harmony together, the piece is
called a " canon four in two."
First Example, from Cherubini.
Three
and four
in one, at the unison,
and octave below.
113
Second Example, from Albrechtsberger.

Four
1^
in one, at the fifth, octave,
O-
and twelfth below.
-<S>-
^==E^^Ê^-r^
,S
F--
-^^
T^
g3
-G>-
-<S-
^
Z2:
^g
^=^ 3E^ÊEfeE^-g:^
-ZJlZ
-JT^L
(S>-
^Si
-<s>-
i^^
:^
:c2:
:C5;
-^=#=^'^^=
:Z2:
:c2:
:P2=
THK
114
^ÊE^
J
-P^
.^_
1^31
^^
i
x:2_
23^
C^
î::^
"^^
-^
-^-
:^2:
:&
OF
T^-
IÎ
-s-
:W^:
rRIXClPLl-:S
loL
IC2L
:^
o-
zd:
-S>-<S>-
^P^=^
1^21
'^^^Ê^
:?2:
HSH
4f=
HSJH
HZZL
l^Zt
--^.
-Gi-
-G>'
-G-
^^
COUNTERPOINT AND FLTGUE.
115
Third Example, from a Mass by Francesco Turini.*

Four
upper octave and fourth, and at the
in one, at the
-&
I
below.
fifth
Izzzizzzzr:
Ky
4tl-
:r>iT3^:
u--
Ky
- ri
--^^z:^-
^^.-^r^-f,.
==t:
le
:?2=:
son,
-^=1
^.
Ky
7^
C^
le
-=^=P^
^
-
-(^-=-
w:
son,
0-
le
ziz^-
12:
Ic
^^
'J^
g^
f-^-^-
rs*-
si-
From
son.
le
-(^-^
-^
-
son,
-?S
^-
-G>-
:
-
le
son,
son,
le
=^2
-rS*-
-f^
son,
the Introduction to the Second Part of Padre Martini's celebrated work,
saggio fondamentale di contrappunto."
Quarto,
Bologna, 1775.
1=
-(S
-
z^:
1^-
le
le
1^21
le
:t=
son,
-^-
:^
#:
-fE^-
Ky
-(S
-i>5>-
le
"Esemi>lare osia
116
"^
--^-
jq: -^-
.^_^_^ -&-^-
Z2:
-H'SH
sou
le
icz:
- son,
!3ZÎ^
-<^-
le
son,
'j::ir.
le
:q:
-iS>
son,
S>
-H<S'r4-
^C2:
|S>-
H^
=?2:
le
^2:
-s^-
^J
r:^
l-v&h
C2:
son.
Ic
:^ =^-P-
^^
-1^-
4^
son.
le
19.
At
the
end of
this treatise
some more examples
of canons of various kinds, which the student

attention.
compose at
possible.
If he wishes to
least
become a
really
one canon every day.
is
will be given
advised to study with
good contrapuntist he should

There
is
no
better
practice
CHAPTER XVL
Of Double Counterpoint
1.
Double
combined,
and
in
in
any
counterpoint
either
of
is
that
them may be
in which,
several
melodies being
placed as
a bass
to
which, by transposition, the various melodies

relative
order of
acuteness,
without
the
may
infringing
others,
be placed
the laws
of
harmony.
Example
No.
1.
HSH
I.
g_g:r &g^
g^^
9J
No.
2.
st-
i
No.
2.
-C2-i-
-^-
fqf=f^K*.-sqKs:
No.
gE
\m
121
WZ^
ir2i
\
1.
-HSW
**
?Ete ^^^ ^_^__-:
THE PKINCIPLE.S OF
118
Example
No.
~-^'-
^- 1^
-fS>~
5;ffi^
No.
II.
1.
-(S*-
hS>-
4S*+
2.
'^-
-G
-JTD^ZZITI^ -f^-
^=pr^-
:2>:
-HS^
-GNo.
^:
2.
2^:
-<s-
-^
-f^-
-fS>-
-r^-
1^2:
-HSH-
-(S"-
No.
1.
-(S>-
No.
-P=^
-s*-
;3i: XÎ
-<s>-
EXAMPLE
III.
g>
-H<S>H-
Mozart.
1.
-(S-
-(S"-
:c2:
-^-
j^
-s)-
l3?:EI
No.
2.
-#-^
No.
2.
Both parts are here transposed.
TP*-*
No.
1.
22:
-<&-
'^,m^r^'^f=
-iS>-
^:
Z2:
-^s-

In
119
make
the foregoing specimens either of the melodies will
eacli of
This, then, is the
a correct bass to the other.
general idea of double
counterpoint.
Double counterpoint
2.
may
be at the octave, the twelfth, the tenth,
the ninth, the eleventh, the thirteenth, or the fourteenth

of these kinds are but seldom used, and offer
quate
results, it will
kinds,
viz.
but as some
without ade-
be sufficient to give the rules for the

counterpoint
double
difficulties
the
at
the
octave,
three
first
tenth,
and
the
twelfth.
Double counterpoint
3.
part being transposed
either
that,
(so as to
the octave
at
is
a composition so contrived
an octave, upwards or downwards
be inverted in pitch as to the other part), the harmony shall
be correct.
In order to accomplish
4.
this,
three
principal
rules
must be ob-
served
Treat the
fifth as
ii.
Never go
to the octave
Do
iii.
5.
the
a dissonance or a passing interval,
i.
by a
skip,
not exceed the limits of an octave.
To make
these rules more
intelligible, the
student will examine
folio win Of fiQ-ures
They
scale
are
intended to shew, at a glance,
becomes when inverted
in the
octave.
what each note of the
Thus the unison becomes
an octave, the second becomes a seventh, the third becomes a

and so
forth.
sixth,
THE PRINCIPLES OF
120
The reason why the
6,
that by inversion
is
it
fifth
cannot be
becomes a fourth.
not allowed to skip to the octave
becomes a unison, and
it
is
is
as
a concord
is
because by inversion the octave
against the
to skip to a unison, except at a close.
treated
The reason why the student

of strict
rules
It is necessary to
counterpoint
keep within
the limits of an octave, because otherwise some of the intervals would
not be inverted at
which they must always be in double counter-
all,
Examples
point.
-G>-Gh-
becomes
-o-
:cz
i.e.
unprepared fourth; but
may
note, it
stand
iizir
i
is
becomes
^F
5
allowable
so also
becomes
'JOZ.
'6
which
is
prepared and resolved, or only a passing
thus
-fS*-
1^21
6
whicli
if
IC5
correct.
-<s-
-=
8

No.
IP
1.
.
..
1
121
THE PRINCIPLES OF
122
No.
IT.
Canto fermo.
m J!
i3^
-&-
1^21
22:
S*
8
-<S'-
-s^
^-
3pg=3t
Gh
'
'
'JZZ.
ip^:
3til^
Jjjs
^
6
Double eounterpoiut in the octave below
-s>-
32:
-T2L
-S>-
ICZ
%
-f^
P
5
No.
-i3-
-<s-
xz
-fS"-
-R
-2
Z2:
î
3
X2:
;g
-s>-
2!i:
T^
122:
III.
xz
i;r^;
^^
x:^
G6
T^
g:> -
2:2:
:f^
6
^^
e
nr
e^^
U:
xz
-i(^-
xz:
Z2:
-<s>-
123
No. IV.
îl
fe
-P^
T^
-(S>-
f^
-tS>
^2:
^2:
:g
-^2_
:^
8.
parts
-!^
/S
221
<S>-
^#
-(S^
tlie
The following numbers
become,
10
1
is
i^
one part
when
9
so treated
will
-<s>-
i?:^:
that in which eitlier of the
transposed a tenth, the other remaining unmoved
direction, while the other is transposed

9.
-^-
icz:
Z3:
amounts to the same thing,
-fS>-
Double counterpoint at the tenth

is
is
or,
which
transposed a third in one
an octave in the other duêction.
shew what the
various
intervals
THE PRINCIPLES OF
121
The
iv.
reason
as
the
in
must not be exceeded,
tenth
of a
limits
of the
case
octave
for
last-mentioned
the
in
same
the
kind of counterpoint.
10,
The following example
Counterpoint.
from Fux.
>
is
(S-
22:
f^
s>
=?2:
Canto fermo.
22:
:q:
34t-
JT^
<s-
-S)-
5687
10
Z2:
5685
^-^*-^
122:
^89
-<s>-
-G>-
gE^^-ÊEgEEfl
122:
-<S'-
Z2:
Canto fermo.
-S>-
3!2:
-<S-
1^21
221
t3!
:^
C2:
3
Double counterpoint
87
T^
-^>-
-r2L
-<s>-
zi
3
'JZ2L
-<S>-
at the tenth below.

_C2_
1^21
E
6536
.3
-&-
ICZ
J2^
And
it
niiglit
12;
be also produced by transposing the canto fcrmo up
a third, and the counterpoint
down an octave
thus
THE PEINCIPLES OF
126
This
may
be inverted at the tenth in several ways.
First
Way.
Subject unaltered.
^-^=^
-(Sh
Counterpoint in the tenth below.
W^ÊEE^
22:
22;
-0
'^^^
&C.
Second Way.
Subject in the third above.
-^
<S^
-CL.
Z2:
3!
Counterpoint in the oetave below,
:^^
m-
1^=^
&c.
-s*-
Tiiir>i)
Way.
Counterpoint a third below,
!^
2?
Subject an oetave below.
M-.
1221
The student can
.c2:
hS>-
finish each of these counterpoints for himself.
&C.

11.
Sometimes a subject
will
12;
admit of the same coimterpoint, both
and tenth, at the same time.
at the octave
Example from Fux,
-s-
-s>-
f^~\^-^
i!
&
<s-
r^l
-<^-
i
s
1221
^n-
'U
te-:
^2:
-S>-
-fS*
:i;e
-i&-
Z2
_Ql
-(S-
^-y-rP-
Z2:
:p2:
in another
way
|!S-
:JfP==
-(S-
-S'
-s*-
The same,
?EE^
?2:
-l^-
Z2:
::c2:
22:
TITE PRTXCIPLES
128
-y
'
OF
129
Counterpoint at the twelfth
Canto fermo
:q:
-s>
-^
z:2:
fee;
Ml
m.
-<^-
fe:^
;t22:
Canto fermo.
"221
:c2i
Z2:
-<s>-
:?:>:
rGh
m^-
-s^
:C2Z 'Gh
:22:
Nothing can be more harsh and uncouth than this example.

In rare cases, however, a sixth
be used by syncopation, thus-
may
Canto fermo.
T^'-
T2L
1S>-
g;
(S-
:izz22:
W-
Counterpoint at the twelfth.
Canto fermo.
(St-
-(S-
-Gh
Where
-G>-
s-
the resulting seventh might perhaps be
tolerated, especially in
more than two-part writing.
The following
is
a good example of the allowable use of the sixth
in this counterpoint, from Fux.
fafc;
221
-O-
?
5
rs^
'ZJL
-o-
cz:
112:
G^
CJ.
TS-
-^-
Z2:
-G^
idi
|S-
hS+t-
-^- :q:
-ts-
:^:
C2:
-<S>-
=?^
R]
w=g
-(S>-
y=M:
li:
1^21
-<s^-
bf^
iS>-
i!
7G5
38
e p
22:
7G5
S
38
4^2:
:fl^:
23
8
G o
THE PRINCIPLES OF
130
14. It
need hardly be stated that
is
it
necessary to
keep within
the limits of a twelfth.
Care should be taken to avoid
15.
this close
^
^^
tJ
3
because,
when
inverted at the twelfth,
^^^
~~~|j
becomes
it
-&-
which
is
insufferably harsh
counterpoint)
modern
to
ears,
although allowed
It
also
to F.
Counterpoint.
4^
-Gt-
by the older contrapuntists.
relation of the tritone

16.
'JTJl.
will serve as
Example
I.
models
From Fux.
(in this
involves the false
131
Canto fermo.
-^-
'JTJL
5zi::^q:
-G>-
JC^.
l3
ts>-
irj~:\
>
-G^
3t^:9-
:^=fe
Counterpoint at the twelfth below.
-^-
12:2:
-(S-
Canto fermo in the
3 z-
'
221
Z2:
fa-
-Si*-
:tf^
-<S>-
Z2~
-(S-
r?
hS^-
:^2:
:rz:
By
&-
this double transposition counterpoint at
-<s>-
s>-
\cjl
z:2
Counterpoint in the octave below.

the twelfth is produced.
^=p=F
-<S^
i:jl
above.
fifth
g2:
0-
:Z2:
iS-
:2:z
C2:
s 2
^ s
-<s-
&
-&
njjaz:
icz:
THE ITJNCIPLES OF
132
Example
II.
From
Fux, slightly modified.
Counterpoint.
m-
^J'
:i^^ W=^
izzpz
^:
-&
G>
Canto fermo.
I!
l??=F
-cz:
p'
Z2_
-<5h
-<s>
~JOdL
^^2_:
133
and twelfth are

In this last example the counterpoiiits at the tenth
will be
combination
this
combined with good effect. Other examples of
given at the end of the volume.
EXA.MPLE
-Gf-
VS*-
;c2:
III.
For four
voices,
from Fux.
-S>-
:pq
-t
-<s>-
fS*-
m-^
9
^^
^,^^-
'^^
-s>-
134
izz:
C2:
?2:
#:
-<s>-
Q
17.
octave,
la:
:F=^
:^=^;
F>
r}
^
22:
-H<SH-
-(S-
rJ
icz
ttSff-
-iS-
Eg;
:^=*
1^-- ^
g^
S
-
:^^z=^
r^^-p-
4?=!!:
Cherubim regards such combinations of counterpoints at the

tenth, and twelfth, as so many species of triple and quadruple
counterpoint
but this seems a faulty
we compare such
classification, as
will be
seen
if
combinations wîth the examples of triple and quad-
ruple counterpoint given in the next chapter.
CHAPTER XVIL
Of
1.
sist
Trii^le
and Quadni/ple Counterpoint.
of three
or
four melodies
become a correct bass to the
2.
names import, coninterwoven that any of them may
Triple and quadruple counterpoints, as
It
We
at the tenth or twelfth.
I.
1.
others.
has been found impracticable to produce such counterpoints
counterpoint at the octave.
No.
so
tlieir
must
therefore
confine
Examples
Triple Counterpoint.
our attention to
THE PRINCIPLES OF
136
No.
2.
5^
No.
1.
:S3:
-s>
tii
^=^
rÊÊf
ICZ
:=*:
t3t
Canto fermo.
No.
33:
-s-
5î
:z2:
-&>-
1.
:-^(
J -^
-(S^
la:
Canto fermo.
H
^
No.
-eS--
Z2:
-<s>-
2.
-f^-
P^?
No.
z:z
:t*
::^t
2.
::*?=*:
-&-
137
Canto fermo.
No.
-Gh-
1221
331
1.
^=^
fe$3^
2:2:
#-^
No.
3E^
-1
c^ -
>
2.
?:
I!
Canto fermo.
-y-
iq:
-<S-
:t^
Ê=i^
^m-
T^-
THE PRINCIPLES OF
138
No.
1.
_^.
No.
=^^=^
-s-
3.
?aEFEa^35
^S
No.
^l
^21
-<S>-
--^
ts>-
:a
1.
1.
No. 3
?^Bz
No.
1^21
4.
W^
No.
:^2:
-<5>-
-Gi-
2.
TB=.
No.
Z2:
=i^=F-
^:
-^-
-fs-
&-
:q:
-(S"-
4.
.Q_
-G>-
:ffi
No.
2.
^te^
:^
;e
hS-
COUNTEliruiNT
No,
AND FUGUE,
139
1,
--^^W-
-(S>-
iSfS>-
T^'-
'-^--
^
No.
4.
_Q_
1^
W4^
:^-=^
No. 3
S3
No.
:tf^
ts>-
-si-
^:
ICZ
^:
?:
-si-
1.
7E
-s-
3ee
No.
_p5_
2.
#13
No.
^^
C5:
is-s*-
?:
4.
-S>-
:*3
No.
2.
Î^
g
No.
zz
221
:^:
-s>-
1'?=F
:^
-<s>-
3.
i^3^^^
i^
T 2
Z2:
THE PRINCIPLES OF
140
No.
1.
g^fk
No.
(S>-
:^:
4.
-^-
^ =^
3.
fe.^^^^^
No.
l^^l^^lê^
1=^
Xo.
<s>-
zztzz::
2.
-E$
Xo.
-fS*-
E^
2:
(S*-
:22
3.
:^2~
-S
I
X'o. 1.
E^:
No.
2.
=i^
No.
1^2:
,<s
:p^
-(S*-
:a
q=^;
-H
?=
4.
E$EE
^-^^^^
-<s/-

No.
lil
3.
fe5=fe5
^b
-rjL
-iS'-
-fs-
No. 2
s
No.
C2:
-i
-&-
^=î^
No.
^-fS*-
:r
(S-
^^=*^
No.
:z2
3.
7^Ttr
g
^te
1
F^JfEE
-.1^-
221
fS>-
^^
X2:
ICZ
:^:
-(S-
4.
i^:
No.
:q:
4.
Siis
No.
|S-
1.
im
No.
1^-
zd:
-fS>-
2.
1^53?
:3
-^
-(S>-
?i
Z2:
THE PiaXCIPLES OF
142
No.
'^=
3.
&, r
No,
^.^ f^
Lg
<s-
4.
No.
:z2:
-iSh-
-*#-
^t=^ =cz:
1.
1=
-S-
|=S- i!
No.
-(S-
-f^
:^z
2.
^.12
SE5
-S*-<S^
icz:
No. 3
lEÊE^^g
Z2:
-<s>-(S-
No. 4
t 15
No.
:e
@^f
Z2:
^ ^
2.
^S
No.
hS^
-(^-
221
Ef;
-<S>-
-<&-
-/s-
^^=f^zz^^j^:J=[^
-(S>-
COUNTERPOINT AXD FUGUE.

No.
3.
i^:
No.
-&
:?2:
2.
^^^==:^:
:g
-.<^-
-o
f^
:s
i-^^
No.
M
t^
g^^=^
^-
^S=
4.
t~^.
igE
:^
:c2:
:p=
3.
:^:
No.
:^:
2.
:^:
No.
-s*-
:^^--^
-(S-
5^S
No.
___^__^
1.
JJl
No.
Z2:
4.
1B=:.
No.
143
C2:
-s'-
1.
-?^-
-^-zzz.^.
i^^
THE PRIXCIPLES OF
144
No.
2.
7^-
5EE
No.
!=iîJ:
:Ee=SE3:
:^:
4.
yS>-
zi 3:
-s>-
:^:^==r=f
-<s-
SEJ
^^
f^w
:^=
221
^^
1.
*l-
ntm-No.
-<S-
-fS-
-<E^
J.
No.
3E^:
3.
1^
No.
221
1.
fe*=5
No.
:r=^:
4.
:^-
No.
-^
3.
lÊE^^^
No.
-^
-G^-
E^
^^
3.
S3^^g
-Si*
22:
z^:
:^:

No.
2.
:M
No.
M^
No.
:z2:
1.
:2!2:
:c2
-s'-
4.
^^^
ici
3.
lî=p^^s
^^
No.
^Êe
S:
:f^=
1
I p:?
No.
Hi
-&
^-
'J!:2L
2,
.^^
22:
^-H*-^
-<s>-
^ffi
No.
M EE
3.
zezw
No.
1,
Wlt^
iz3
No.
1^2:
Gi
_r2-
g=^,^^^zÊg
cr
:^
4.
^S
5^3Ei
itzz^2:
i^î
THE PRINCIPLES OF
146
No.
2.
S!
No.
&-
^^0IIIH
1.
wt,
i3J
No.
^-
Z2:
=.
Ê^
:z2:
fS
No.
:î
No.
i^
4.
-fSi-
3.
ÊFES^:^^
No.
^Ê
:(^=^
No.
-<s-
4.
^3
1^2:
2.
-^^
ty--*.
@%S
CE
3.
fe^^^îfe^^^
No.
fS-
1^21
1.
-G>-
^3^S
-rS>-
COUNTERPOINT AND FUGUE,

No.
4.
^^
a
No.
147
2^
2.
1^2:
fB=
(S>-
^-
H* #^
:c2:
13!!
No.
3.
feÊÊ^
No.
No.
-G>-
:?d:
-^-
1.
^fes
e^
-(S-
*^fS>-
4.
iS*-
No.
s-
i?:^
1.
Z2:
No.
HecI
Z2:
:C2:
3.
feg^
No.
=^=F=
5^35
*;it
-1^
-G>-
:jr
3.
-^-
:^2:
f=^
-(S>-
THE PRINCIPLES OF
148
No.
4.
1.
No.
iS>-
3
3.
4
:^:
1^2:
-<s^
No.
1.
tFff
No.
>^^'
1^
2.
Êi
No.
:^
-<^
-iS>-
^^^^
??=iK
-iS>-
4.
:S
No.
=E
2.
:?3:
Jr^jTT^
No.
1.
wt.
Hi
^^
No.
i^:
i?:^:
^*
1^fS>-
liE^
irz:
T^
!-^-*-q
-f^-
3.
LZZ"_^Q
:cJ.
-<S>-
Z2:

No.
119
4.
-is>-
--
^^^r^
No.
2.
I ES
No.
f-
ZI2:
Z2
-^
-S-
3.
fU
IPS
j^:
In this
last
-/'^-
:?i
example the four melodies have been arranged
one of the twenty-four possible ways, and
harmony
3.
parts,
is
it
will
be
seen
every
in
that the
equally perfect in each.
Counterpoints
added to
of the scheme.
fill
may
in the
also
be constructed with one or more
free
harmony, but not forming an integral portion
Or the extra parts may be
in double counterpoint with
one only of the other parts, so as to be connected partially, not completely,
the case
with the whole contrapuntal arrangement.
when the harmony
is
quintuple and even sextuple
cumbrous a structure
4.
more than four parts;
counterpoint
is
possible,
is
generally
for
although
yet
it
is
too
for frequent use.
Counterpoints also
augmentation or
in
This
may
diminution,
be devised by contrary motion, or by

or
by
retrogression.
The student
will
150
probably by this time be able to elaborate these for himself, and

advised by
point
at
various
all
the
means
octave,
to
make
tenth,
and
the attempt.
kinds of imitation, will amply
will also find
some good examples, to
of this treatise.
The
twelfth, joined
suffice
for
rules
with
his
is
for counter-
those
for
guidance.
assist his endeavours, at the
the
He
end
CHAPTER
Of
Fugue.
Ol* all kinds of musical composition,
1.
To
as the art of fugue- writing.

said
XVIII.
in this
upon
treatise
is
none perhaps
point
this
intended to lead up.
so important
is
that has hitherto been
all
It
is
now time
to enter
it.
2.
The question
often
is
asked,
What
easy to give a concise definition in reply.

of a fugue will be
subjects
"A
according to
a fugue
is
and
it is
not
Perhaps the best description
regular piece of music, developed from given
certain
contrapuntal
strict
involving the
rules,
various artifices of imitation, canon, and double counterpoint, and constructed according to a certain fixed plan."
Fugues are
3.
fugues
divided
And
(III.)
into
of
various
Fugues of
(1)
Vocal
kinds:
imitation.
;
(2)
Tonal
(I.)
And
and
"alia decima," "alia duodecima," fugues
It
will
Let us
all
which are merely
not be necessary to
enquire,
a fugue consists,
rather,
in
first
all
by augmentation
varieties
discuss
the
Eeal
be sub-
(3)
the particular sorts of counterpoint on which they are built
nution, &c.,
(IL)
may
Mixed fugues.
fugues which take their names from
Instrumental
then again there are certain
fugues;
each of these
of the fugue
these
place,
of
varieties
what
e.
or
g.
fugues
by dimi-
of imitation.
in
this
place.
priucij)al
parts
152
The necessary parts of a fugue are
4.
i.
ii.
iii.
iv.
The subject.
The answer,
The counter-subject.
The stretto.
To which may
V.
vi.
vii.
viii.
ix.
generally be added
The codetta, or conduct, or copula.

The episode.
The pedal.
The coda.
The canon (or stretto maestrale).
Lastly, in its structure the fugue

X.
xi.
The
The
demands
exposition.
counter-exposition.
All these different constituents will have

sidered.
The
special care as to
now
to be separately con.
subject
and answer
will require a chapter to themselves.
CHAPTER
Of
The
i.
fugue
is
siibject
is
the subject
the theme
XIX.
and answer.
or chief
melody on which the whole
It should be
based.
(a)
Of moderate length
(jQ)
Free from modulations, except into the dominant of the prin-
key of the piece
cipal
(7)
Of such a character
be easily recognized, whenever
to
as
it
recurs.
ii.
The
ansiver
is
the
correlative
of the answer to the subject, in
fact,
of
the
subject.
The
relation
determines the whole character
of the fugue.
Essentially
and primarily the answer may be regarded as a trans-
position of the subject.
But
it
is
only so under certain conditions and
with certain reservations.

In order to understand these conditions and reservations,
it
should
be borne in mind,
(a)
That the key-note, or
first
tonic.
degree of the
scale,
is
called the
THE PRINCIPLES OF
154
0) That
(7)
the fifth degree
That the answer
is
called the dominant.
is
be regarded from a melodic, and not
to
from a harmo7iic point of view, as to

iii.
The following
" Traite de
(a)
enable the student to form a correct
rules will
answer to any given subject.
They
Haute Composition,"
When
correct formation.
its
are slightly curtailed from Keicha's
vol.
ii.
on the
and does not modulate

into the key of the dominant, the answer is simply formed
by transposing the subject a fifth upwards, or a fourth downthe
subject begins
tonic,
wards.
Examples.
Subject
1.
i
Answer
C5:
q:
tS)-
1^2
:^
-&
-s>-
^:
:^:
1.
ffi
j^.
-^-
-G)-
Subject 2.
i "Ê ^^-*
3
^=:p^
-^^^ *-^-i
rJ
Answer
-&
2.
SUu^
;bee
(/?)
The dominant answers the

at the beginning
variable.
tonic,
and the tonic the dominant,
and end of the answer.
This rule
is in-
155
Examples.
Answer
Subject 3.
'^'-
dB
:^:
-&-
Subject
Z2:
Answer
4=^
Subject
Ef
'1:2
4.
&
Answer
Subject 5.
G-
.^2.
_Q-
-&
3=f^^
:q:
1221
4.
ie:
3.
-^
-zzt.
iziQZi=:
5.
T^
-s>-
:^2:
-<S>-
Answer
6.
-<s
6.
^^-- z:?:i
-<s>-
-s*-
In these examples the answer

of the
subject.
is
In Nos. 3 and 5 the answer has to extend over the

In Nos, 4 and 6 the converse
rano;e of a fifth instead of a fourth.
the case.
no longer a simple transposition
Hence the necessity
for a slight
change of melody as
is
is
here
The answêr should never vary its intervals In transposition,

except when thus compelled by the exigencies of what is called
" tonality."
The variation of interval thus introduced hardly ever
shewn.
exceeds one degree.
(7)
Whenever the
that
subject modulates from the
of the dominant, the
the dominant Into that of the

last rule.
key of the
answer modulates
tonic.
This
Is
tonic into
from that of
a corollary of the
THE PRINCIPLES OF
156
Subject 7.
H^-S
e^TZ-
Answer
'
:i
Examples.
-IS)-
5^3=^
Modulation into
B:7.
7.
.Q
=;^=^
^2:
Modulation into Eb.

Subject 8.
-^2=^
^-4:
P2:
(S>-
Z2:
Modulation into Bb.
Answer
'-1
8.
iJi^
-<s>-
COUNTEUPOINT AND FUGUE.
157
Subject 10.
i5
^4f^
-^
Answer
--^-^
-(S*
-c;i-
-f^jr
10.
z^^l^^g^^
-rn-
-&-,-
If the subject goes from tonic to dominant
nant
tonic
to
involving
tiuo
and
hack,
the
answer
and
hack, or from domi-
must reverse the
thus
process,
altered intervals instead of one.
Example.
Subject 11.
fa
-f^-
-&
Answer
-fS*-
11.
O-
^^^
^-4=^
And
-C2_
-<s>-
:p:
-<s-
W^
must be especialty attended to, when the change to the

dominant (as the case may be), is emphasized in the subject
by a longer note than the rest, or by any other peculiarity in the
this
tonic, or
melody.
Examples.
Subject 12.
S
Answer
'^
-f^-
gBv^^*^
12.
i
W E3;
-<s>-
i=i
-f-
THE PRINCIPLES OF
158
Answer
Subject 13.
^M
W^
Gh-
-^sr^
^^
13.
-G>-
-fS*-
~J^l
-7^'-\-&
-G>-
-(S"-
Answer
Subject 14.
14.
-^^
ESE^^^Ê^^^
3^^Ê^ :i:
SuLjeet 15.
Answer
K5S
fe
((^)
It
15.
-Q-(^-
tiz^
not allowed, in making the
is
3^ -^-
change the value
answer, to
of the notes of the subject.
EXAMPLES.
Answer 16
Subject 16.
T^
IfÎZ
-[--
-.^z.
Wrono-.
Right.
Answer
Subjeet 17.
^S
fS-
17.
<s>-
Z2
-.s>-
Answer
Subject 18.
ie:
p^
55^
-^
^-^H-'^
18.
X,Ci-s*-<^^-
;i
is
when
the
-G>-
Rio-lit.
The only exception
^^
Wrouo-.
Rig-ht.
-^
-s-
-f^-
rono-.
subject begins witli
which may sometimes be answered by a minim.
a semibreve,
159
Examples.
Answer
Subject 19.
1^21
^-
-t=
hS>-
Answer
C2__
Subject 20.
ii
19.
20.
r:?"
1221
-(^-
Pt
=.i9Et?==
-G>'
z>:
This rule, however, does not apply to the last note of the subject,
which may be curtailed or prolonged

(e)
The
in the answer.
interval of a diminished seventh
is
never altered.
Examples.
Answer
Subject 21.
21.
(S>-
:?x
=f^
-^
Answer
Subject 22.
?^
3 J=a
(?)
:q:
Z2:
r-^
22.
^â
-g^
S>-
Chromatic subjects present some

discover the correct
answer
-<s-
difficulties.
The
best
:^2:
way
to
to turn the subject into

a diatonic melody, and to find the proper answer to it. The
answer thus found can then be easily turned into a chromatic
is
first
one.
Example.
Subject 23
(i.).
ES
-<s
a^-
22
:i?^
-G>-
THE PRINCIPLES OF
IGO
This, if
made
diatonic,
Subject 23
'^
The
correct
becomes
(ii.).
=5^
-o-
zz:
answer to
this diatonic subject is
Answer 23
(ii.).
-<s>-
COUNTERPOINT AND FrOUE.
1G1
Examples.
Subject 27.
Answer 27 (by
^-
11^2:
fS-T
:^:
-s>-
inversion).
:q:
<s-
-^'-^
zif^:
Subject 28.
:t2iti
Answer 28 (by
{0)
--S"-
=]:
^-
:^:
inversion).
There are
also instances
diminution,
of answers
but they are
by augmentation and by
practically
of
little
importance
they therefore need not be discussed in this place.

(i)
According to modern phraseology,* a fugue with a subject, the
answer to which gives every interval by exact and simple

transposition,
is
called a real fugue
while one with a sub-
answer to whicli involves the variations we have

been explaining, is called a tonal fugue. Thus a fugue on
ject,
the
this subject
* In the early days of counterpoint a tonal fugue was one in wlucli the relations of the subject
and answer were governed by the old Church modes, of which each authentic mode had its related
plagal mode. It is needless to explain the old Church scales here, as it is no longer customary nor
Their day is past.
Those who wish to study such music as a curious
desirable to write in them.
matter of antiquity, are referred to the first part of Padre Martini's admirable work on Counterpoint,
to which reference has already been male; also to Fux's " Gradus ad Parnassum."
1G2
THE PRINCIPLES OF COUNTERPOINT AND

Subject 29.
Answer
29.
FUGTJE.
CHAPTER
Of
1.
The
of a Fugue.
the Countersuhject
countersubject
is
XX.
supplementary
melody,
intended
to
accompany the subject and answer.
As
this
accompaniment must sometimes be placed in an upper, and
sometimes in a lower
part, it is
absolutely necessary that the
and countersubject should be contrived
subject
in doîble counterpoint, generally
in double counterpoint at the octave.
2.
Cases sometimes arise in which variations in the intervals
the countersubject are rendered necessary,
accompany the
according as
it
is
of
used to
subject or ansiver in a tonal fugue.
Example.
Subject.
;r
-&
:^=-";^-
^2:
^-^
-G>r
-^^
-<^^
:^:
I&TZ
Countersubject.
dPffig
1^21
(S-
g=g
16
THE PEINCIPLES OF
Answer
to countersubjeet
^ :zz=^d
Answer
-^
-(&r-
-s>
to subject.
Here the varied intervals are marked
But
i-fS"
in the
witli a *.
of the countersubject
majority of cases such alterations
not be required.
will
3.
When
the subject and countersubject enter simultaneously at the
very commencement of a fugue
were the opening of

a second subject, and
throughout the
subject
if,
for instance, the
then the countersubject
one),
is
(as
treated exactly in the
piece.
is
last
looked
example
upon
same way as the
In such a case the fugue
is
as
first
said to be
But when the countersubject does not make

after the subject has been given out by itself,
a fugue "of two subjects."

its first
appearance
then
is
it
till
not treated with the same rigour, but
and varied in the course
may
be slightly altered
of the fugue, should such treatment be con-
venient.
4.
they
There
all
may
be more than one countersubject in a fugue, and
begin together with the
" of three or four subjects,"

to be as
many
first
subject, the fugue
as the case riiay be.
countersubjects as there are parts.
is
said to
if
be
But there ought not

The subject and its
countersubjects should always be written in correct double counterpoint.

If,
however, the various countersubjects are only introduced successively,
and not
as
concurrent subjects,
we need
not
be so
strict
in
having

them
in
all
double
counterpoint,
as
need
tliey
165
never be
The double counterpomt may be at the

any other interval but the most
that most commonly employed is double counterpoint
octave, tenth, or
together.
twelfth, or indeed at
as
often
It is
heard
all
very advantageous to choose
work equally well
useful as well
two or more
in
at the octave.
countersubject which
kinds of double counterpoint
will
;
but
such countersubjects are not easily found.
5,
Sometimes a few notes are
they do not really form an

melodiously into
the
subjoined
called a "codettn," or "conduct."
of
part
essential
countersubject.
to
Such
the
it,
subject,
order to
in
an interposed
The following
is
though
lead
passage
is
an example of the
opening of a two-part fugue, including the subject, answer, countersubject,
and codetta.
Subject in I)
icitz:
^-^
^^=^
is>-
;fe
Answer
Codetta
-?5-
i~ft
t
s>
Answer
to countersubject.
'rj
Z2:
-S g*
16G
Codetta
-^-
s>-
C2:
_c2:
-^-
i^
-\0^
Codettn.
Subject in
SE^
:^
:^=it
-s-
;g
S*^=2==5,e:
f^-
jK
Coim-
1r
SE3
-1^-
tFtt;
m-
f^l
r^
IE
tersubject in
j:
-f3-
i^
t
f^-C^-^-
&c.
CHAPTER
Of
1.
"Stretto"
is
XXI.
the Stretto.
an Italian word,
from " stringere," "to
derived
bind together."
In a fugue the stretto
answer
are,
as
it
were,
an
is
hound
by which the subject and

together, by being made to
artifice
closer
overlap.
An example
will best
shew how
this is done.
(i-)
Counterpoint.
Subject.
1221
-&-<S*-
122:
ii^^^^^^^
&c.
S^:
-<&-
1221
1^
Answer.
(ii.)
Subject.
:q:
-Gf-
:q
-<s>-
"m-Answer.
.A
:it
^^-
3
'-Z2i
&c.
THE PRINCIPLES OF
168
(iii.)
Subject
Answer, transposed.
At
At
we have the opening
(i.)
of a fugue with
and answer, regularly set
subject,
(ii.)
we have
the
first
subject, counter-
its
out.
stretto,
when
answer comes
the
two
in
bars before the end of the subject.
At
(iii.)
we have
the
second stretto, which
is
closer, for
still
here
the answer follows the subject at the distance of one bar only.
always that a subject will yield strettos of different

degrees of closeness, such as that in the last example
but when it is
2.
It
is
not
possible, it is desirable to let the
recurrence.
Nothing
adds
so
much
to
a well-considered arrangement of strettos

subjects
the best which
are
and
stretto get closer
the
;
closer at each
of
interest
a fugue
as
and therefore those fugue-
lend themselves
most naturally to
this
mode of treatment.
3. If,
however, a fugue-subject will not produce a stretto in the
ordinary way,
it
is
sometimes possible to get one by commencing with
the answer, and then letting the subject follow
always allowable, when no

4.
not
There
are,
otlier
moreover, certain
it
in stretto.
method can be made

unmanageable
subjects
produce a stretto even in this last-named way.
This
is
to answer.
which
will
In such extreme
COUNTEKPOINT AND FUGUE.

cases of difficulty the only resource
and answer,
ation
may
be made in the subject
nor in the answer
5.
Very
often,
till
by
to alter the notes of the subject
enable them to work
as to
so
is
called
after the
till
But no
alter-
entry of the answer,
slightly altering either the subject or the answer,
Such a canon, regarded as
and other Italian
magistrale,"
for
contrapuntists
It is
"stretto maestrale"
both words occur in Sala's work), and
always reserved for the concluding portion of the fugue.
6.
by
stretto.
thought greatly to heighten the interest of a fugue.
by Sala
" stretto
(or
is
is
in
after the entry of the subject.
a regular canon can be made out of them.

a stretto,
169
It
sometimes happens that the subject or answer
inversion.
very
effective.
Hence
Of
arise
strettos
by
inversion,
end of
this
work.
^^^j=>0:^TC<ll:^^
be worked
which occasionally are
these, as well as of other peculiar
will be found at the
may
kinds, examples
CHAPTER
Of
Episodes, the Pedal, and the Coda.
In ordinary fugues
1.
tliat
XXII.
neither necessary nor indeed
it is
from
relief
beginning to
end.
rigorously contrived fugues

scribed
but as a
rule,
in
There
are,
desirable
contmually and without
the subject and answer sliould be heard

it
is
true,
which such continual recurrence
and in the
very
certain
is
usual to
interest of variety, it is
allow a certain number of bars to intervene from time to time, by

of relief to the
ear,
after
which the subject
is
pre-
way
resumed, generally
in
stretto.
The intervening bars thus introduced
2.
may
be
either
totally
afford
a strong contrast to what precedes and follows them
which
is
far
contrapuntul
subject, or
taste
better,
artifices,
codetta,
they
may
These
are called episodes.
unconnected with the fugue-subject,
so
;
as
to
or else,
be composed of imitations and other
formed out of fragments of the
subject, counter-
and varied in every possible way, according to the
and ingenuity of the composer.
3.
In order to shew
how much may be done
in
this
way,
let
us
take the subject, answer, countersubject, and codettas of the example
XX, sect.
we can make
and see how many such imitations, or develop-
in Chapter
5,
ments,
out of them, by
way
of episode.
THE PRINCIPLES OF COUNTERPOINT AND FUGUE,

i.
From
171
the subject.
^^^^z^rî^
-r_
(a)
From
the
first
two
-<S-
bars.
-/S>
rn..
Î?gZEti
&
EE
=P^
-&-
lifEffi
-s>-
i
kS
-(S*-
-<^-
S*
1^21
1^21
_C2_
-e^-
&-=
:q:
g^Sz-,^^
THE PRINCIPLES OF
172
(/3)
From
the third and fourth bars.
:$=fc:=
i^s
45;
^=^
^^?^
IQ
i^^^^:
:-^
Jfc2-
:^
-&-
'^
T^
?: -^
fe&i
H^^sî
^=r^
t^
I^Z
-<s-
?^
:q=
(7)
From
17;
the fourth and fifth bars.
ifc
:q:
f ^ It
-Q-
-^
fcrt.
^9- St
&=,
m-
W^-(-
(S-
l?S!
X2:
-/S>-
-f^-^Si-
)ri
sg:^
:c5:
-s"-
if^
-^*
-,*-
:P2:
:t:
,^^=^"
:fc=&
_^
|S5._
-S-tii^
-^
M
-C2
-s>-
it
I
^.C^^
:^:
THE PKIXCirLES OF
171
ii.
From
the
fiist
codetta.
^^=^
SE 2
Ordinary imitation.
(a)
-3.
^l^ÊE
^'^-0^
M:"^~zti
-^-
-iSi-
-rî
'<s-
-f^-
tai
=p=
-(S--
-<s>-
;^^
-(^-
1^=31
.-<2_
^^=:r-f:
Z2:
^-^
nJ r
:s

((3)
Inverted imitation.
-^-
:5^
1^21
rj-
U^.
3EE:
^
122:
-&-
-Gi
-^
tw^
'W^
lEÊEE
@^
\&-
-ge>-
rS*
(7)
P^&
^'
-(^-
'iM
@5
3J
-<s-
ii
wt.
17:
Augmented
1^=0^
-fS-
-G>-
m^^
g^^
-<^-
Z2:
imitation.
jî
-r^-
ICZ
la:
i^Ê^
-^
-s
THE PRINCIPLES OF
17G
-<s-
-&.
-f^-
M-%
\^
Wi
-"
1^2:
-^v^-
the countersubject.
^^
(a)
:?ffi^
-O-
-S*-
From
-iS^
t:2l
z^zzfm^zz^
-Gh-
iii.
Q_
^^
-r^-iS>-
q:
:^
L3-.
~j:2^'~rj
From
the
first
=^=^
two
bars.
:^2=ZT
^tt^
lo:
^/U^
m
-(S>-
^^^
W^
-<S'-
-<s>-(S-
1^-
#%(i
Here the imitation
is
^^^^
first
direct,
-<^:^2:
and then inverted.
r-^
^=fii
3sr
--w^

(/3)
i^fi^^
From
the third and fourth bars.

r:^
WW=^
22
177
5Ê^
-<s^
-<I2_
g^-zti
1^
i '^
S^
T^
12:2:
2
-<S
r=^:^
1fe^S=r=^
Q
-/^
is-
i=F=F
-^-
-<s>-
-o
;^
r-
"FF
?=:
-&
22:
22:
22:
:&iE
-cS-
-&
Z2:
Here likewise direct and inverted imitations are combined.
shew how much may be done by

taking fragments of the constituent elements of the fugue, and working
them up into episodes of imitation. Sometimes again they may be
4.
These examples
will
suffice to
178
in double counterpoint of various kinds
combined in canon, or
there
is
so tliat
never any lack of materials for fugal development.
If the
5.
fugue
chiefly
is
made up
of such
fragmentary materials,
and the subject and answer are not treated with the regular severity
of a real or tonal fugue,
it
is
''fugue of imitation," a kind
called
of fugue which, though of inferior vahie from a scientific point of view,

is
very convenient for adoption in cases of frequent occurrence.

Towârds the end of a fugue
6.
This
pedal.
be introduced.
On
the
discords
parts
is
which
it
is
but in one of three or more
should be considered almost essential.
brought
in
Harmony ")
In a fugue in two
obvious that no pedal can be introduced
7.
a dominant
place
many
on which can be built
note,
could not otherwise
it
to
has been explained in the " Treatise on
(as
sustained bass
parts
usual
is
it
pedal the
the
in.
Indeed
stretto
is
closest
strettos
and
imitations
should be
sometimes happens that the harmony involved
it
such that
it
can only be available with the aid of
the pedal.
The fugue
8.
often terminates with a lengthened plagal cadence, and
this is occasionally introduced
on a tonic pedal
but generally no tonic
pedal should be admitted unless the dominant pedal has been previously
heard
After the dominant pedal the final episode should be introduced.
9.
Of
all
the
final
episodes
impression on the
the fugue.
reserved
the
in
and the most
imitation,
for
Very
the
ear.
often the
coda,
much recommended.
fugue, this
effective
It
is
in
ought to be the
style,
because
it
will
closest
in
leave the
called the " coda," or " tail-joiece," of
canonical
stretto
(or
and leads directly to the
stretto
maestrale)
is
close.
This plan
is
CHAPTER
XXIII.
General structure of a fugue, and the modulations of
1.
it
Having
described the
the
subject,
answer,
described in Chapters
3.
its
Every fugue must commence with what
By
of the subject and answer.

of
various parts of which
remains to give some general rules as to

2.
The
subject
is
form and arrangement.

called "the exposition"
simply meant the

to
entry
first
the
system
and XX.
may open
fugue writers had a
this
is
a fugue consists,
and countersubject, according
XIX
ivhicli
admits.
it
the
exposition
rule, indeed, that if
in
any
part.
The
older
the subject began with the
octave of the tonic and descended to the dominant,
it
should be
first
heard in the treble (supposing the number of parts to be even), in

order that the answer, which would end on the tonic, might be heard
in the bass
thus
'P
A
THE PRINCIPLES OF
180
If,
it
however, the subject ascended from the tonic to the dominant,
used to be
first
placed in the bass, so that the answer, ending on
the tonic, might be heard in the treble
thus
n rrr-^
-J
-^-
m ^
this
and
application,
modern
rÛ^
1^=^
But although
4.
rJ
-ri
custom
Z2:
exceptions, that
-2:
izli
1^2:
-^
not unreasonable,
is
so hable to
:^
&c.
it
it
of such
is
may
limited
be disregarded in
practice.
In
all
regular
tonal
or
real
fugues the
answer must always
reply to the subject, in the exposition, either at the fifth above, or at
may
the fourth below, as the case
down
laid
intervals
in Chapter
XIX.
than the fourth or
But
be, according to
rules already
the
in a free fugue " of imitation," other
fifth
may
occasionally,
though
rarely,
the
student
be
permitted.
5.
For examples
of
expositions
of
various
sorts
is
referred to the end of this volume,

6.
but
The use and
of the codetta has been
it remains to be observed that after the
in the exposition,
to
place
lengthen,
episode, to
it
it
out a
is
ah'eady explained;
last entry of the
answer
desirable not only to introduce a codetta, but
little,
so
as
almost to convert
it
into a
short
prevent the hearer from being too soon weary of the per-
petual recurrence of the subject and answer.

7.
It is
The next feature of the fugue is called the

by no means a necessary part of the piece, but
counter-exposition.
it
may always
be

introduced
when
convenient, and
counter-exposition
produces a good
often
effect.
The
merely a kind of reflex of the exposition, pro-
is
duced by allowing the answer to

it
181
lead, followed
by the
subject.
In fact
only implies that the subject and answer change places.

8.
After the counter-exposition the fugue should modulate into other
related keys.
But
considerable
care
should be taken as to the choice
of keys into which modulations take place.
The following
rules should
generally be observed.
i.
When
the fugue
in a
is
major key, we should modulate
(a)
Into the dominant (major mode)
(13)
Into the sixth (minor mode,
(7) Into the
i.
the relative minor)
e,
subdominant (major mode)
((5)
Into the supertonic (minor mode)
(e)
Into the mediant (minor mode)
(f)
Transiently into the minor

to
lead
or, lastly,
mode
of the key, but this only
a pause on the dominant major, leading to
to
a stretto, or coda, in the tonic major.

ii.
When
the fugue
is
in a
minor key, we should modulate
(a)
Into the mediant (major mode,
(/3)
Into the dominant (minor mode)
(7) Into
i.e.
the relative major);
the sixth (major mode);
(S)
Into the subdominant (minor mode)
(c)
Into the minor seventh (major mode)
(f)
Into the major

conclude, if
mode of the
we please.
tonic, in
or,
lastly,
which we
may always
THE PRINCIPLES OF
182
9.
These modulations are not
be always followed exactly

general rule this order will
10.
The student
is
strictly
of obligation, nor
need they
But as a
be found the most convenient and effective,
in
strongly
the
order just laid
recommended not
down.
to modulate too sud-
denly, too often, or into extremely remote keys in
this style
of com-
position.
11.
Modulations are best introduced by episodes of imitation

" andamenti,"
often take the form of sequences, or

in Italy,
and may
these
as they are called
be of any convenient length.
Examples of Andamenti.
1.
h=P^=^^^5
g^^^^
^-
m
^21
r ^ ^
-^
.535
%=^
ifp:
-o-
1^
z^l
fe:
Q-
^
^
^=d=f^^^pJ
E^^^^^
-^m.
183
^z^S^ J^
&c.
#^
_<2-
X2:
tS>-
3.
-/S'-(S>-
4==F=^
_Ci_.^
i^^ÊEL^
J.^^
J.
#f3=P:
^=F^
e J_J:
^-^^-^=4-
-<5'-
Jz:
i
gJ^=4
5"^
:=jfeil
^^21
g^^
J:^
:^==^
:^zi=^
ab:
4^
&c.
-^-
gT"
THE PRINCIPLES OF
184
3.
(^
J-
/'j^=itJ:^
f^=^
^^^=p=t
-i
J J
^^ ^
^^
^11
ipz
Ê^
i-L^-i:
*: li^
jj.1
_pz;
J=d:
ife:
1^
i^
:S(^
e^
^
&C.
:p^
^-
:^
1^21
-^
f^-
122:
-^s=
12. It
always advisable to introduce the subject or answer in
is
a part which has had an interval of silence.

in the case of the stretto,
This
is
especially desirable
which always comes in with the best
effect
after a pause in all the parts.

13.
The
closest stretto should be
already observed,
tlie
dominant
and especially
pedal.
if
reserved for the end, as has been

it
be introduced
in
canon,
or
on

The
14,
dominant
always
pedal
" wind-up," of a fugue.
The
announces
tonic pedal
185
the
termination,
or
and prolonged plagal cadence
are devices for closing the piece with due effect.

15, Care should
silent
for
be taken never to allow any part which has been
more than one bar
answer, countersubject,
some
or
This precaution
episode.
begin again except with the subject,
to
is
fragmentary
often too
much
imitation
or
canonical
neglected by inexperienced
composers.
Sometimes an inverted pedal
16,
is
admitted either in place of the
ordinary dominant pedal, or in addition to
it.
But
it
would be an
error to have frequent recourse to such a startling and unusual device

it
should be reserved for exceptional cases and peculiar
effects.
To avoid monotony, the greatest pains should be taken to make

a fugue continually increase in interest and piquancy as it draws
towards its conclusion and all the greatest effects and most elaborated
17,
artifices
18,
should be kept back for
With a view
to the
tliat
same
purpose.
object, the student should be careful
never to introduce his subject and answer, or his episodes, strettos, and
canons, twice in
way
the same
nor should two episodes be derived
from the same fragments of the exposition, but always from different
ones.
19,
Thus varietv mav be ensured.

In this treatise vocal
would have been premature

until the student liad
orchestral
scoring, of
fugues alone have
been considered.
to speak of instrumental or
It
mixed fugues
gone through a course of instrumentation and
which the treatment of instrumental and mixed
fugues would necessarily form an essential feature.

generally, that in writing
for instruments
much
Suffice it to observe,
greater latitude
as to
the use of extreme intervals, and the introduction of elaborate passages,
B b
THE PRINCIPLES OF
186
is
and that therefore many of the

which have been already given, would
allowed than in writing for voices

these
rules bearing on
points,
liave to be considerably relaxed
20,
of a
As example
four-part
analyse
it
is
fugue,
and modified.
better than precept,
with
we
will
one subject and one
now
give a specimen
countersubject,
and
bar by bar, for the benefit of the student.
Future examples
will not
need such careful analysis on our part, as
the student will after this specimen be in a condition to do that work

for himself.
In the annexed specimen every bar

reference,
is
numbered,
for convenience of
and to make the analysis which follows more
Example of a Fugue. In
intelligible.
four parts.
F. A. G. O.
1.
tf
187
a
-(^-
j^^-fF=l=^"=^
^ 'W
-9
-f3
tf---
'-
#^-
fe=
^
-FF=
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s
gyif
J^3b
12.
11,
10.
9.
'JTî
y
-C2_
:^-_^
;g
-fS>-
m
B b
'^_
^^4^
""
-^-
"r:r
^=i=:
4>
:=:q=:
I*'
THE PRINCIPLES OF
188
14.
13.
15.
16.
j^=l^
:^
-CD..
p=
JjfJ
-&^.
rv
:^
fti--
-fS*
~r^
-Q_
s>-
^^^=P=
f^-
g=i=
-^ ^=^
;cz:
-,^
f^
,vo
/^'
18.
17.
-^-Gi-
:tf^
iEEi^
rJ
-(S-
-s*-
ir^
-s-
>
^ ^
y'r~^
^^-WJ^:
th-ff-
'
19.
-(S"-
JQ_
:fe!J^
!*-
S=fe:
189
>^24.
23.
22.
21.
ûe
^tt=^=^
1=^
m^Ê^^^-
&
^,
-fS>-
-F-:
:?::
ii
-j^z
d^&t
gEJF=P=3EÊ^
:^:
:c2:
sf-
-<s-
28.
:^=lzi:^'z=z=^
:tf^
^^^Ê^Ê^l
S3
i^-3^
-s*-
=P^
::
iSi
iq:
-^
icz:
^J
:p2
1
QJ
-s*-
:^-5^^^
-(SJ-
i?:^:
THE PRINCIPLES OF
100
30.
29.
1^
-#
i-i
y
^
32.
1^
:Ê^
hS*-
:3te=g^
31.
-^-
-s>-
:i?^
-f^-
îpEILftl^5^
:^=^
#:g:
-fs*-
iis:
'jc^
33.
If*^
34.
^^
36.
35.
=^
i^
-^-I^H^-
EiE^
gF
:J:
3t^=^
î^
:^=jt
:?2:
1^21
a;

38.
37.
39.
:r
-<&<-
tff*
=t?:
-<s^
^=^-J^*
T**
-e.*-
S1E!^^3E?
-(S*-
191
40.
jiJ
'^,
zzd:
;^=Siîi
^SW=^:
-/S>-
^=^
@
43.
42.
41.
44.
-^-
^^^^^^^êS^
fe-rr=^=^
gF
^^-A
;^^^
3E3E5
Z2L
3cqc
wW^^^-^^
THE PRINCIPLES OF
192
If^
icz
=*i=*=zW
^^-::
sj J~~^
-n-^^
47.
46.
45.
,^
--\
48.
^^
JS^^=g
U-ti=t
^^
I
J-
i^
3^
J;4
-i
1^31
S^feE^^
'pi^
is-
lff:t
?===?:
Se
tl--
(r^?=
@^
52.
51.
50.
49.
-a^
-Fh
I
-e^
-<^-
:^^=r=f:
:?2:
H*
^P--

54.
53.
i
ty=:
ig
55.
-^
^^^
e5=E=^
^
pE^^F=F=r
56.
f=Err7lj
2:=z
^=F
193
-Si*
-(S*-
is
Z3
^H*-
57.
^^
S
BÊ^^=T
-fs-
58.
-Gf-
-G-
59.
60.
:q:
-ki"*i
-fS>-
-^
-<s>-
fe:
2:2:
ig
î3t
/-
=F=F
F=
:tr2:
:^
i^2
zi
-S"-
c c
THE PRIXCIPLES OF
194
61.
C2.
-iS>-
1^5
-^
63.
64.
i^z:
-<s>-
rallentando.
wi-
-<^
-G>-
1^2:
(S>-
:^
^2:
ft
rallentando.
/Ov
fe
Z2
-7S-
-s-
-<s>-
:c2:
rallentando.
22
-(S-
-<s-
ralleniando.
21. Analysis of the
above fugue.
The treble gives out the subject in three

The remainder of the 4th bar is filled with a
(i.)
(ii.)
bars and one note.

codetta.
(iii.)
In the
5th bar the treble has the countersubject, which commences on the
The
second note of the bar.
same time gives the answer.
alto at the
This being the exposition of a real fugue, the answer
subject transposed from
notes in both parts
may
cussion of the subject.
and
11, adds
(vi.)
In the 12th bar the
(v.)
in
the
in
11.
The
In the 8th bar the three last
the
alto.
The
treble,
in bars
9,
10,
few accompanying notes to complete the harmony.

first
codetta reappears in the treble and tenor.
tenor,
while the
bars 13, 14, and 15, imitating
and
(iv.)
In the 9th bar the subject appears in the
In the 13th bar the answer
subject
in
merely the
be regarded as a codetta leading to the reper-
and the countersubject
tenor,
(vii.)
to D.
is
treble
is
given in the bass, and the counter-
alto
those
has
in
some
the
accompanying notes
treble
of bars
meanwhile completes the harmony by a
9,
series
10,
of

dissonances of suspension.
as
a short episode.
transposed
into
panying
rests.
This
minor.
may
be looked upon
18th bar the alto has the answer
while
same key.
and the tenor
notes,
In the
(ix.)
minor,
counters ubject in the
In the 16tli and 17th bars a modu-
(viii.)
key of
lation takes place into the
195
accompanies
the
bass
The
treble
with the
it
has two or three accom-
Before the alto has completed
(x.)
the answer, the treble begins the subject, at the 20tli bar, in imitation,
at
From
the ninth above.
a " fugue of imitation."

is
point
this
From
(xi.)
the
the
fugue
22nd
to
may
be regarded as
the
32nd bar there
an episode, made up of fragments of the exposition, mostly of the
third
bar
of
tlie
subject.
In the 33rd bar the treble leads an
(xii.)
imitation or andamento in three parts, entirely composed of the counter-
The bass
subject.
silent.
is
42nd bar occurs a
In the
(xiii.)
close
by inversion of the subject, led by the bass, and followed at

one bar's distance by the tenor and alto, almost in strict canon, in
The treble accompanies this stretto with the
bars 43, 44, 45, and 46.
stretto
counter subject in D.
stretto
by coming
in
In the 46th bar the treble completes the
(xiv.)
with the inversion of the subject, accompanied by
and inverted,
imitations of its third bar, direct
The bass
silent
is
by
closest stretto,
for five
bars.
(xvi.)
53rd and 54th
mences at the
latter half
bars.
of the
The
by the
treble
(xvii.)
54th
and
In the 50th bar the
(xv.)
direct imitation, is led
the next bar by the bass.

stretto in the
in the alto
tenor,
and
tenor.
final
and
and followed in
alto join
this
close
The dominant pedal com-
bar,
and goes on through the
next four bars, while the three other bars are pursuing a close imitation, direct
and inverted, of the third bar of the
subject, leading to
a half close on D, at the termination of the pedal, in the 59th bar.

(xviii.)
The
five concluding bars are a simple
perfect cadence in G, to finish the piece.
c c
prolonged and suspended
196
The student is advised to analyse every one of the examples

of fugue which he will find at the end of the volume, taking the foi'e22,
He
going analysis as his model.
examples into short
score,
will also
putting the
do well
treble
to
and
condense
done
J.
S.
he will find
Bach's forty-eight
Clavier,"
part.
this,
and
set
fugues,
them out
in
When
very beneficial to take any or
it
in
open
the
celebrated
score, in the
the
alto parts into the
upper, and the tenor and bass parts into the lower stave.
has
all
"
all
he
of
Wohltemperirte
proper
clefs
for each
After that he ought to be able to compose correct and original
fugues of his own.
must be remarked that although it is quite possible

become a good contrapuntist by a diligent use of the materials here
23. Finally, it
to
given or indicated,
yet this alone will never suffice to
make
a good
That requires what no teaching can supply natural genius.

But whatever genius may be latent in the mind of the student will be
brought out and made the most of by no other means so effectual
composer.
as a diligent
and patient study of Harmony and Counterpoint.
EXAMPLES.
Canto Fermos
No.
1.
to
he used in every species of counterpoint.
THE PRINCIPLES OF
198
No.
G.
-<s>-
ffi:
hS-
:q:
22:
-<s>-
No.
-<s-
7.
-<s>-
iâ:
-(S>-
z^t: ::^2
hS>-
No.
m
No.
-:?i
hS^
22:
H^^-
:?!2:
8.
zEt^ 22:
No.
22:
-<s^
22n
-<s-
Z2:
-(S>-
1221
-<S>-
-<S-
1^2:
-<s-
9.
-<s>-
Z2:
-<s^
;jf^:
-I
10.
tj^
L
-s^
-G>-
Z2:
-1^ izs:
2:2:
No.
Exarnjjle of eight -part counterpoint.
1.
From
I!
:q:
=P2_^
pzi
Et
ad
T^-
a Motett by
-<s-
'r^
sua
te
122:
S>
fS
Et
ad
te
:c2:
(S>-
^-!
199
pi
^'
sus
-^
J^
ad
-&
^~-
if^
sus
te
-^-
ad
pi
-^t^-
ti!
sus
te
pi
_C2_
ran
tes
-p-s^
J^-
ig
-^-a
ran
-R-
?^
-S>-
tes
-^2_
feEffi
Et
^21
-^
-^
Et
-e>-
tes
pi
(^
ran
.rz:
-(S-
Giacomo Antonio Perti.
-s-
-s-
22:
-iS-
_l:
v_
Et
ad
-^
te
sus- pi
^^^
\
?=:
EE!
ran
ad
te
-(^
sus
pi
ran
lO-
#2:
-fS>-
ad
^
ffi
ad
te,
-r^-
sus
te
7^'
f^-
:r2
Et
ad
tc
tes
^z^ÊE^
-s-
i!
Et
s>-
:
Et
tes
sus
pi
ran
^îS
]ii
i^
"^2"
tes
THE PRINCIPLES OF
200
-^
:z2:
sem
te
-G>- i::
seni
te
z^.
^-
-^.
per
la
chry
a>
221
per
-(S>-
la
-<S'-
1^21
'^^
man
tes
chry
-P^
<s^
-<s>-
-s>
te
sem
in
P=f-P=^ -s^
^W^^.
22:
j;2_
-^-
::^2:
per
chry
la
-^
l-îf^-T
Ph
cL
-<s-
man
tes
4^
s>-
-s>--
:?2
tes
sem
te
^ ^
S2:
per
-(S>-
:z2:
Z2
-
?2:
sem
te
per
la
rs>r-<^
:jf^:
tes
te
Z2:
sem
2:2:
te
in
tes
12:2:
-<s>
la
chry
man
-s*-
man
chry
tes
Z3r2
xi:
:jf^:
tes
1^
in
vo
p:
per
-&-
man
-S"-
per
r>
fe
la-chry
?=:
sem
te
32:
chry -man -tes
la
Z2:
-<S>-
:z:2:
la
chrv
man
:C^
t<â
:2z=^_z=i:q:
201
l^z
:^2:
F-M=n
re.
I-- <^-
in
tes
fy
:E^3
::c2:
-(S*-
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:'^^^.^^^-.^
f^^ lf-r-^.^
ira^^-=p^
\o
ss
K=y
m
ca
-(^-
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|^=ZZS-2=Jfif^Z^Z:^^^
:q:
\o
jg:^^
ca
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-iS>-
H ^^H
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vo
h-^
in
^-
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X2:
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z^-nztî
:?2:
22n_u
"^
ôr
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-f^-
in
vo
^Q_
rtSH
ca
^\
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in
1^21
:fi^
tV-jH
J^C4^
4]^K:
vo
ca
Dd
THE PRINCIPLES OF
202
No.
2.
Example of
Full
P^:
-Ô
Sa-viour
m^t
U-T^
7'==â-<S'<S-
Sa-viour
z:2iz?:2:
O
9-
1:2:
F. A. G. O.
^
rr:P=^
ZimZZL
-(S.*-
of
the world,
Sa
viour.
^21
-/S-
of
z:2:
Sa-viour
^:=7rr^H
O
Anthem.
i^:
i2k
S?5^?
Choirs.
-(S-
(S*-
u-^
(S/
Two
eight j^cirts in
of
the world,
p^zzc^zzpz
:^^^:
viour of
the world,
Sa
pz=^
the world,
Sa
-<s-
Sa
-|^
- viour,
iEEg
1^2:
viour.
2:2:
Sa
-9-
î!
-s>-
^nk-^^
4f6r
?^
<^_!-^
Sa-viour
li^
^^Ê^^
u
-P^
:^
-s*-
f^-
Sa-viour
^
Sa-viour
^m. ^
1^2:
of
the
world,
fS-
:ciz"_zz:2:
of
the
:?:i: -(S'-
of
the
:?=2:
:c2:
-<S'-
world.
z:2:
world.
:^=
Sa
i^;
-s>-
Sa
Sa
of
the
viour,
(S
lizzp^z =5^21=.^
^'-5-^Sa-viour
viour,
-fE^
T^ZÛOiL.
-^^-
viour,
world,
Sa
203
ores.
m
Sa
-Gt
>-^
T^
of
the
viour
1^
'^^world
-iSt-
=^2=^:
Sa
viour
cres.
w^r^-izr^^^
Sa
viour
Avorld
the
p=jg=lfe=
Sa
viour
of
the
cres.
\U~r^
t^-
'Z^-
$=m
Sa
of
3EE
the
of
ipzzrzi^
viour
world
the
of
1^=^=:^
i^
Sa
viour of
the
cres.
iS>
h:\r=m
Sa
viour
-f^=^the
of
Z^l
iS>-
world
Sa
iS-
?^2:
-<S-
:t=
-r^-
viour
of
the
crî'.
5^
-<S>-
-(S*-
j:zz:
^2:
of
the
-s*-
m
^
Sa
Sa
viour
cre^.
_C2_
:^=f^l
izr
Sa
viour,
Sa
viour
of
z:^:
viour
of
the
cr^*.
Z2:
^^
viour,
Ê=i^Z=I^
O
Sa
-SI-
Sa
-iS>-
the
cres.
t^-
1^-
Sa
d 2
viour,
}&'
^-^^Sa
viour
^mii
of
the
THE PRINCIPLES OF
201
-^?'
H~f^
^-
icz:
world,
AVlio
-fS*-
-^
Thy
by
Cross
P
r>
g:^
:P2:
Who
world,
--jX
q:
world,
Thy
by
rs>
G>
Who
by
fs^-
1^2:
Thy
Cross
:S>-
:q:
^'
-(S>
Wlio
Avorld,
T^-
t^-
-iS>-
world.
Who
22;
by
ibF=&
I^êSe?^
world,
Who
Who
i^
-jzJ:
Thy
Thy
by
5^^
5^
world,
by
-&-
Thy
s*
Cross
and
pre
rj
rd"
Cross
and
:g^
^: -&-
Cross
and
-s!"
Who
by
-s*
_C2_
-^>-
world,
Cross
zd:
221
:to^
Thy
])y
-<5*-
-p-
i=t=4
^^
Cross
Thy
Cross
cious
:?:2:
pre
pro
cious
j::;l
cious
and
-s*
pre
S"-
cious
205
f
-
hr
rJ
and
pre
-f^-
and
pre - cious
^jr
'
cious
Blood
hast
/
i*:
g>
i^^ÊEgESEE
and
pre -cious
:^:
^2:
Z2:
-+HOh-
-H(S-
re
7^1
f3-
hast
re
-S'
Blood
deem
ed
&^
deem
.^
:?2:
-S>-
Blood
hast
re
deem
-<^-
and
pre
cious
dim.
:M
:r:?
'r:?;
Blood
hast
re
'jr:i.
-G)
Blood
hast
-JZ2'.
deem
-f5t
deem
ed
&-
-f5-
-^-
deem
ed
:t:
Blood
us,
hast
hast
re
-G>
3
us,
-r^-
-r:i
Blood
hast
IJEII-^""
Blood
(^
re
dim.
rr
re
:2:2_.
deem
^1:3: :z^2
ed
/
TT7:
re
hast
1^
dim.
f^-
dim.
-o
T^-
ed
-e^-
w^
i*:
^5
-
f^re
ed
ed
dim
:q:
-C5>-
hast
re
hast
us,
-f
-^
-^^-
re
dim.
r^'
q:
hast
re
i?:^
-
deem
ed
us,
THE rEINCIPLES OF
206
PP
-Wt-
1^2:
icj:
hast
^r^'
-r^
PP
-G>-
U-^
n^
Who
US,
^^
Who
us,
221
^^ TIT
.
re
deem
PP
nr^
hast
f*
re
re
ed
ed
deem
r^
b
-<s>-
^s>-
hast
re
us,
-t:^
-
PP
^
us,
f -^
'
deem
T^- -Gh
hast
-(S>-
'
ed
us,
rj-
ed
us,
rj
us.
deem
PP
y~p~^
cj
deem
ed
us.
-rj
rj
rJ-
Save
us
and
pp^ ^
S
y-T^
P?^
deem
s>
fS>-
ed
Save
us,
us
PP
I^
-&-
<s>-
deem
ed
us,
d'v^ra
us,
ejn"
Save
e;
and
Save
:P2:
hS*
us
<S>-
and
207
mf
P
22:
::
Save
(S>
(S>-
hS-
zz:
us
and
help
us,
(S>
(Sh
-G>-
(S*-
help
us,
-o
.s>-
Save
mf
=^
-iS>-
1:21
-(S"
-<s>-
ifc
Save
and
us
Save
-<s>-
fc^T-^
%^
1^21
and
Save
^^
\-rj
Save
rj
f^
-s
s>-
us
and
help
us,
mf
tm poco.
cres.
Save
us.
mf
rp
help
Save
q=:tzz:>z:c2 fSC2ZI
-fl^SiH-
-H(SH-
y.
9
d2i
^.
-^s*-
and
help
r^
-S>-
:c2:
cres,
mi
us,
and
Save
mf
2ôco.
y-T-^
;g^=3^]^^
1221
iQi
-&-
and
Save
help
cres. tin
@-^
^=^
and
Save
help
V<
help
poco.
H(SH
:c2:
r:r
Save
and
THE PRINCIPLES OF
208
-&-e^-
.C^_
1^21
US
iq:
KSH
H^
-H<Si-l-
help
aiid
-H<SH
fci-r?
fe*:
-HSH
-.s-
g:
anJ
help
U--^
n to>^3^:
-*^-
1=1:^2:
aud
help
-<&-
&^help
iQzzc^:
us,
US,
:^"=P^
-s>-
-HSH-
help
us,
fe=
n:!
help
us,
1^
JLî.
and
-(S>'
&-
'^^
help
us,
and
^hkSH
help
^T^
fc^:
r,
-HSH-
ffSH
help
and
4^
us,
HiSH
and
}^0
^F^
-H-Ean-
help
^:
2:2:
help
us
'ZDZ
=?i^:
-c^^
S^-
help
W1
and
help
209
/T\
'-^^=f^
}^-
i
we
W^
hum
p-(S>- _Q
lily
be
0t-0L
y-T^
#--tr
hum - bly
be
we
iS*-
hum - bly
be
Lord.
-<-
^SW:
Z2:
--g-HS'H
Thee,
P
-(S
WStti
Thee,
seech
-<s>-
seech
:ii:
we
~-^~
r>
seech
Thee,
Lord.
5r:
O
HH^^
Lord.
m^=^^-.
m
we
loa
hum
^
f^
we
hum
PG>
cS*-
-.
U-rk-
hum
bly be
P>s>-
-(Si-
-&
Thee,
==N
1:::^
Lord.
Lord.
s-
if:
bly be
IQ
Thee,
seech
7^
iiEzp:
hum
j-HSHseech
O
'-^-
-iS'-
we
Thee,
seech
/T\
:^=^
t
i*:
we
bly be
P
-
C^
:r^
1^2:
(S-
]2:2t
Lord.
HfS-hl
:z2:
-
bly be
Thee,
seech
Lord.
,0^
i^:
we
^>:
h^W
hum
bly be
Thee,
seech
Lord.
THE PRINCIPLES OF
210
No.
3.
Examples of Harmonizatio7is of the Scale in

Sequences and Canons.
Selected from
No.
I.
Ascending
scale,
#:
122:
*"
<o
-&-
?z:
^3^
-<S^
122:
is
1^2:
-^
-(S>-
122:
-(SI-
Z2:
-^
:c2:
;e
This
y=1=J=
-^
-<s-
Zimmerman.*
without inverted chords.
ie
imitative
-(S*-
iq:
_^2_
-<s>-
a canon three in one, on the scale.

* Traits d'Harmonie, &c., imr J.
Zimmerman.
hS*-
-e^

No.
II.
Descending
scale,
E
I
witLout inverted chords.
_cz:
-(S>-
^^
iS
-s^
Z2:
Bi
-^-
-^-
#E
-<s-
:^2:
i
1^21
Z2:
6=^
-2-
-s>-
in one,
on the
i?:::^;
-(S*-
-^-
-<S>-
Canon three
211
scale.
e 2
iq:
THE PRINCIPLES OF
212
No.
III.
In
seven parts, containing canonical imitations.
1Z.
-(^
-&-
iS-
-fs>-
-F
0-
IZH
Z2:
:e
'ZZt
^^
3^2:
-^-
-e^
feza:
|g=2=^
-^
-^S"-
&-
-ri
5:
iq:
-s^
Z2:
feE
-S>-
:z2:
1221
1^^
-s-
-<^-
e=f
W:
213
^^
E2:
:z2:
-s|S>-
-<s^
-iSf-
=^*^=^
-^?-
^^
_<2
^2:
Q-
-S*-
^
-(S>-
-rjr_
-1^.
-1^
TIZ.
^21
I
122:
-s>-
2:^
-e>-
122:
.C2-
-<S-
-<s>-
-<^-
THE PRINCIPLES OF
214
No.
No.
I,
Canon,
4.
Miscellaneous Examples.
_.
Selected from. Zimmerman.
four in one.
is
-rS>-
-iS>-
ty
-^
Q-
l^^-r^
:q:
K^
jtZZ^
-<S)-
122:
fe
~~y
-#-
?
<s-
_C2_
-<s>-
g
-/^
-^
?^
.2_
-<^-
@^
_^:2-
-<^-
No.
II.
In
eight parts.
1^21
E^^
-t^>-
fS-^
-f^-
:^
:^2
;?^=sr
-Gi-0-
w-
-(S>-
Is
h^:.
-<S>-
"T^
z:2:
22
-,<s>-
r^-m
Z2:
'JTJL
-(Si-
221
^g|EE^
wf^
tf^
-^zj-
-s>-
hS-
.Q-
r^^^^
.'^
-(S>-
^-^
Z2:
:-eE3eff
-s-
-Gh-
iq:
:^
1^2:
-G>-
:2
-S>-
-(S^
ff-
2:
E
-fti-
Close imitation at the octave.
s:
215
-<s-
^5^
-s>-
-O
'ZJL
-o-
:c2:
THE PRINCIPLES OF
216
No.
III.
In
nine parts, in sequence.
^
i
w
IZIi
^=^
IQ.
I^X
E!E^
-Gf-
-s-
22:
-(S>-
-G>-
22
22
-<&-
-s-
:^2:
-iS>-(S.'-
-s*-
l^:=r
-f^
1^
r-^
=R==P2z:=^
^^
i^
^-^
i^
^
ffi
22~
^^
s;
hS-
-<s>-
Z2;
22:
Z2:
-s-
-<^-
22:
^,
iÊ^Ê^
v^
^ f A
i
^
T^
-^5>-
-^
0^
:^2:
T^
I^^
if^
22:
217
-(S>-
:?3:
-<S-
iq:
-&-
1^21
-s^
221
-s>-
'^'-
G>-
-G>-
l^
1^21
_^
-T^
2:2:
-^
^2
^_
,_|Q
i^z:
I
-s>-
-s>-
-iS>-
Z2:
Z2;
--^-
-.^-
^^
~^:i:
1221
-Ov
-S^
T"^"
1^21
'
^J-^-,^^
'
3:2:
Ff
THE PRINCIPLES OF
218
No. IV.
In
eleven parts, on Azopardi's Canto FermO; in canonical imitation.
First subject.
>
22:
r^
:c2:
fzi
it=t:
Imitation of the
-^
i
JEE
Imitation of the
first
&-
first
subject in the
32:
subject at the second above.
?2:
3!
Imitation of the
I 3!
is:^
:zsz:
^
Imitation of the canto fermo
tSccond subject.
-ii2_
3E
m
Imitation of the canto fermo at the fourth above.
I \\
^=^
Imitation of the second subject
m.
Canto fermo.
S:
4J2*:
*2t
m]
219
2>
unisou.
:z2:
i
5
:^
1221
=!Wt:
S first
subject at the second above.
U^[
_i=2^
-iS"
^
Imitation of the
first
/*-
subject at the fourth below.

122:
*2t
1221
-C;^
at the octave above.
T^-
122:
^t^
=]^r=
Imitation of the second sul)ject at the octave below.
I
ft
jizzzzizsz:
rues:
l=2t
H-ISiH-
**
at the octave below.
4l2:it:
^=^
*4t:
f 2
*:*
THE PrUNCIPLES OF
220
No.
From
Mass
5.
entirely
1^^
Examples of various Canons.

composed in Canon by Alessandeo Scahlatti.
:q:
-j^.
-i^-
Ky
Z2:
-<s>-
le
122:
-<^-
-o-
Z2:
Ky
"y~~r^
le
u
te^:
feffi
-fS"-
Kv
iîi
:iH:
son,
le
?S:
son,
2:2:
-(S*-
-<s-
:c3=
;?2:
T^
son,
le
^
c
Z2:
le
Z2:
:?2:
1^21
Ky
<s^
le
-<s>-<S'-
:c2_
le
-<s>-
son,
f^^ &-
le
-(S>-
-G>-
122:
-^
-iS>
fU-
'-^
:^:
:=i:
221
'-^
<s-
-<s
-s>-
:c2:
:^^2:
rii-
-^
1221
-<s>-
Ky
son,
-<S>-
221
321
:^2:
Ky
:c2:
fff^
22:
fU-s-
-(S-
-s-
1^21
f-l^'-V-
?ES
le
^-
fr>"
-tf
iz:^:
=^
(S*-
:i^
Z2:
-(S*-
-^-
1221
7^21
:c2:
son,
-1^
-(S"
le
son,
le
m=^
-(S
d^
22:
le
-s^
S*-
THE PRINCIPLES OF
222
-0-
:^
3^
:^^zzzzf:iz=at
H^
223
:c2:
Chris
s)-
r:^
V :^f=^-
:^P2=:
Chris
^2:
Z2^
-S-
te
-^~
son,
Cbris
-1^-
:q:
;q
-
-<s^-
Chris
-iS-
:3=1
i^z:
-s*
:^
Chris
^
te
-^
î:=,
-
Chris
son,
le
te
-(SI
m-=A^=^-^-
-(S>
=il^
-G>-
le
:z2:
-
WS^
H'SH
-S^
le
H<&H-
^=^
i^z:^.
te
Ky
le
g::^-ai^
it^
le
te
te
le
Z^-
zz^2z:
-s>-
:?2:
'.Z2L
Z2:
Ky
fS^
THE PRINCIPLES OF
224
^ ^"^^
n
1^=5^
-<^-
:iM
'^'<^
i^-
rJ:
:q:
^
p=^^
ziz:
fe
Ic
son,
t^
^21
hS*
Ky
-<^-
Ky
^?
z^zzzc^
-s*I-
S^-
-p2_
g=i
T^-
B^3
-ts^
ri
r>
:p^
:zi:
I
@=
<s-
-<s>
221
rd-
Ky
lS>-
il^
-?d
-G)son,
-S>-
225
-<s-
son,
Ky
r^
r>
lS-
le
Z2:
le
-<^-
:g^=f|:^
^21
Ky
le
/Ts
m=^
2:
2i =ai[
-s-
-e^le
:tf^:
H<S44-
son.
"^
-s-.s-
^^
:p=,Q=:=p
^,:^-
1^21
son.
:^:
-<S'
-<S'-
son.
2:2:
-TO"
-fS>-
-<s-
son.
Gg
THE PRINCIPLES OF
226
No.
6.
Example of a Canon Four

From
-^
in Two.
Mass by Benedetto Marcello.
-H*-*-^-^
T^-
=^^
-.(S>-
2d=^
-G>-
--------------<S>=
:q:
se
re
^^=p:
mun
ta
cH,
mi
Q-
se
1^2;
-S>-
:c2:
mi
di,
P=^
/s>-
ziz:
-ca
--
:p
p-F=^
-<^-
mun
ta
J27
De
-S>
41^:
~7r>'
Ac
nus
TZT-
-o-
De
/CN
-*H*-*-
W=^
-G>-
mi
re,
-^
::"
r^
^ZLUZl.
-
se
iQ
g^:
H'SI-r
re
re
bis.
/On
^-
r^
-(^
-1^
1^^
re,
mi
r^ r:r ^21
-
se
re
H^
G>-
Î^ZZ^
=IW
re
H^^H-
bis.
-iSi-
^m-<9-^-
-H^H-
bis.
:^^d
mi
se
-H<SH
-<s>-
:fi^
DQ3
re
G S
bis.
THE PRINCIPLES OF
228
No.
7.
Examiole of a Canon Four in One hy Inversion.
From Henry Puecell^s "Deus Misereatur
nM
-"^
in
flat.

r
229
THE PRINCIPLES OF
230
P=^
^=zi=F=
t^
end
-d.
^9^
^ ^
re*
world without
be
-f^-
men
world with-
0-'
~^^m-
11
-S-
-S^
world without
be
shall
men
end.
Z2:
:ÊiÊÊE3
end
without
yT^>-
world without
:c2:
out
end.
rj
&-^
t^ss=*-
-^
^-
men
world
with
out
end.
g;
iîz:
-^S*-
?lf3S
-<&
z:
end.
-<s>-
-s-
-^- men:
--
-rd
:r2
world
T^
-^f-
12:
EFT^
T^
z:
:^
A
men.
1^2:
3:2
world
with
out
-^s^h
men.
-S"-
L2:2t
^^
with
r~r ^
out
end.
p-
Z2:
-s^
men.
men.
3;
-^
^-i><-
HOH
v_
A
idr
ÎT
^^d=^
cnd.
men
Z3:
3^^=^
--------
men.
ICJil
-js*
"C^
-
men.
men.
No.
8.
Example of a Canon Eight in Eour,

for Two Choirs.
From
-(S>
at the unison,
a Cathedral Service
1^2:
ÊES
C2_
Glo
231
by
F. A. G. O.
p.
--^
to
the
G>
(S>-
and
to
the
and
to
the
and
to
the
-<s>-
-&>-
ry
be
to the
tS>
<S>
^ ^
ry
be
to the
-iS>-
^ #
ry
be
to the
Fa
I
and
ther,
<S>
G>-
Fa
ther,
-<S>
#=
Glo
-iS>-
W^
Glo
(S>-
Fa
Z2:
ther,
:z2_
gEffi
icz
Glo
ry
be
Fa
to the
-^f^
ther,
Glo
-(S>-
ry
be
izz:
-/^-
Fa
ther,
Fa
ther,
to the
if
#Effi
Glo
ry
W^
Glo
ry
be
to the
T2~^~aL
be
to the
-G>-
iq;
Fa
ther,
ZC2Z
?2:
Glo
ry
be
to the
Fa
ther,
232
THE PRINCIPLES OF
2:2:
-s*-
;pz=^
As
it
was
-<S-
fS>
(S>
As
it
was
i^^zzztq:
:pz:
5:
in
the
be
(S*
(S>
the
be
^-
^2:
be
233
gin
iQ
-
ning,
-f^
i^
in
-iS"-
:^
As
-s-
was
in
the
G>
(S*
|S)
<S>
S*
-
gin
the
in
l)e
122:
1^2:
-S
gin
Sit
:q
ning,
it
was
-<S>-
<S
<S-
ning,
in
was
As
in
-(S*-(S>-
22:
CJ.
C-*
the
be
-lS>
|S>
the
be
^2
-.^>-
Ghost.
IS
=P
As
Ghost.
IS
la
was
ning,
^2:
1221
Ghost.
=^21
:P2:
As
gin
(S>-
As
1221
As
Ghost.
Hh
1^
it
iS>-
-&
was
in
the
& &
/S-
was
the
in
:c2z:
be
q:
be
THE PRINCIPLES OF
234
rj
r-^
T^
-^
T2i
Z2:
-<^
T^
-Gh-
end.
xV
-S^
now,
^^
now,
and
^2"=^
f^
and
-<s-
TZZ.
ver
(S"
ver
r^
shall
be
S*
<S>
shall
be
world
^
world
and
ver
and
22:
22:
-
nnitr,
ver
-Gh-
is
shall
f^
now,
r^-^s-
-G^
be
is
G^
now,
r^
and
world
-fs^
q:
with
out
end.
r
-
<S>
22:
-Gt-
22:
and
with
out
ver
'-^
shall
:^
be
ver
T^-
ver
-^?-
world
shall
-fS>
be
s>-
sha'l
be
world
2
Avorld
-^^
fj.
-J!Z^=i::t
and
end.
-i^>-
S>-
eL/
now,
r^_
and
q:
mng,
tS*-
end.
out
2
now,
nine.
be
2^==B
=^=^
ning,
world
r-ir
ly
Ct.
-TT^
cui
with
out
iS>-
r^
shall
=P=P^
now,
<S>-
iî:
now,
gni
."^
22:
;in
Avith
ver
1ZL
shall
be
world
23;
-^^
-H(SH
T^
122:
f^-
i^
C2:
men.
men.
-HOH
I
U
men.
-^
-^
men.
men.
men.
z:^:
-Vi^Yr
'JOl.
ITS
-(S*-
]^-
1^2:
men.
rrs
?^=P=?=P^^-
^::
:?:2:
1^21
with
-(^
Avith
out
end.
f^
(S
out
end.
#
with
out
Gj-
end.
^-r
A
men.
men.
rz
A
men.
T^
-G>
(S^T
-------&-
men.
t:
men.
^2:
with
out
end.
i?-i^ffyT
-TT
-&
iwr
-
men.
H h
THE PRINCIPLES OF
236
No.
9.
Example, of a Canon Nine in One,
at the unison.
By John
3!
-^ÂjT
nu3
Travers.
De
Qui
3E
r^
^^-
fz? -
V
Ag
nus
De
ii
s
Ag
E
I
s
fe
f
;s
i
s
ii
^
nus
r^
"
ft^H^
De
^^h-^^-^
\i
^
r^
tol
lis
pec
ca
ta,
pec
ca
mun
ta
r r~r
I
w
tol
lis
pec
^m
Do
di,
^~f
''
Qui
r^
^'
^'
ta
mun
-^-
ca
ta,
pec
ca
tol
^^
lis
pec
ca
ta,
pec-
=^2=
221
Qui
Ag
di,
^^4^^_r=ÊgES
=^=
De
''
na
Qui
237
-^
'-
^-
De
s
Ag
De
Ag
nus
THE
238
PPtlNCIPLES OF
g S
no
Ag
pa
bis
i
I
5
?=;
-^
Do
r?
na
no
pa
bis
ccm.
-221
r^ -
e^:
:t=i=t
ca
mun
ta
Do
di,
32=^
22=^2=^2:
tol
lis
pec
ca
ta,
pec
r^
ca
=^
3^ :p=
tol
lis
pec
ca
ta,
pec
pa
bis
Do
di,
^JL
-^-
De
r^
'Z31
Qui
mun
ta
no
d=z=t
W:.
na
Qui
ca
r^
r^
ta
mun
f=r
\'
lis
pec
ca
di,
r^
1^-
tol
na
ta,
pec-
:?2:
:c2:
Qui
i
s*=^
Ag
3
-
nu3
123:
De
ffi
r.
3^
Dc
i
w
239
'Tzr
Qui
Do
^3^
atz*:
De
A-
1^
-<s>-
De
Ag
T^
Sm
no
rJ
-<s>-
1)13
Ag
pa
=p=;5=
m
Do
na
uo
bis
cem.
pa
Qui
tol
lis
pec
ca
ta,
pec-
THE PRINCIPLES OF
240
^^=r
tol
lis
pec
f^H^^=fg
r
-
ca
ta,
pec
ca
mun
ta
tol
pec
lis
ca
^
-
ta^
^^
î
Mi
di,
Z^21
Qui
pec
ca
=?=2-
?=2=
Qui
tol
22:
r:?^=?s:
f^
mun
^^
pec
lis
ca
di,
~W~W
-
ta,
jêc-
:r22i
De
Qui
22:
d ^
-g^-
<^
tr
De
I
Ag
i
ff
1^2:
no
22:
IS
De
nus
-?-::;>-
bis
pa
S=E^
Do
1^
ca
ta
1^
mun
na
^
no
bis
Ag
cem.
pa
a
-
di,
nus
Do
r^
na
no
bis
pa
?=2=
re
re
:?2:
se
7^
r^
-
ca
niuu
ta
lis
re
no
re
bis.
:?2:
pec
ca
ta,
pec
:?2=
I
Qui
r^
ca
r^
^r?"
ta
mun
di,
^m^^^tol
lis
pec
ca
ta,
1^
r-^
pec
ca
-=^
w ^û
-
Qui
3^=2^
2:^
di,
E^
:p2:
^-
:?2:
tol
Ag
bis.
I
g
I
W
241
^5^
mun
ta
^
tol
lis
pec
ca
di,
^
ta,
jiec-
1221
^3==^-
De
Qui
=S^
SÊE^
:i^
De
=g^=
-<Sf-
-G>-
De
I 1
THE PRINCIPLES OF
242
^m
^
I
^.
-<Sh-
Pe
^^^
A-
De
2:2:
?2:
^^
^
re
se
De
Air
bis.
re
At
bis.
?=:
nu3
isi:
-s>bis.
nil
g^
i
ca
ta
1^2:
3^
mua
di,
#-ir-^
irt rr ^-^
:?2:
ta
mun
tol
lis
pec
ca
ta,
pec
:?2:
Qui
ca
se
di,
r^^f=r
^^^
tol
lis
pec
ca
ta,
pec
r^
r>
r-^
ca
mun
ta
:^2:
di.
r^
w-
22:
Qui
tol
lis
pec
ca
ta,
pec-
243
c^
re
no
re
Do
bis,
r-^
r^
na
no
bis
:?2:
^^
re
Do
bis,
re
:2
-^Jrnr
J
mi
1,
se
re
re
122:
se
De
i
9
A-
E^
=^
De
Ag
bis.
'-BÊ^
re
Asr
bis.
re
:c
S=
se
i
f
^1^-
De
nus
i
f
icz:
^3^
r^
r->
re
bis.
re
~-
^_
ca
ta
mun
mi
di,
se
re
je
no
THE PRINCIPLES OF
244
i^
I
5
-jzt:
pa
cem,
bis,
1=21
P^^P
:?2=
:?2:
3i:
cT
na
no
I
5
bis
])a
mi
cem,
^
-
re
re
re
S^
Do
bis,
:?2zzz:z22:
i=t:
se
na
no
bis
pa
1=^-
:?=:
mi
cem,
=3=^
-
re
na
no
bis
g=f=g=^^
1,
Do
bis.
mi
re
re
Do
bis.
:?:^
1^
se
3^
irzEL
:?2:
re
re
-iS-
no
2^:
De
se
^1=
Ag
:?=:
321
De
~g^
bis.
Ag
De
=1=
MS-
245
t^'
Fmi
32:
se
re
no
re
no
bis,
1^21
I
no
se
bis,
re
r^
"
C7
-
se
re
1-e
mi
bis,
^ ::^=^2=^:
1=^
^3:
bis,
=^=
l^g
no
re
bis.
-I
se
re
no
re
:r2i
122:
1221
~-Ml
f^
pa
cem.
se
re - re
-c
cem.
TOi
:?:2=z:^z=?2:
i
5
no
pa
big
e
-
na
re
re
i,
^
w
se
re
pa
bis
Do
na
:22:
no
bis.
:?2~-f^
i
mi
cem,
32:
re
E=i^^
bis,
se
f=-
f=^-
re
no
pa
bis
re
mi
cem,
->
fs
(=^
na
no
?
mi
T^
G-
se
re
no
re
Do
bis,
bis
S ^-
2^
~s
1,
mi
se
re
re
=?2=q
S=3eE:
fLi.
no
se
^^^^
FS^=
-
:^ziz22zz:s2=?2:
:?2=?2Z=^:
Do
bis.
mi
bis.
-i
n0
bis.
Do
THE PRINCIPLES OF
246
iIE
bis.
M
-
bis,
bis.
r^
^-
re
no
3i:
re
big,
bis.
5
mi
i
SWi
ee
re
-f^
G^
re
no
321
-r
-
bis,
bis.
:^ 5
mi
bis,
se
re
:?2:
:v:::
no
re
sc
I
I
S
re
no
re
^^
:?2:
pa
r^
r^
^
i^:
-
mi
com,
^'
na
no
:?z
bis
pa
mi
bis.
f^
bis.
re
:z2:
^r-f^-f^r
se
re
r^
se
no
re
g>>-
22:
-
no
re
r^ =g^
fr^
z^
f-
com,
mi
r?
22:
r^
se
mi
bis,
re
re
no
bis,
se
247
^
bis.
bis.
bis,
ê
i^-i
!
re
no
re
bis,
-^
-^
mi
sc
re
re
bis.
no
bis,
bis.
THE PRINCIPLES OF
248
No. 10.
Example of an
Canon, ivhivh ascends a tone in
Iiifinite
pitch at each return.
By
GlAlILATTISTA MaRTINI.
ill
-^
I
in
rj^
-/s>-
^3i*l
r^
ii
-iS>-
#21
ffi:
in
feS
-c5-
2^
:p
^## ^
Q =3^
in
j^^
^^
-fs^
D
-<s>-
~j^
1!
-i-s-
-('5'-
in
sq
_^_JiC^.
-s>-
-^
T^
-^-
^ ^P~^~T
=p=
e^n
^
in
22:
-.5>-
i?:^
221
^B^
Z2:
g^^gig^^
-<s>-
^21
fS>-
~^^
249
Û^&(
in Fit
'^^
^
I^f^x
Cl.
&c.
in
z:z
-<s-
4q-
-<s>-
?;:z:
(S?-
&c.
in
j::^
-<s>-
*2:
:ft^
F#
^=j^
=i^
-f=^
&c.
No.
11.
Examples of
Canons
Infinite
at various intervals.
From A. Andrews "Lehrbuch

No.
-iSh-
der Tonsetzkunst/'
I.
cz
At the second
:f2:
Ka
-<s>-
At
122:
At
:fi5Bi -^z
-^^^^
above.
i^
^^
^p:
Subject.
I ^
-(S>-
'-F=^-
?=:
-<s-
-is^
:fi
22
the sixth below
i^
^&t
the seventh below.
K k
?:2:
iS-
THE PRINCIPLES OF
250
No.
From
II.
the same.
s-
iQ
kti
i!i
At
i=?i
At
'-^
the sixth above.
^^^^^
rf-rr^j^^
22:
the third above.
-&<-
Subject.
Mffl
lO-
At
'-f^=^
^f^^'^
ffig
the fourth below.
:^
iS^
I
I
^=0^
:^2:
t^ss
-<&
^B^:
i*-^#^
-s'-
'
-1^
-f-f #
J-mUJ
-s^
-^-r
i
w
^^^g:^
W=^-
E=Ea
-f^-
-jzL
3tz
^J-^
Z2:
T^-
251
P=^^^-
U-
g^
^-s-
:p2:
-s-
-<S^-
2:3:
^^^?^^sS
:^
leiat
-iS-
^^^^^^^^^
Kk
-^
?2:
->
ziz:
THE PRINCIPLES OF
252
No.
12.
Example of a Cano7i hy Triple Augmentation.
t^^s^^
fe?
From
the same.
mF-
tîiî^
-^
0-
ÊE
t
fS?-
ir\
I^
-&
Id
-Gh
t:
No.
13.
Example of a Cation by
253
Retrogression,
or "
Canon
Cancrizans"
From
(^)
SEE
(0
(<)
EBEE
(y)
(8)
#-^
(l)
J.J, J^^--^^^
the same.
5^
-1^
(^)
S^
^S
(^)
(y)
(^)
T^
(a)
THE PRINCIPLES OF
254
No.
14-.
Examijles of subjects in double,
triple,
quadruple, and
manifold Counterpoint.
No. I. At the octave.
1.
r9~
F. A. G. O.

No.
III.
At
255
Handel.
the octave.
1.
ip:S
1221
i^
-(S^
:q:
=1^
22
2.
:&f=^
aa
^
&^
2.
S^
-<s-
ITJi
1.
No. IV.
2:2:
-S>-
<S-
C^
-<&-
-^?-
:flQ:
At
the octave.
A. G. O.
1.
^^
22
U-T^
-fS>
pL
-(S)-
-C2-
-<s>-
-JT^
22:
-<S'-
22:
Q-p>
1?P2=
-i-^fg^
iJ^
1==
r^
Z2:
fS>-
2:2:
-o-
f^-
T^-
2i
1.
g^^^^
22:
-<S
!-
^2_
-^
THE PRINCIPLES OF
256
No. y.
At
Haydn.
the octave.
1.
-o-
tê
-7
^^^=îg^-^
rr
5n^r-rrf
cj
2.
~m
^^
zz:
-(S*-
iSt-
:q:

No. VII. At the
1.
^^-
?Ee^
By
F-
*--ii^:
^.gz:rz^ Ej
2.
EÊ^
IeB3^^
1.
^%=f!=F
-izt
augmentation.
^^
Handel.
twelfth.
Jl
St.
257
&
r=&
f^0-^
f^^
No. VIII. At the tenth.
F. A. G. O.
1.
-(S*-
isz:
-<s>-
.^JtUZZLZ
fe^^^s
i!
2.
~N
^0-^
-offi
ia:
!Ê
--^
--
-^
-S>-
SE
r:?::;:
l1
THE PRINCIPLES OF
258
IX.At
No.
Keicha.
the tenth.
1.
-^Hr-
22:
-<S^
^3^
1^2
-fS*-
2.
^fPPI^îfrl^'^Pâ!:!5^
^
g.-^TTT-.
t^
-*S>-
Z2IT
:^2:
2.
EB^
?:2:
-^ ^-^'
1.
-s-
aj^_
fel
^2:
^#-
:^:S^^^? ^z
? ^^
:P5:
-f^-
T^
-s>-
-iS>-
t:
X.Triple.
No.
^2Zt
Reicha.
1.
^s:
:"z:z:
q:
-^
-(S>
2i:
.^
:y:
2.
EB3
ê^
:?2zz:
i^^
'-^-
.c^
5S
-(S>-
-.<s>-

No.
XI.Triple.
1.
&-T^=
259
Reicha.
THE PKINCIPLES OF
260
No. XIII.Triple.
b^'RlF^
F. A. G. O.
^=g=^^:^
2.
ife^?^^^^
-^
3.
-Q_
Z2:
-^>-
i!
XIV.Triple.
No.
r. A. G. o.
1.
jLi.
brj-
~lSL
lS*=-
^^
-ish-
-lS>-
1^
-fs-
2.
ig^j3agS^9^
tfeiffi
-(S"-
:?2:
;?
iq:
-^-
Z2t
-s^-
^ s
:nL
-is>-
No.
261
XV.Triple.
r. X. RiCHTER.
1.
i^:
w-^-
g^"^~tâ^ffJi-&:
:f^ ^^=^
gs:
'G>
tti
ff^
-o-
-(S--
-s>-
3.
Ss ;^
No.
r^
1^21
XVI. Triple.
i=e:
Jf:
G. Drummond, Mus. Bac. Oxon.
1.
-^^
-^
III
3.
-(S*-
-^
:r=^
-iS>
r-
THE PRINCIPLES OF
262
No.
XVII. Quadruple.
1.
r?
Zimmerman,

No. XIX.
Quintuple.
MOZAET.
1.
-G-
/r
^=^
=F^
5!
'^
f!=^
-^- -^
zg-^:
^^
&
f=f^ 0^
-<s>-
^^
No.
No.
j^
15.
-^-
-<2-
M:.Tfci:^
263
icz:
^
-s^-
'
-fS"-
(^^-
1221
Examples of Subjects and Ansivers for Fugues.
I.
Subject.
:03
85^
^^^s
S^^^^g^^^^
3EE2
1t^
v-f^^-
stf
Answer.
F-^-
THE PRINCIPLES OF
264
No.
II.
Subject.
-M-
m
u
-mJ^-0L.
-0
g-^-^
i^^
9-
'^-
^~^-rF-r
tt*-r^*
1
\
2G5
No. IV.
First subject.
?3:
-o-
T^
-iS*-
^^
^S^
Second subject.
JBL
^-
;q:
First answer.
-(S^
Z2
-s^--
hS>-
tt
Second answer.
E^
Ê^f:!
-^
3^
-(S>-
1^21
No. V.
Subject.
P^r^.
^-g
-fS'
Answer.
ES-tt
WS=j^
0-
I-
S|^Ê:33
E3 flw^^-E
J
^^^g^
fr-r^ h^J^Tg
M
ra
THE PRINCIPLES OF
266
No. VI.
Handel.
Subject.
E^
^
^^^^m
r=F
}^-
Answer.
Ui^
>
No. VII.
^^-
^F
O. Gibbons.
Subject.
f -^ -
Iw
267
No. IX.
Reicha.
Subject.
*E3E
:^
-S-
Z2
:^=^
22
^-
icz:
First answer.
-<s>-
S^^
f^-
1^
^^^=:Pg=g^
-(S-
Second answer.
^3
-<^-
^21
1M
P-
:^
-s*-
l^=gg^
-e-
Third answer.
5Ê
r73?
of which the third answer
is
72:
ffr:^
r:^-
-<s^
considered by Reicha to be the best.
Mm
THE PRINCIPLES OF
2G8
No, X.
Subject.
(In
minor.)
T^-
E!^
Reicha.
:^:
^2=^ :^=P^ 1f^2zrr:^
First answer.
5^
>
OL f"
TiT
^- #:5z=z^ :^ :^
-g^-
Second answer.
^2_
53
^^=^F^
?=:
:P2
^.EeeêS
i^
i^
here both answers are good.
No.
XL
Subject.
Reicha.
-lS>-
22:
jLj__d^.
3tiJ:
2211=^
:^
-C;'-
269
First answer.
rj
Z2L
^,
(S>-
^|S>-
'&
:^
(S*-
Second answer.
^^
22-T
:^
iS^-
^-
zi
-<s>
here again both answers are good.
No. XII.
Subject.
a=^^Ânswer.
^^tt77~
F^TIS,
q:
:?:2zr:^
Ê=r^
:^g=^~y^
it
>S>
i^
THE PRINCIPLES OF
270
No. XIV.
Subject.
ict
Answer.
ff
Fetis.
:^
itjzjt
:&
:f^=:pE
^=^
:^

If however this subject
is
in Cfl minor, the
^î^^^
@^g3E3^
ISg2
271
answer
'^
-C5
will
be as follows
CP
IS^
ZZ
-<S>-
1^21
-<S>-
76
69
HS'H
1^
No. XVI.
Subject
a.
F. A. G. O.
(In D.)
^3
li
Answer
i^
1*
Subject ^.
E
Answer
u-^-
^^^
J Ê^-
?^
^f
a.
K:
-*
fS>-
-f2-
(In G.)
^ ^
/3.
êeêêeeSee:
THE PRINCIPLES OF
272
No. XVII.
Subject.
5ê
ID.
First answer.
m^^
1^2
^^
S:
:^\
(If subject is in F. major.)
-^-
Second answer.
rr-^
T^=^
-i
(If subject
is
in
3^
1-
D. minor.)
^=^=^j^^=^=^
1^=^
t^^=^
or
^ê
:a
or thirdly, in either case
-<s^
it
may be
S
treated as a real, not a tonal answer.
No.
Example of a Fugue for Three
16.
273
Voices
and One
Subject/'
F. A. G. O.
ri
-&
^^-^
-m-f~^~^
jz^zj
i^^
-f^
m^
-<s>-
^-
-G>
Ê^
T^
IS
<s>-
:^^
:^
ifzif^zz^
JT
:îz*^
V
<s-
V=
VQ'
In the following examples these marks

subject
A -
subject inverted
subject diminished
^7
will
:p^=^
be used to indicate the repercussions of the subjects, &c.
subject
augmented
subject diminished and inverted.
Nn
/\ =
subject
augmented and inverted
THE PRINCIPLES OF
274
^-J J
S=^
f~^
:it
i2=^:
^
P
zf'b
It*
Z2:
r r
-&
iq;
y--^
fe
-^
,^
-is
=^^
=^^j
^=^
T^
22:
^P2izz:
-F-=
P-
F-
m^:^=
:^=^
f2
)
^t_
"^
xz
-fS>-
T21
y^-
^N
^!2_^
1
\
N n
X2:
1^2:
-V
y-
-^=^ 5t
-7^
;^
^î^jijzjE^
iS^-
'^~-
'tf~T~~^~f--f
I-
r--"
@^
=--
-^s.*-
icz:
Z2:
THE PKINCIPLES OF
276
r^
:Ê: ^Sjt
1^-^
P=^-J=B^^
b-G*-^
S^
E^3^
cz:
S^^^
"
^Y^^
zsuzîj:^
?^
-<s>-
^
-^
cz:
:^
/-i
-jz^
tS^
w
iptizr^
f}
fS*
2=r
rr^r
-<^-
_^5)^_
:^
-(S*
r-
277
S^rEiÊ
gg-J
:^:
V
^31
fcb-F-r
(^, _'7p
|#
j-y
p=^
3
r
-F
?f^=^^=^!f^-
:pz=^rzf=jB:
(^
.-
<-j
c:.
'
^^==ffi^
-G>
^^
-v -g^-
=F-F
P=
-<s-
gi-
-&^r^
^f^^^=^^f^-
y--:
-rd
p-
r=^
<S-
^ff=F^^^
-fS
r-
:^
V.
*=^F:f=^=
:i^:
^^f^5^=^^
-i-j
''-'
Ov
jg^
-(S'-
1^2:
-J- ^
r"^-
:^:
-s^
-r
F^
i?:^^
"F
f
:^~7dziz:
"^^
'T^.
-c^
QF-
:^
-is>-
:czzi=r
'JZT
F-
THE PRINCIPLES OF
278
No.
17.
Examj^le of a Four-Part Fugue.
By
^
:q:
1^
j^
:c2:
ClIERUBINI.
=&^
"rv"
Exposition of nineteen bars.
ffi
:^=*
rS^
:?=:
gE^
Countersubject.
!^^
EEEf^*
:p=:
-s>
.C2_
hS-
-1^-
i^:
&
^2: -/s
122:
ts-
tS>-
i^z:
22:
V -^*-#
r^L
'
r j'^
^-^
279
Codetta and Episode.
i5^
-&
::^=5q:
~TJr_
:^^==?
-<^-
^^^^S
^~W~W
-^
-^
&^
-s-
m
-fS'-
::
^-
I
'
G>-
221
3^
^r-rF^frg
-0
m^^
?=:
#-1^
T^
'
I
#
-^
221
221
II
.2-
Sitfif:^:
THE PRINCIPLES OF
280
V
-^
teS
f
3Wl^""=n
r:^
^^^*,ig^^z^^Ê^^3Hg^,*-^^P^
-S>-
-s>-
<s-
ijf^:
-s-
f^-^^^=^-
g:=^'"-r-tf^-
-fS*-
-<Sl-
-Gf-
22:
~i:
:tJ^:
:^
H'St-t
V
:q:
:tf*:
'--^-^^
-s>-
=F-i^
-,
^=f-p^
^tm
aiLffi
'^Q
=^
Z2:
281
Episode.
^ÊEE^^mS
-C2-
f^
=--
-<s>-
-C2-
^ "
-jzz.
i^*3
fS-
-O-
'
2:2:
-<s>-
i
-#
S^F
^*
i^^.r4-^
p=
^*^
:?:2:
i^^^^^^
=^;
^^^
T^
-s>-
s^
j^
-^
-^-
-s^
:fig:p:^-ffi^
O
-(S>-
-s-
THE PRINCIPLES OF
282
^=^
-fS-
T^=^
(S^
-<^-
=1^
IJ^:^:
i^z:
-e>-
S^P m ^
K^P^
^-
?2=z:
22:
fs-^
:P2:
if
-G>
-s>-
iq:
3^î i^
~rijr~
^
T^
-^<s>-
-^^
-^r-g^
:g
Counter-exposition of eight bars.

.^2.
-JT^L
-(S>-
^5
5^
f=r^
it=i-
f^-=^=^
hS-
22:
221
22221
r^^
Z2:
G-
.C^
T^
\&-
ft
-.s>-
T^-
^=^^
28;
T^
f^r-
2_
iQ-
-G>-
s
V
:=:
? ?^
g^^
iî:=bzi^:
-(S>-
r^_J
;S^
Episode.
rt=l
12:2:
-(S-
S--
-fS"-
hs-
4:^
-Pfs-^
T'lT"
:^-<^-^
-<s>-
f^~7^ i^-îS
'
a
H*-^
-^-
13^:^
002
-e^
Z2:
THE PRINCIPLES OF
284
_c:^_
0^0
-o-
-S"
tt
.C2_
!^-JI
J:
22:
-<S>-
-(^
::c2:
:p=s:
1*=^
:q:
ii-^:
-M
C2:
-<2_
Z2:
:JM
f
F^^PTr^
HS
j^2_
_C2_
zz:
:?2:
-<^-
EÊi^S^S^^Ê^
-<S>-
j^2-
^^
4]^
-f^-
.C^
g^dFf^STi
l-t=i
fe=;^=P^
ii^-^-
<s>-
-H<^K
:îr
-(S>-
^>-
:s2:
r^p
^ J-^
-p
->
^^"
-&-
r^''^
-^
i-
'^--
-(S*-
'^^
X0^=^~-
-s>-
î
^'
t^
fzzjt
icz:
t^
1^2:
-Gh-
ir^-
22:
-s-
1^21
-s-
V
-<S-
3:
:r=^
122:
-jf
iq:
285
'I
5=
Z2:
-(S--
-^
-^
iq:
-C2_
-(S*-
THE PRINCIPLES OF
286
v-^.
287
V
f^-r-
:Jf^
*=!=
^&-
-&"C3"
V
T2L
:#^
-G-
:^
22:
-<s>-
:?2:
-&-
iQ-
^r-^-^q
^^
-i^-is-
22:
^
22:
-ne
:rjL.
-(S>-fz;r
)r^^=&
irr
Z2:
^-
THE PRINCIPLES OF
288
P
Z2:
iif
-izL
1^21
-s^-
Q/crgr-_^
Fragments of the Codetta, in imitation.
mm^
u-
&
-F-
ifcB
-s>-
1^
Z2:
1221
-s>-
-Bfu^zjE^.
-is>-
-iSh
1221
-^-(S>-
1^-
-/^
f-rtrrêft-
t---
t
-f^-
r rr
M-
^ffffrTTfr
r-,^tef^ =:tf^
^^
-lS>-s>-
p-rr-r ^^^^
^#
^- z5^
^
0t
289
t^
Vh^
^^^-r-^
|gLg-f f ^^
rp
.C2_
^g^^^^^frrf
iq:
-^:q:
^:
-fl^^
22:
=[
^^^^^-^^^^^S
^S^^^^
fee
i^
}:
^ff^rgs^^^
'--^
ff-r
p^
-<s-
3;
PP
Z2:
THE PRINCIPLES OF
290
-fS
r-
-?E^êm^
r:^
-rrrf^rr-
^f^^^^0 p ^ ^
Z2:
P^
SEE
iS>-
S5^
32:
:^
f^fi^T^
^^^l^gfe^-^g^^^^
Z2:
22:
r
i
fe2i
f^f4
'
-e>-
j^;"^^^
^S^
i^^^
^^ ^
-o-
-(S*-
1^21
-(S--
:c2:
-^-
'JTIL
iq:
^g^^gp;^
291
iîqt
^^^^
-^^^^^
-^-
-ftm-0-Jif-
Ci*-
fese
iziz:
122:
^ggg^^feg;
Pp
122:
THE PRINCIPLES OF
292
rf^r^^^w^
:^x
-<s>-
-&-
^^
_^:^
^t^r?^--^
%-
<:i-
-fS-
^r-^^-
-/^
:^
-<s-
wt
/Ts
_C2_
H(S>H
HSH-
-iS*-
22:
-<s-
:P2:
HHSf
/r\
S:
f ~riTrrfrf
1^:2:
Z2:
-s>-
293

Stretto.
\2^
1^=^
=t=
r^l
t=^=^=r
j^-
i^^!^
-G>-
H^~^
=i
:{t:^= i^
Episode.
-(S*-
E^raSE^3S
fezzr
=3P2=^
-^
iS"-
:if^=
-(S-
:tfP
::S^
#:
:T5
72:
-fS>-
-1^-
12:2:
-|S>-
ê^^
'
THE PRINCIPLES OF
294
4^ ^^=^
H=^ttE:
B#=3k:
>^
^(S
lif^
_Q-
s
f^
-m-
-^
wT=^
--
:q:
-f^'jrz.
-Q
:22:
-|S>-
g
y Q
-s*-
:^:
^S
11^^
0(^
-^
->
-_^-.s-
o
I
:C2:
-IK
-^
1^21
'
-s-
âr-^ n^
^^=^
^^
"cr

Stretto,
295
both Subjects curtailed.
'TD'
^: 1
Z2:
^&-
H<S^
-.
^^^r=^
fj=jt
-Q-
V
#:
1221
w^^wr
g:^
:q:
J^
io:
V
-i^-
iS
"E^t^
-HiSW
-<s>-
:^
3^
%=ir^
g^^N^^
22:
=i^
-j=t
-^-
-s^-
-(^>-
Z2:
^^^^gF=^=p
-^0-
'JOL
i^
THE PEINCIPLES OF
296
-s>-
3:2:
-is>-
s=^-=^
V
H*
'"-^
H-tS4-
g-
T^'
r-^-w
r^
T=^r=f=F=^
Si-S^
HSW
4HS4f
-^-
&'-
ly
297
Ê
fr-ttg=g
-&-
-^-
-<S>-
-^2.
-^-
:^:
:p_
-ff
iS
*^:
-HSfl
^^^
:^=^
j:zl.
ilz
H<SH-
-^
*z
-^
-<s-
-1^-
S^
-<s^
Q q
J^
-^
^-
THE PRINCIPLES OF
298
fS^
-rf7Tr^^
22:
_C2_
l^g^nt
^^^
3^
32:
^^
-^-^-~r\
Closest Stretto.
-s>-<s>-
ijo:
^W^^
^^^^
Pedal.
^^
4M:
=lWt
::c2:
S^^^^S^^
^
-#
=J^
-&-
1^9:
irzi:.
-G^~
-*^
T^
Wt
"Z2:
^-ff ^
^gj
i^
4^^^-H*-
-Q-
.^2_
it
&P'
ifct
gJ-^^-^t^^|^â
^N
299
:^^^^^g
^^-^^^
^
/^
S^
/^
t^
Coda.
^^
i
:g^
=^^^^fÊ^
ii
-^-
f;
^ ^^&lê=^^^j^_|jjj^^3J,^j,^^
--f:
m-
i!*
^^
Canon between the Bass and
Qq
Alto.
THE PRINCIPLES OF
300
-&-
-f^
U-^-
4Q-
:^
--
4t- Jl^
-fjf^-^-j^^^-^p^-
-I
-<s>-
t^0^f^
h
-I
-t^-
Z2:
1^2:
^1-^î
EEPE^
-(S>-
-<=^-(S>-
-f^
-iSh-
^-
^==p=^^^=tti^ffii^f^
>^
-m
^#-
301
r>.
-<s>-
tl
.Q-
tZ
-m
feî^=-tfe
lZ_
r>s
C2-
"TT
-G>-
-Q-d
-r^
jS-
fg
^=^f=^
:e-&f
jQ_
0-^-^-^-0^
/^
-G>-
Conclusion.
;^2:
/^
-G-^_
iî:
J^tfi
1^^
-(S*-
r\
~G>-
P=ft^
-^-
^^
-^-
=eE3
r\
-s-
:^:
WS'H-
-(S>-
/Ov
-(S-
1^21
HSW
=
t[:
THE PPJNCIPLES OF
^02
No.
18.
Example of a Four -Part Fugue icith Three

an Answer hy Inversion.
With
additional
Organ Accompaniment
and
figured.
Bv
y ^
Subjects,
J.
Sebastian Bach.
303
Iff*
te^
^"
&-
^^d-d
fe:
Ky
W^
ri
^21
le
5-G
e-
son,
eon,
le
le
CZ.
4-67
2
{^-gf-f-&r-|-pH7pîi
^^
Wf=t=\
-iS^
ipz:
-G>-
son,
e-le
-^
63
-Gh
3
^^
ttlt
6-6
C5
-*
-i
b7
B7
THE PRINCIPLES OF
304
Ky
^^^^
ife
tft?
le
sou,
son,
- le -
son,
le
sun,
le
r^'-^lez;
le
-Q-
-^ -fe
-
-^:^
:p^
e--le--e--
son,
^^=^=B
e
1^
ft=l-
'
-^f^
-<S-
son
\-
iS>-
^- -&
'<^jf
4f
2
^
C5
fi^g^
W-T=^
^:
son,
-&
tF*
le
son,
:5p^
-^
t:
son,
le
le
son,
le
T^
'^W=l^'-
ft=^
e
-B
e
'-
Ky
W=F-
-f~^-
1=1^:
e
tiS
305
le
-1^-
THE PEINCIPLE3 OF
306
^^^sa^ 3 t^^^=^
J: s=i^
-t=-
son,
le
sou,
?
-
le - e
^^
r-f^ zirzL
-^f~
-iS>-
t^-
-is>-
-1i*
son,
r^=^
t^
son.
S^
le
son,
le
f=r?=^
-Gh-
-^Gtb
b5
bG
4
b7
D7
jt
Ky
son,
-(S*-
ri
^^
-tit
le
T^-
It
-G>-
son,
^y
^^3=e^
'-C^
le
'
-f^
f-
-G>-
son,
T^-
-Cr
^tj
6
44-
307
-C2-
-o-.-^
-si-
Ky
ri
'^
3^S?r=Q
y
son,
TJ'
le
=^F
e
le
son,
^êi^
icz:
-j^zzfT
son,
le
THE PRINCIPLES OF
308
/^
-s>-
le
f^*
ff*
-
son,
le
-f^
(S>-
son,
-&
lo
le
son,
gl^-"
le
lo
son,
r^'
le
^ ^JVJ^
J
-&
le
-s*-
son,
P=ji=^
r^
:2p:
?i=e=i:
e
ms
:^=*.
P^
-
^^=r^r^
-(S>-
^^
-^
'^ff=f^--f^=^^.
son,
^^
^=*|p:ÊzE
-te===e:
V
-(S>
-^
son, Cliristo
le-e-son,
309
w
i
Jfp=Q^2:
-
le
-<S'-
Christe
THE PRINCIPLES OF
310
.fcpi:zq=|:rfp=?^:
le-e-son,
-Gf-
le
-M^^^-
-%^
son.
-^-
:^
e
son,
A
ii^^
&fs>-
le
y=M=F
^ iz:
e
-^
Ky
-(S>-
g^^
e
le
d-
son,
le
-<st-
T^-
311
-&
-
Ky
sou.
fc
fete^?:
_C2_
V-
:ttQ:
li
2:2:
le
son,
-s-
l^=îl^
I
son,
le
son,
le
S^
:^
^ ^^
-(S'-
le
son,
:tt^
(^-
4^
S^
CJ
e
le
son,
V
'^^
le
ff^-:
^:
1^21
sou.
Ky
^-ffr:^
i^:^ P2:
g^-
1*--^
^ ^
-^%J
44-
4^
B
3
7
Jf
:^
THE PRINCIPLES OF
312
E^
f^
-iS>
-^=^
fff*
le
f=?
e
-/S>
?^
ri
--^
le
-/^
p=^:2=q
?:
le
ii^
le
Kv
son.
-L^J
^z
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THE TEINCIPLES OF
314
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THE PRINCIPLES OF
318
V
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THE PRINCIPLES OF
320
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THE PRINCIPLES OF
O-
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0-j :p=^^
323
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THE PRINCIPLES OF
324
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nrmr
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son,
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son,
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son, Chrlste
son, Christe
le-e-son, c
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6
5
be
b9
87
be
D7
5
II
8
De
5
3
325
No. 19,Examjyle
One Subject, containing

of a Four-Part Fugue with
Diminution.
Scored from the " Wohltemperirte Clavier."

J.
Sebastian Bach.
Exposition of six bars.
m^
is>-
t=rt
1^
a^
Z2:
Real answer.
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fS^
TT}-
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55
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r r>
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Codetta.
Subject.
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Count ersubject.
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THE PRIXCIPLES OF
326
Counter-exposition
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V
IÎZZil
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of four Lars.
Episode.
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328
THE PRINCIPLES OF
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THE PRINCIPLES OF
330
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THE PRINCIPLES OF
332
45
53
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THE PRINCIPLES OF
334
Example of a Choral Fugue with Two
No. 20.
and
Subjects,
in
Five Farts.
By Leonardo
Leo.
m^-
IS
fea
V
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335
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THE PRINCIPLES OF
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son,
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f^
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5^
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le
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337
f^
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p^ê-le---------------iI
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5
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X X
THE PRINCIPLES OF
338
/"
^^=F=r=!^=^
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THE PRINCIPLES OF
340
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THE PIIINCIPLES OF
342
ip?:
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THE PRINCIPLES OF
344
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THE PRINCIPLES OF
346
^
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THE PRINCIPLES OF
318
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THE PRINCIPLES OF
150
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sou.
e^
1^-
cz:
-(S*
le
^.
T^L
Gf
-S
Ky
son.
f^-
:^
Cf
ri
f^-
Ic
i^^
t^-
-<s>-
(^
-j^^
'P'
351
/^-
ggSSiS
?R'^^H*=l=i^-^-
P
iiiiÊE^
Ê ^
-Y^-
son,
le
:pzzi_^__
fTr:7-
-fS>-
-^-
1221
-^^
>^J
:î=z2
x:^
1(^2:
son,
fr^-
^s*-
Ky
-^
:p^
-
ri
le
V
@]
i^z:
-<s>-
t^-
=ti
-S'-
-^
122:
-S'
be
b7
S ^^^g
-^.
-<S'-
ife:
8
;5
b7
6-54-3
THE PRINCIPLES OF
352
T2.
T^-
-G>-
r}
le
-9
"^
^f^
-<s>-
le
hS>-
fe*
^2:
2:2:
-
son,
V^ ~w
^&-^
--
le
-^:2
b-s>-
*rf^
I
:^
_C2_
^fc
U
^^
22;
-/s>-
^^
i^
-<s^
:z2:
le
^ ^^
7
(t:?
i^
-<s^
bo
b7
b4
irz
6
353
-^-
^^=^==1S-
j^_gJ_
=P=^=g^
le
^
-i^-
<s>-
:q;
-s^
iîj
:QZ=zzq^^=^j
le
/^
P^^=P=
-
1^21
:?2:
son,
le
T^
-/S>-
-ff
-(S'-
=p=a^ro:
le----i---
son
-V,
-<S>-
I^Z
son,
-iS>-
fS>-
_C2_
-s>-
-<s-
5p=
G
4
5
b4
Z Z
B7
4
2
354
THE PRINCIPLES OF
Stretto.
/rs
-s-
r=L
Ky
r\
=^
-
son.
ir\
~N
^m^^
-&
Ky
rs
ri
^^=^- -<^
Ic
iî^^Êfc^
T.S.
son.
^f Q
6
COUNTEIIPOINT AND FUGUE.
r=F=r
tt=t
7^
-B
355
-iS>-
-<s-
iq:
Ky
4^2.
.2_
i& #*
p^
-^-
U:
^_qi::p^
,rv
-s-
le
-<s^
Ky
&
-Q_
:&=f^
2
-&
3
Z Z 2
ri
0-^^
6
-<s-
iS^
5
-
le
e
4-3
-1:f=2:
4
2
THE PRINCIPLES OF
356
-iS>-
?
e
?2:
-/^
:?2:
-G>-
1^21
son,
-<S>-
'T2.
le
le
-<S>-
-<s>-
>
^'r" ^
le
-fS"
:^
son,
t^
le
son,
le
r^^
?2:
'G>-
-fS*-
le
-&>-
-<:2_
^^
le
^=^
|i^z^zw'^=pz#
-^2_
^
4
:^^
7
357
-o-
-^-
r:L.
-Q-
I l2=^:
i^Si^^
l_'
m
_Q.
2di=q==;^-
^^^^^^Ê^l^^g^
7-75
7-76
7- ^76
3-3
THE PRINCIPLES OF
358
son,
.-^ -^
-O-
-c:^
le
j^
f=^
Ky
son,
ri
le
SS
son,
m--
j!zr.
'jTl^
:c2:
~r:r.
Z2:
^^
rD'
^^
v>.
2:2:
22:
-^
1^21
-^
^...
^^
1^21
^0
F-
Pzq
359
son,
-1^-
iciz:
ipz
-(S*-
it:
?:^=
j^
3:
f=&
:q:
^-
:q:
-*^-
le
ziz
-iS>-
son,
V
^:
^-^ô
p-
IS
le
^^.^
Z2:
ziz:
i?:^:
1^2:
"^^
le
@^
22:
Z2:
^^ v_
6-6
v
10
4
1^21
Z2:
1^21
'^^
5
3
5
3
THE PRINCIPLES OF
360
/-
-G>-
^-P^
^=^
T^-
T^'-
'HZ.
'jr:i.
-s*-
K^
~N
122:
Z2:
-H-^W1
^^
-Gf-
son
1^21
ir\
1^
No.
361
Example of a Five-Part Fugue containing Augmentation.
21.
By
M^S
w
-s
Great
^
is
^^
the
lao
'
f
ly
Dr.
Croft.
~~y^
=?^=p=
-Vî^
?
One
of
&
Is
is
the
ho
ra
-4
Great
W.
'
el
in
di
ly
One
the
of
&&
-t
m
m^:
rm
\m%
-Gh-
^(^-
d:
t
3
THE PRINCIPLES OF
362
ÊS"
-.s>-
midst,
in
-jfT-
r^
the
midst
3f=^
Is
ra
el
in
^=;i=p
of
tbee.
-s^-
-G^-
in
the
midst,
-X-
-<s>-
the
midst
-t^
'&.
rj
Great
of
thee,
-^
Si^'
is
the
^^^1
mm
ho
ly
One
of
Is
ra
the
el
in
the
-^
S'
ly
One
of
:z3.
Great
is
the
10
ho
mjf
t*=p
f^
f*^^
8
-<S'-
&
363
33
Great
the
is
^:
ho
ly
wm-&
One
(*
(S-
zd:
W-
S^
of
:p:
'^-
tW^
in
the
NizN
-
1-a -
el
Great
thee.
-(S-
midst,
Is
:q.
midst
u--^^
of
midst
of
thee,
the
midst
Great
of
-G>-
is
the
One
of
^=P^
ho
ly
One
of
thee.
-*
m^^
'^^
the
is
:=Jf
-G>
ly
122:
i-fiz:
in
ho
^^=^
-<^-
:p
the
is
ho
1^-
ly
One
(^
of
S=^
-lah-^J-fIs
122
ra
el
in
the
THE PRINCIPLES OF
364
i^s
Is
ra
el
midst
the
iu
of
thee,
p^^ff^
is
the
~rT
T^^=^
^ ^
^-
-&-
ho
ly
One
of
One
of
T2L
-\^-^/Is
ra
el
^ftr gg
Is
ra
el
midst
the
in
r-
>
iu
the
thee
of
Qmidst
-<s>-
of
&
11
thee.
-/^-
Great
^55S
midst,
-^.
55
in
the
midst
of
thee,
f^-
6
3
(J
is
-Gh-
~o
the
ho
^^-
g:
fS>-
is
the
ho
ly
'
^ ^
ly
One
m
of
s=st=?
6
^tl
Is
Mm
Vf^
J-
ra-el
in
:c2:
IZZ.
N_]
^
midst
the
of
Great
is
the
-9
ho
ly
One
of
Is
ra
|P
S:
Great
is
the
ho
ly
One
of
ho
ly
One
of
ra
ra
-^
Is
ra
Great
el,
el
- el,
tf
- el,
fE^3Ê^
t:
TZ.
221
Is
the
9=9^
is
=-
ES^
W^-t
1
m&.
thee,
0~~ii^
'
'F^f-fziAz. Ejz^jz^fef^
-fst-
la
365
in
the
:p
midst
of
-^^
-et'
5
3
-G5
3
thee,
is
the
ho
ly
One
of
ly
One
of
^
is
the
ho
arqz^cn^
^=^
6-6
THE PRINCIPLES OF
366
^nv^
Is-ra-el,
is
-^-^
?
the
ho
ly
One
^=^=e
w^
of
Is
-r^
f=^Great
-t^.
is
Great
i^
-/^
the
is
the
ho
ly
One
of
Is
ra-el
/-
the
in
Is
ra -
ly
One
of
T^-
of
ra
Is
el,
3^
in
el,
1=B;
Is-ra-cl
midst
g^PÊ^^
lf=W
v-v-
n^-
Wi-.
i5
ho
^ f ,m^
icz:
ra-el,
in
-f^-
the
midst,
the
midst
of
-<s>-
^^
in
the
-<S'-
midst
of
thee,
-s-<S'-
:?Z2
i^
-(S*
fi
(i
4f
7
KG
B
5
V
-e^-
Great
is
=1N=^
idS
367
^'^~W'
-o
r^
midst,
the
-P
fS
One
of
tf*-
tlie
ho "-
ly
One
of
Is
ra
el
in
the
iSj
S3
-G>thee.
^
tS,
is>
Great
is
i=St:
K^
-f^-
the
no
ly
SM
-la-
Great
thee,
W^
^-
is
the
ho
ly
One
of
ra
el,
/Q-
q:
Great
Is
1^^
:t^=i2
is
l^^Ê^
the
-T
ho
S"-
ly
One
of
Is
ra
-Gt-
el
in
the
midst
of
-G>-
THE PRINCIPLES OF
368
T2:
<s-
T2L
midst
of
thee.
^.
"
&
Great
dfc
g*
Is
1*
E#it
ra
-^
-S>-
el
in
the
midst
is
the
ho
fs^
ly
One
of
^=6=
ly
One
of
Is
of
Great
thee,
-P^-
=^f=l=^
Great
S=S:
ho
::
^21
1^
the
^
-
r^
-(S>-
IS
"f -^
^2:
$E
-
ra
el
in
the
midst
-<s>-
thee.
-^
hS*-
fth^
o
-^s>-
of
369
^^
0^=^
-fS>-
Great
:^
-(S>-
Is
:JtJ.
ra
el
-t:iQ_
the
in
midst
Z2:
of
thee.
^^
-&-
ho
the
One
ly
of
the
is
00
WMIs
ra
el
in
the
V
fcES
l&^
-^
thee,
-r >
Great
is
the
:^;=lv
:^=P=
ho
ly
One
i=3t
of
Is-ra-el,
r-^
W$i
Great
t=E^
#1%
-(S>-
T^
7
&E^
6
6
4
W^
5
4
2
pf^
is
the
THE
370
ît^S
ho
riilNCirLES OF
^
ly
One
of
Is -
Great
i-a - el,
# ^
-lS>
Great
is
the
w~'
ho
-iS>-
^r
Iv
One
of
'
r^
jt=f
midst
of
thee,
=ME=F=^
ho
ly
One
of
=^=^
6
in
Great
the
ho
e^^^^
Great
ho
is
the
\y
One
of
Is - ra
,T
Is-ra-cl,
~
i^
H^""
^(^^
^t^L
-
ly
One
^
?2=
6
a
is
the
^ ^ #
v->^
^
:?#
#^
K^
Is-ra-el
tS
the
is
Jj
W^.
-<-
of
Is
ra
cl
in
the
is
the
5
3
-^^
Great
cl,
-f^
A3
^=^T "^r"i^^
ho
ly
One
of
^^
371
ir=]V
-a
Is-ra-el
--
the
in
z^zz^
-&
-G>-
midst
of
in
the
Is-ra-el in
the
thee,
:SJ
N-N-
midst of
-e^
'J^J
thee,
Great
the
is
ho
ly
One
of
V
:itf
'&.
W^^^
C2:
tS
Is-ra-el
in
the
in
the
[/
Great
E
I i^^
the
^y
si
Is-ra-el
in
the
W=W^
y
t^
ho-ly
is
One
of
ho
ly
^î^^
7
One
1^^
^JEgEgE^
^^-d
of
:P2:
Is-ra-el
-^
in
-^
the
:?:
ho
ly
One
of
:^__^
1^21
midst
^
midst,
'^^-
of
thee,
i^z:
-J
in
midst
the
lot
-G^
iSh-
THE PRINCIPLES OF
372
T^'-
midst
of
-G>of
t^
'^g=
r^r~p
midst of
-^-
thee,
Great,
Great,
thee,
Great,
-(^-
i#
Great
Great
i#
is
the
^^=f^=^
is
the
ho
ly
One
of
Is-ra
el,
-(S>~
-o-
:z2:
:s2
of
gST^
thee,
3
of
-<&
zi:
:z-;
:]^=;/
thee.
midst
pz
-^
midst
ii
T^
thee,
22
'
5
4
Great,
:J^
Great,
:iM
Great,
-(S'
Great,
-<s^
373
V
1^-
&-
Great,
Great
^^=4
P3^
Jii
ho
ly
fc=^
mm-
i#
t W^
One
of
=^f^r
--f^=r^
is
the
ho
ly
of
Is
'
ra
el,
-Gf-
Is-ra-el,
-<s>-
-is-
Great,
Great,
Great
2:2:
T^-
T^~-
Great,
Great
Great,
One
i^zzi^zr^
@^P^
iq:
Great,
@^P-P5
4
a
is
the
^
^^h^
ho
P--
One
ly
of
^mmm
is
the
ho
One
of
i^
?=2==p
Great
is
the
ho
rj
-fS*-
1^2:
ly
ly
^
8
THE PrtlNCIPLES OF
374
:feS
'&.
-(&
Great
^=i
-<S-
the
is
1^^^
#
Is-ra-el
lio
the
ho
is
:K=^
One
ly
3?
^3
iiratjt
S
Great
ât
of
^:
Ls-ra-el,
Ê=^
^.
ly
One
of
Great
is
the
-(&-
-1
the
<^
-^
^=f^
h
in
-+'
1
midst
of
thee,
-s^-
:^
-tS>-
midst
of
thee,
?2:
is
the
ho
ly
One
'
of
^^:?=ti=:>^z^
Is-ra-el
Uff
W^,
ss
the
in
-<^-
One
of
Is
-f^-
q:
f^-
ra
ol
-^
midst
the
in
-S>-
:
n
G
of
ftS
^^-^
JZ2.
Great
- el,
wv
ly
One
the
is
p^-
'-W==W-
of
Is-ra
el,
^^^r^-p-r^-^
ra-el
13 T^
Great
the
of
the ho
- -
ly
ly
One
Is
ra -
of
Is
el,
NdV
00
^
-
ra-el
S*
in
the
ZÎZW
is
the
One
Is -ra-el,
of
is
the
ho
ho
ly
is
the
ho
q:
-f^6
ly
One
of
One
of
^Ê^
-^
Great
of
^tjMMe=^
-Gt-
-î-
-G>-
One
:e=^:
thee
mm
ho
Great
thee,
W^.
P:
ly
~IZL
in the midst
is
- -
'^^
iy~
Ê^
t&:p:
ho
r-^-fr^
^-A
Is
~f~w
is>-
Is - ra
ho
375
7-76
5
4
ly
One
-Gt
of
THE PRINCIPLES OF
37G
^
Ws=^
Conclusion.
* ^^^^
t^
H^-^
-'S>-
the
iu
midst
of
g:^
Is
-=i-+{
of
thee,
gÊ^
-P^
ra - el
midst
of
thee
^-
in
the
in
the
midst
HSÎ
:
of
midst,
in
the
midst
of
in
the
thee.
-H<SH-
^2:
thee.
ir\
f-fi
Is-ra-el
-^.
the
-f~^
midst
fe^rg=F=
in
/?\
J^
tE^^.
:if^F^
thee,
midst,
the
midst
of
COUNTERPOINT AND FUGUR
No. 22.
377
Example of an Eight-Part Fugue with Two

From an Anthem "I
Subjects,
will give thanks."
By
F. A. G. O.
1!
i*i
i
z^
:^r>~r
Z2:
?=
4l
J^
ife
^
3C
-s>-
-(S
r-
t^^Jt^- f^,
THE PRINCIPLES OF
378
MV
rj
S^
xi
'
#-
T^:^-
-<s-
~N
-iS-
y=-8j^
I
B
tS>-
::^Êg^
-fS>-
C2:
_C2_
-f-.^
@^
I:
&?:
;gp^
@^
Z2:
C-
Z2:
jQl
-e^-
^-
-is>-
r ^
-<-
if^
N
-is>-
=p=^^=i^
IQIIEZ:^
379
TD
HiS^H
-P^
tf^-TT-l^jg
g^r ^^
-^
G-
'-f-^
H(SH
^
1221
I El
@^
-P^
12:
iS>-
iS^
1^2
1^2^
-<S>-
la:
-^-
rj
'
xz:
122:
::^2:
rf:
i 1=^
:;ir^
l=tt=
3c
^ ^ ^
1^-
s a^.P: ^
THE PRINCIPLES OF
380
tf==]M:
HSW-
22:
T^
-ft-
-A^^
-(S.^
-<s>-
S^
*;
rr ?==p=
r # r r '^r^^
^ts^
fS-
V
Q
-/^2_!^
.^
r"^r^g=?^
-<^-
Is
^f--f- p
-ts>-(S*-
1^
n?
^gESr
TJL
381
Jj:
-t^-
-iS-
-Gt-^S*-
v=^-
W&-
'
^^
:^>:
2:
M
i
22:
i^
^^â^r^^
m=^
S^^

^^
w
-I*
-|
_i
Z2:
f
I
-m
r' ^'
I
^ r"^ ftaci^-
^^^ ^=^
r^
-G>-
-<^-
-<s>-
22:
:zi
Z2:
THE PRINCIPLES OF
382
M=X
:^
f^=r
t^-
i^
^r^j
-s>-
^g
Jt
ît
p p
1^
lS>-
:Z2
r^
j:^=^=
:ci
-tf
-GfS>-
:p=^
~1
J-^:
zx
iq:
?2=z:
fa^-^l^^^-fcr-^-rz^
:?:2:
-(S>-
^
@"^
1^21
383
^-<s>-
V
-t^
:p5=z:
Ig
rrTf^
-/s*-
-S*-s*-
-1^
Z2:
:fl^
^
f"Fry=F^
t;
@^
M
^1^
@^
icz:
Tl^-
tf
Ig
-^<s>-
1^21
-o-
HOH
?^
:^
^^'
-S*-
iq:
THE PRINCIPLES OF
384
Stretto with
first
Subject.
-<s-
't=-r^^rf^
-^^^-
-^
-Gh
*J
4^4.3
122:
s,s-<S>-
N/
i==-^-
I E?
ât=^
1^21
-(S>-
^^^
=1^
^y
icz:
-(S*-
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385
Stretto with second Subject.
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THE PRINCIPLES OF
386
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THE PRINCIPLES OF
388
Stretto with both Subjects.
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COUNTERPOINT AND FUGUE,
389
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THE PRINCIPLES OF
390
Coda.
Closest
by combining Inversion
and Augmentation.
Stretto,
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The two Basses are here doubled
'
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in octaves, to bring
out the effect of the inverted augmentation.
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DAY USE
30
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Chiuubaii

COUNTERPOINT, CANON, AND FUGUE

OXFOHD UNIVERSITY PRESS WAREHOUSE

PROFESSOR OF MUPIC IN THE UNIVERSITY OF OXFORD

at the clarendon press

All rights reserved

ACKNOWLEDGMENT OF MUCH VALUABLE AID

GIVEN IN THE PREPARATION OF THIS

WORK FOR THE

THE FOLLOWING PAGES ARE DEDICATED,

WITH EVERY AFFECTIONATE REGARD.

BY HIS OLD FRIEND

intended as a companion rather than a sequel to the author's

which Harmony, Counterpoint, Fugue, Form, and Musical Aesthetics

custom to study Counterpoint

then Fugue, then

Germany, and France Harmony has always been taught

branch of the subject.

seems more reasonable to study

of the whole matter,

Harmony and Counterpoint

principal reasons for adopting this course are stated in the

view to this method

persons conceive that the restrictive rules of Simple Counterpoint are of

no great value, inasmuch as they are never followed

works of our best composers.

from an erroneous idea of

the object which these rigorous restrictions are intended to attain.

melodies into one harmonious whole

comparatively easy afterwards

with what must be acknowledged to be the drudgery of the

study of Kcstrictcd Counterpoint the

tools of his art;

and without such drilling he

Let him then not grudg-c the lahour he bestows on such

have them well under his

same time studying the laws of Harmony,

by carefully setting out the Organ-Fugues of

open score, in the proper

noting any peculiarities they

same time analysing

good Motetts, Anthems, and

by the best masters of the sixteenth and

Form, and General Com])osition,

before he can be said to have completed his musical studies.

The present work does not pretend

any great originality of design.

various parts, and the character of the Examples

the size of the volume.

has indeed swelled to

dimensions than was originally expected or intended.

Harmony and Counterpoint

point divided into Simple and

against Consecutive Octaves

Rules, Exceptions, and

12. Additional Eules,

First Sjyecies, or "note against

Concords and Discords allowed.

Restrictions as to Intervals and Progressions

Simple Counterpoint divided into Five

Counterpoint of Three notes

Admits only of Minims.

Second and Third Species