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Cultura Documentos
l^^.U'^q
APPLIED STRICT
COUNTERPOINT
BY
C.
H.
KITSON
(HONORIS CAUSA)
OXFORD
AT THE CLARENDON PRESS
1916
Edinburgh
Toronto
Humphrey Milford
Glasgow
Melbourne
a^
3S37
Tork
Bombay
M.,A. Publisher
<(oCi
New
to the Vni'versity
PREFACE
So many pupils have acknowledged
have accrued
to
to
me
seemed
it
to
me
be serviceable.
in
its
It is
Still
it
can be
My
with the
grammar of
able to decline
interficio, if
for
let
us say
example,
Caesarem
is little
point in being
amicus or Caesar, or
There
the subject.
interfecit
to conjugate
amicus
This short
'.
treatise
great
many
begin this book with a statement of the true facts of the case,
It is
to
assumed
Counterpoint up to four or
is
.will
from
five parts
differ
hope
that a perusal
A2
PREFACE
i^
it
will
to understand that
better scholarship
it
if
It is
true that
it
is
be something gained
if
is
a language at
all,
its
we can
and
it
criticize
To
get students
will
make
for
theory by the
its
conclusion.
C. H.
KITSON.
CONTENTS
CHAPTER
The Premisses
of Strict Counterpoint
...
PAGE
7
CHAPTER H
Florid Strict Counterpoint without a Semibreve
Canto Fermo
CHAPTER
HI
CHAPTER
...
3^^
40
IV
53
CHAPTER V
Madrigal and Motet Writing
...
.60
Member
Libraries
http://www.archive.org/details/appliedstrictcouOOkits
CHAPTER
of Strict Counterpoint must have been struck with the fact that
between some of them there are grave discrepancies. Indeed,
the
criticized
by
different theorists as
For
instance,
one theorist
will
example,
Ex.
I.
rx
L_
-<s>-
-&-
the second
minim
(E)
is
-Ck.
it is
2.
23:
I="#|-
-<9-
one theorist will say that the second minim (D) is incorrect, as it
Another will
implies a second inversion, which is forbidden.
say that as it is concordant with the B it is correct. As in the
first example, this is not a question of good or bad effect, but of
authority.
scheme of technique
altogether.
STRICT COUNTERPOINT
Ex.3.
(a)
--
-<s-
r
argument being that only common chords and
his
their first
Another theorist
will say
it is
(a) is
quite correct,
and the
G may be
Two more
points
may
Some say
be used,
if
melody
may
the
in
the
at
once proceeds
to
interval
Ex.
4.
-<s>-
i
Others say
Finally,
may
it
-G>-e>-
"C?-
not be used.
succession
Ex.
5.
atzf:
-<s>-
Others forbid
zz
it.
{c)
vital points
the scope of
stitution of the
THE PREMISSES
intervals has led to a complete
scheme as
(b)
it
The
really stands.
is
'
practical result of
common
every-
is
grave
And
is
who
teach
The average
dividual.
Now,
in
order that he
may pay
to the
first
first
STRICT COUNTERPOINT
lO
He
is
and
to this
point.
proceeds
He
to
says,
be
logical.
two chords
in a
Vv^e
must forbid
Ex.
6.
^^
lei:
-s>-
-<s>-
The
spirit
let
letter.
Therefore
let
us forbid
7.
122:
-&
-e^
and of course.
Ex.8.
-el-
-^z
9.
-G>-
-&>-
"O"
THE PREMISSES
Then,
too,
it
seems narrow-minded
Ex.
to
II
allow
lo.
->-
:c^:
li:
iq;
-<s>-
and forbid
Ex.
II.
:^z
-<s>-
far,
some malcontents
first
first
and
say,
No,
it is
Some, again,
not expedient
say,
Or
again, cannot
we
'.
by attempting to
make the subject more practical. They write examples for
instruments.
Then the inquisitive pupil wants to know why he
has to obey the laws of melodic progression in reference to
voices when writing for instruments.
Over and above all this,
what authority has Dr. Jones or Dr. Smith for extending or
restricting laws, or for inventing them ?
It will thus be seen that this attitude towards Strict Counterpoint places the technique upon an impossible basis.
No one
is going to be coerced
into using one chord a bar because
Dr. Jones says it is good for him, nor into using two for the
same reason. But some one will say, you have only touched
upon a few of the rules of Strict Counterpoint. Consider the
many upon which there is complete agreement, as for example,
that quavers must only be used on the second or fourth crotchet
of the bar, that they must be approached and quitted by step,
that all discords of suspension must resolve on the third crotchet
of the bar, and so forth. All that need be said here is that
whatever tests are applied to prove or disprove theory in one
try to palliate the malcontents
all cases.
We
We
to
be
STRICT COUNTERPOINT
12
Ex.
12.
-J-<s>-
St.
-o-
Z2:
:z3:
-o-
--
{a)
'&-
T2:
At
an implied
(a) is
tO-
-&1=
six-four,
dominant seventh.
wrong
or else there
is
We
and the
it
first
come about
Ex.
13.
'0
"Q"
^
:c^:
(I)
W^
-o-
-e^
122:
-s>-
(2)
(3)
-63If^L
iS>-
21
(1) is
a dominant thirteenth;
(2) is
a six-four,
(3) is
an added
We
notes.
sixth.
may explain
(i)
Ex.
14.
:Jz.Jq=j
122:
:p:
_i
-e?-
^_
22:
22:
THE PREMISSES
13
At present
Now
in the
Why
is
a semibreve Canto
Fermo used
in Strict Counter-
point?
(b)
(c)
to
any
restricted ?
restrictions ?
The
we
intelligent student.
its
ulterior
basis.
some few
features
postulates
line
in
corresponds
Now
(i)
and so
This,
to
forth.
They should be
He
self-evident
that
is,
that
is,
require proof.
(2)
truths.
it
(i)
the
first
(2)
(3)
first
inversions and
It is
If
STRICT COUNTERPOINT
14
known, i. e. the Polyphonic Period, and the treatise on Counterpoint was to the student of those days what the harmony book
is to
sound the
new, due
5.
to a
want of
We shall get
back to
is
historical research.
some
light
Ex.
Missa.
15.
Palestrina.
Aeterna Chrisii Munera.
(8)
-X
j^:
J^Z
-Gi-
:p:
-G>
US.
Ky
-e>-
~J2i
-s>-
-iS-tS)-
Ky
(5)
U=L
^^:
-s>-
Ky
^s*
=1= :e
^~-
zzz2z:l
le
(1)
(2)
-iSi-
-&-
le
(3)
2^:
(4)
jd-
^.
-&^:iii
:^:
-G>~
Ky
THE PREMISSES
^5
(lO)
-f
:g^=^
-&'
(II)
IQ
-<s<-
ics:
-s-
-q:
^
E-^
'
ie
(13)
(7)
4::
-&-
-ah-<^
:q:
.^^zzjzip:
jQ_
son,
le
(14)
=P=i:
-(9-
t:
:e2:
le
-<s'-
-<S'-
Ky
son,
(9)
-&-
-s
P-
Ky
:23:
-i^
:?2:
-g>
'^-H z^z
-^^-
rpzqizp:
r--
son,
-^ -P
=P
^^
:p:
^^J
fS>-
(18)
(15)
^-
_^.
t:
e
221
-s>-
-<s>-
Ky
le
^Q_
^- :p:
P=^
Iz
:s2:
-<s-
-fS-
-P-
32:
:Pz=z
son,
i4:===i:
g^^^-iz^zizez:
-ei-
mt
le
-|S-
=P
i?:^:
G>-
-gs"
H<SH
H<SH-
lei
(16)
-s*-
-rd
S'-(S"-
:^z -&
E2:
23:
f-^
(17)
s-
32:
-H>H
lei
-1
lei
-(S)-
1^=!=:
-<9-
-^^
Ky
son,
Ie
le
X3:
:siz
(12)
-.^z=^
Ky
son,
(6)
Ha:
-(S*-
t^
-<H<9H-
-<s>-
STRICT COUNTERPOINT
i6
Some one
Harmonic
and the whole method was
by
intervals,
since
we cannot
were calculated
horizontal. Therefore
effects
is
is
(5, 6).
(3)
(4)
Four notes
to one, or
5,
(5)
Florid
or Fifth Species.
And
this is the
reason
why
Strict
is
deductions.
Does
above
are alone enough to refute any such
Bar
is
7 of the
THE PREMISSES
17
scholastic Counterpoint.
We
of a definite period.
Thus
there
is
and quitted by
step,
Here
a particular period.
is
if
we
rhythrn.
The
(2)
aesthetic view.
procedure
authority, a
may
Any
rules
period that
present practice.
To
moment
return for a
there
is
to
We have said
not of chords at
all
that Counterpoint
;
{c)
[b)
STRICT COUNTERPOINT
i8
Ex.
1 6.
-<s-
-TTT
:g:
on the accented
first
passing,
the
first
was not
own terminology
let
us put the
inversions,
and
In
matter thus
the
it
may be
first
modes
it
that
it
did not
come within
it
the
scheme.
modern
theorists
Ex.
17.
e
^=A
-q:
--
-^
-o-
-e>-<
-&-
(2)
_Q-p:
-&-G>-
23-
THE PREMISSES
inversion of the diminished triad
the
first
may
19
be used unprepared on
Any
bar,
We
18.
STRICT COUNTERPOINT
20
was
is
in
combining
a concord, and
first,
GDB
second,
is
Thus
we use
if
the
ter-
It will
(i)
Palestrina.
Ex. 20.
Kyrie.
Iste Confessor.
:e
:si
-(S>-
-^
-G>-
~^~r'
^-
122:
-(S>-
Palestrina.
Ex. 21.
(2)
The pedal
Kyrie.
AeternaChristi Munera.
six-four
Pal? strina.
Ex. 22.
iS-
G>-
-e>-
-^
J.
Gloria.
Iste Confessor.
id)
122:
-<s-
-G-
-Z2L
*:
(a)
:q:
is
THE PREMISSES
21
aright.
Prepared sevenths
(3)
Palesirima.
Missa Brevis.
Ex. 23.
Kyrie.
4Z^21
-&-
-&-
:s2:
(S*-
^-
ip:
i^z:
-&-
-&-
JOT.
-P-
-G-
-f^L
-&--\
'TZ.
how
We have
now
(i)
(2)
(3)
7.
be well
{a)
to
mention a few
common
it
will
confusions of technique
Ex. 24.
^'-
-e>:22:
-&:
_Q-
-<2L
&-
Z^Z
-G>-
&-
321
-&-
23:
(3)
(2)
-O-
-(S"-
-3-
Gi'Jf2_
:p=:::
32:
-^-
22:
ip:
^-
123:
-A
(I)
correct.
to C.
the
the
(F)
STRICT COUNTERPOINT
22
Ex. 25.
(^)
i^^
-<5>-
i
^
:c2:
-<s-
-^
:e
e5>-
(5)
(4)
-2-
-^221 :p=::
-Or
-sx-
-o->-
r^-
:p=::
It
(4) is
(5)
is
G G B forms a concordance.
D to G is a fourth, and when
correct.
incorrect.
the bass
-&(6)
W3.
(7)
Z2
is^:
-i?-
(6) is correct.
(7)
is
incorrect.
Ex. 27.
to
is
a fourth approached
by
leap.
is
THE PREMISSES
23
B is a syncopated concord.
(11) is incorrect as B is a prepared discord resolving upwards,
8. The student is now in a position to verify the various rules
(10) is correct as
6]
But some one will say, we have not time in these days
to study a dead language.
All that we need here say is that if
it is properly studied it will be much more useful even to the
modern student than the hybrid abstract system commonly
taught, and that, secondly, if it be discarded, something entirely
new must be devised. We cannot put new wine into old wineskins.
We have no quarrel with those who object to the study
of a dead language, but we do think that if Strict Counterpoint
be taught at all, it should be taught as it really was, so far as
treatise.
modern
Our
harmonic scheme
has been limited, so that musical work in combined Counterpoint
became an impossibility. In fact, combined Counterpoint was
a Chinese puzzle. Fortunately, most theorists have considerably
modified their views during the past few years; but the view
9.
that the
is
wrong
is
equivalent
attitude of mind.
The
such a rhythm as
Ex. 29.
s>
cannot be
Cj'
iS
&
felt
U#
r
r
Here
STRICT COUNTERPOINT
24
It is
who regard
work seem
view
THE PREMISSES
25
Ex. 32.
-J22:
-Gt-
-G-&-
-^5>-
m=j^
Of
course
amended
Ex. 33.
JJ-
-s>-
-&-
-j-g-v:
IZZ
-Q-
-O-
-y5>-
^=PAt
(t:)
is
:t:
-(^
:S2:
It is
exceedingly
The
more
period
in
spirit of the
following
:
Ex. 34.
22:
-&-
--
-s>
m
The
following
is,
-s<-
-s>-
_GI_
-s>-
:z3:
-&-
of course, correct
Ex. 35.
-G>~
-iP
-*-
si
-<&-
22:
is
certainly
STRICT COUNTERPOINT
26
the
draw
attention to
as
Ex. 36.
1
I
22:
(d) is
spirit
even worse.
It is
it
is
foreign to the
of the period.
mind the
following points
P^
(i)
Rarely,
if
ever, use
crotchet.
(2)
As
THE PREMISSES
Such an
Ex. 39.
-f^
(2)
27
STRICT COUNTERPOINT
28
^
7?
*'~*
1
THE PREMISSES
1
29
STRICT COUNTERPOINT
30
Palestrina. Credo.
Missa Brevis.
Ex. 45.
-T_
-G>-
:p:
-o-
-p-
:t=;:
that if
he adopts the sixteenth-century principles in regard to consecutives, he will most assuredly fail. And it must be admitted
that there is some point in criticizing consecutives from the
modern rhythmic point of view. If Strict Counterpoint were in
exactly the
we might teach it
Ego et tu \ we are not
Latin,
Because we write
induced to write I and you '. But music is music, whether it be
written by Byrd or Bantock, and it would be unwise to allow
a beginner to write anything that is wrong from the current
exactly as
it
'
is.
'
standpoint.
We
is
right both
from the old and the modern point of view. But we should be
careful that the modern statement of technique does not prevent
us from using resource which was good under old conditions
and remains so for all time, and also that it does not lead us to
adopt procedures which are quite foreign to the period.
CHAPTER
II
1.
it
is
eliminated as
a constant factor.
never occur.
parts, but its
presence
is
not a necessity.
Ex. 46.
f'y
(a)
3.
-<s>-
first
species prin-
ciple.
(b)
ciple.
All unrepeated minims follow the second species prinBear in mind that two chords a bar may be used without
restriction.
(c)
ciple.
(d)
All syncopated
prin-
ciple.
The melodic
32
Palestrina.
Ex. 47.
This
is
vast importance.
4.
Sicut Cervtts.
the
It is, in fact;
ke}'^
is
of
to the situation.
anticipating
the resolution
of a
discord.
5.
a change be desirable
it
the second
minim
-S>-s-*-
-o-
I^J
Palestrina.
Ex. 49.
Missa.
J
-G>-
-&-
!-
1^1
-<s>-
:p^=^
-if^
-tf-
r
">.
-P-
is-
^2:
-9-
r
6.
:r=p
it is
first
if
2d:
Such a bass
as
Ex. 51.
(a)
'<^'
-fSh
8.
demands
that the
The ornamental
~-?Z.
-^
-^-
generally
33
at (a)
resolution of a discord
may be doubled
in time value
Palestrina.
Ex. 52,
Stent Cervus.
still
In Scholastic Counterpoint
it
is
weak accent
(a).
Some would
the
J837
FAD;
in
Ex. 53.
(a)
-G>-
le^:
zcrz
-&-
be syncopated, as it
the true view is that both
harmony
cords.
hold that
is
F and C
are con-
34
Palestrina.
Missa.
Ex. 54.
-<5>-
r
#
^1
,<s?-
:s
li^zis:^:
-O-
_c^
ii
-<^-
:p-
n:
Iste Confessor.
.^=*'[S*-
-Q.
122:
-<s>-
--
1^2:
-s>-
^W=^
Examples.
Ex. 56.
C.F.
&^
ad^- :q:
-9
'-W
jd
W^
-,^-^
35
-&-
te
m-=^
3:
EtEE^
Ex. 57.
:rS=
z=& -M:
-0-
zp:
-<S
s ES
S
SEM
m.
r#i
&
:p:
t-
<9-
Z2_
:t:
-o-
-#-
:p:
:p=
-(SI-
i^ziz:^
;^^-d--gE
36
tq=4
n^iSh
fezzp:
_J_-^
9 ^9-
:g
-I:^:
:izL
-P-
%
-&-
-&
'^
^^P-n
-<s>-
i^^istzg^
=]:
-O-i-
37
Exercises,
(i)
Add
1:2==:
-is-
:p:
=?2:
~ir
:q!
^2:
I=c2:
-^
-s>-
-s>
--
--
p:
(2)
-<s-
Add A. T.
-p
*P
-^
(3)
B. in Florid Counterpoint
iS>-
^r=3
s?-
-&--
.W=^^W
.-^-
3EEEL 1^=^
:^=^
dziE-l:
-i(S"-
:q:
P-
-s>-
--]-
--
Add
S. A. T. in Florid
^F^
ipiq:
fc2zE33^
m,
i^:
2:^:
(4)
:sz:
Add
-^ -
Counterpoint
-&^^
-^z^i
11
L^.
p:
-&-
-^-
A. T. B. in Florid Counterpoint
-Gf-
-&-
9-
3&
-^_z_
-o-^-=1
H
-<s>-
r^a
-_p
-s-
-(Si-
-- :2:
jz:
^2:
fS-
38
fc:f=fc:p:
Add
(5)
-j^
~&~
:p
S. A. T. in Florid
in imitation of the C. F.
^ii*=#:
=i:
-^-
let
-gi
"
g-
:P==^
ip:
-p:
-#-
:t=:
:s2
-G>-
-^-S*-
-Gf-
lit
'JCl'.
(6)
}*S -p-
-P
y~r""^:
-o-
23:
%
Add
ip:
-o-
TZ.
:p:
-o-
xz
S, A. T.
S53
l!^S^
9 W-
pirlz
1=1:
L-z^^
-<s>-
^^
>-p-?
:^
ii
-.s-
-f^-
:^i:s:
Add
It:
?^
s=*-^
(8)
Counterpoint
^^11^:
-<5>-
li/ziszia!:
^-
it
^.
(7)
<3-
-,^-
-e?-
=P-
?2:
isz:
-<s-
S. A. B.
-P-
^-
Kfc^j-LZ__-:ii
-(&-
-W
-P&~
-f^
:zL
-.^-.
fci
-^
1@-
Ui*"^
ly-u^-<SJ-
-IQ_
-5>-
22:
22:
?ES:
^^=S=F=i-2l
-G>-
fek=a
W:3r.
-^
-w.
39
CHAPTER
III
I,
fourth species,
we produce
Ex. 58.
t%^
-JC^J
:c?e3:
-&-
2^=3=^
i^^^
~Gi-
-&-
-&-
-f^
-<91
-&-
-fS-
-^
T^
-s-
r^-
-o-&-
-&-
I
&c.
iS^
22:
Repeated minims
(b)
in the
breve.
to
^^
|si ^
s!
~-<-f^
I
-^
^&s^
t.
As
gj-
:p
-G>-
p_
--
_CL
J-
JT^-
:^S^
-(3
=!:
d=g:
J
/fs-
<s>-
its
equivalent
-^-
is
unnecessary,
common
HYMNTUNES
STRICT COUNTERPOINT ON
41
Ex. 60.
Tjrsi
-&-
-o-
Z^2L
l^t.
-&-
'1
!
-Gt
-<'-is>-
?3:
3.
all
The
-&-
->-
One chord
contrapuntal work.
common
'&-
each bar
in
is
of course quite
Ex. 61.
:gs^ i
^^-
MS
-&-
-&-
4.
This skeleton
may
-&-
'J^-
^_
-^-o-
:p:
2=e
-G>-
:?2zi]
23:
-o-
jd_
:p:
ig
notes.
The
characteristic
Ex. 62.
1-
z^.
^
The
:22:
?2:
'
r
-ri
:p:
-'-
-o-
.<J.
-fS>-
:p:
ip:
-&,
r^
-Qi-
^z:
-p^-
-&-
rgL>
STRICT COUNTERPOINT
42
Contrapuntally
flat is
amended thus
Ex. 64.
^> <^,
-<^-
'^
:p:
:p:
3Z22:
-o-
-o-<s-
5.
may
Strict Counterpoint
modal harmony.
-He should
examine the various examples in the new edition of Hymns
Ancient and Modern, in the Oxford Hymn Book, in Church
that
the
student understands
Hymns
An
Hymns
Hymn
(New
~\-
-Gf-
-&-
I
-s>-
ip:
-G>-
^^ ^
^G>-
:o:
-G>-
-S>-
-g;
-J=t
-G^-
-^
-e>-
-<s>-
-s>-
-fS-
^:
-&-
-Gt-
T^
-Gi-
:s^:
-!S>-
-<s-
^-S- -IZd
-Q-
:^
&-
-O
f=F=f-
-d_
*O-
i.
:=]:
l!5z:^:^:
S^=g=^=P=S
-^-
edition).
Mode
Ex. 65.
-<s>-
T2:
pz
T3--
-s>-
f=f
:g=
ON HYMN-TUNES
43
/TN
W
free,
the
It
played.
The
6.
(a)
(b)
(c)
Tenor or Soprano.
Examples of these
will
now
be given.
to a tune in the
Tenor
Setting of the Old looth by John Dowland, in Este's Book of Psalms, 1592.
Ex. 66.
-s>-
^r
-A-G>-
*^"
122:
:?:i=z|zi^:
Z2:
r-
:=]=
f^r
4 s
d:
-<^
-&-
2:^:
-G-
:p2_
I-
r:g:
3ZZS2:
STRICT COUNTERPOINT
44
:s2:
=s
-^
-&-
-.^-.
^-
-<s-
-o-
-(S>-
'P^
J-
22:
:p:
32:
-O'-
-p-
f-f^;
-G>-
:^
t:?-
~1-
-^
-(5>-
2:^:
^2:
22:
-&'
2322:
22:
]^
-<S-
-iQ-
mr
j_^4__^
-&-
-P
i-
The adding
22:
22:
or-
-&-
Soprano
'n
22:
@-
-o-
-s>-
rriz22:
:g=
^izz:^
-s-
:^:
-Q-
-<s-
-i0-
~^<n
-9i-
---]-
=F^
-fS>-
^:
c^iHzig
nro:
-|Q-
-<s-
-^-
:ci:
-Gi-
-(S
:e^
jCa
hn^
nez
:p:
23:
<s>-
-^23:
23:
2'S?2:
|-p-
-&-S>-
f=r
23"
d-
22_
J=J.
-&-
:p:
'JPL
:|^
-o-
-<'-?s?-
-G>-
-&-
P-EES
23:
ON HYMN-TUNES
45
rr\
iEEEE^.
-S-
-g
:p:
^ A ^
:p=
More
-Gi^^
--^-
-rGf-
-(^-
m.
^-
-G>-
-G>-.
-O-
tS>-
O-
lesz:
T
i
-<^-
?5=zp:
f=^
elaborate Counterpoint to C. F. in
Tenor
Ex. 68.
-A-G-
When
(a)
(a)
as
--^
-&-
we
sat
-o-
.CZ.
Ba
:t:
When
we
by
(S>-
:|?:
iS>-
tzzj?:.
=P
Ba
sat
by
-^_
-&,s>_
22:
as
we
sat
-^
e>-
:p=
^^=^=Jr-
C.F.
-O-
-f^
-(S>-
Tjr
_[_:
When
Z2:
When
-f-
we
Ba
:e^:
sat
:5=^:
Ba
by
by
STRICT COUNTERPOINT
4-6
(^)
r=i}pz=
-s-
:^:
-o-
And
-<S>-
Si-
-&-
-Q-
-P=
/S-
re
?2:
:t:
231
-
mem
-<^ fri-
of
S>-
Si
?2:
Si
->-
brance
-<S>
<S
of
Si
-iS^-
Z2:
mem
(0
i^
-iQ
-&-
brance of
And
And
:^:
brance
And
-<9-
-S)L
122:
122:
:C3:
brance
-iS>
of
S)-
Si
ON HYMN-TUNES
-G>
-e*-
The
-<s-
wil
1Q-
The
wil
-e>-<S>-
ft
The
@:
'^
wil
-!-
:q
t:
The
wil
^^
-9
low
trees
-(S-
-^5-
low
trees
?2:
low
^-
ip:
-&-
:z2:
up
Ih~
<S-v
-^&|-
up
-^-
123:
-<s>-
trees
up
on,
<S
22:
::p:
low
47
122:
trees
up
STRICT COUNTERPOINT
48
The
(a)
The prepared
(b)
Six
six-four.
This
suspended.
is
a very
The
(c)
The use
(d)
(e)
The use
strict
when
of a single quaver,
reason for
it,
there
is
no technical
of a chromatic semitone
is
also an infraction of
usage.
Exercises.
I.
(a)
Mode
-&
ZC21
-<s>-
-&-
2^:
-&-
23:
viii.
22:
-o-
(0
:p:
:?z:
T2'-
'^
-G>-
h-
->-
22
o-
ez -o- 1^
(2)
(2)
2?
O-
22
1-
(2)
:?:
-S)*-
2^:
--
-^-s>-
{b)
-o'-
-<s^-
(i)
The
(2)
May
-(S>-
-j.
:s^:
-<-
-s*
melisma.
be treated as unessential notes.
2i:
2:^:
-G>-
:p
-e>-
-=T
jdr.
Mode
h5>-
p:
-e-
-&-
^s^-
2^:
i.
ON HYMN-TUNES
i
w
:^-
-G>'
-^
-jdl
-tSi-
:s
-Gt-
-^~
^-
z^i
49
-^
22:
f-i
^-(SI
-S3-
(c)
is:^:
-<s
1^:2:
P=
S.
:p:
-tSi-
-*i-**
-^-=,Q=p:
:p:
-S)-
d^^
?3:
:^=i^;
3^H3
P:
Add
2.
o-
i(Si>
viii.
:t:
-s>
-&
(S>
:p=^-
:^:
-Sf-
G>
Mode
:c^:
t=p:
:p:
in plain
Counterpoint
:p:
-.<si-
-o-
is:;^:
-si-
A. and B.
-<s-
-<s>-
:e
-G>-
to the following
tunes
Salisbury.
{a)
ir
22:
P:22=p:!zpn
^=pi|g^p-p-Q
izz:
-G>- :pzp:
-S)-
Ed-zz:zS-
(^)
-!S-
-&
P=
=1=:^:
:22:
:tz=t:
(c)
H-&-&-
*2[t=::
Iziit:
Bristol.
::e2:
1221
_^
p:
-s>-
-Si-
Z3:
p:
-s>-
i^zi^zzdzl^
oo- ^-
-P
-<s-
-<S>
!S-
1^=1:
-&-
tM
Winchester Old.
~G>-^&^-
ife
i
1837
ip:
-fS*-
-G>-
-9-
-cz:
-P 1=^ :d1221
-&-
?^-
-&&-
:1=^:
GfGt
^2=
HS>H
STRICT COUNTERPOINT
50
{d)
i~b
Dundee.
ON HYMN-TUNES
51
(b)
-G>
-G>-
:e2:
i^-
=jZZ=]
-s>-
:p:
22:
:[=e2:
^
?^:^=|:
--
e-
\~t^-
:^=g=^: -s123:
:qz:^z=dz^j
-G>-
C*
z^-.
<S>-4f>-5
fe
-<S>
^^i^e
tn
-<^
~J~\
G>-
:tz=Q:
-(S
&
S>-
-^-
i=^EE^^^^==
7--<s-f^-
s>
43
<s>-<5>
:p;
-
p
-
-<Si-
2izzgE?
:erc^:
-<5^
=P=^:
:^:
-r^&~G>-
(S*
-G>-
-JCt.
-&
-.Mtl^l
-&-
STRICT COUNTERPOINT
52
Start
CHAPTER
IV
is
as for example
Ex. 69.
/_s
^:pq--s>-
"Cj
:^=p=tt
b=
2.
to
To
=P2^
p
=t
this a certain
:e^;
number of
Dundee.
:=F
I:^z:g:^ ts^;
az22:
isizli
point.
The minims
principle,
4.
It
or fourth species as at
would be wise
Counterpoint so as to
Ex. 70.
(
1-
{a).
STRICT COUNTERPOINT
54
Nearly
all this is
At
{a)
we
use the
Remember:
5.
{a)
breve or minim
(3)
(c)
the parts
All
weak one
follow the melodic idioms of a bar of
Scholastic Counterpoint
{d)
(|)
An
on the third
crotchet.
6.
the
first line in
should be
7.
fairly
When
Some
When
imitation.
Crotchet movement
uniform.
some
line.
first line it
and so on
10.
till
its
entry,
The double
If the C. F.
ON A CHORALE
55
Ex. 71.
-J--
3d:
--
SEp-
TIM
Jff=^
-3z=:^
-\r-
J_s^_J_
-<5>-
-s>-
-J:p:
-<s-
:s2"
^^
tj'r
:p:
The
following
is
If the time-
Ex. 72.
(a)
zq:
2^;
Fr#
2:
--
les:
?=E
/^
-N
^^g
ip:
-S>-v
SfE-^Z-Z^.
x^-^
m-3L
^^
g^
-<s?
(6)
ig^
--
:t=i<S)-
G>-
:22:
s-
-<^-
al
*-
i=[zd
^p^^
:p:
-.^-
:3:fc:
-fS>-
-<s-
?*
STRICT COUNTERPOINT
56
:q:
==:=^=q:
z^i
-^
-g
a/-
-jct
m-
:o:
ipzit:
^^
:k
PEe:^
-fS>-
:c^:
-<-
-^-
:^:
=^=i^
-^-
~q:
^^=^
-cz:
_q:
-o-
:c5:
ip:
-a
.p.
1
It:
ic)
:fe^e=^:
^^ :p:
?:
:p:
-Mz^:
:q:
gj:
-^
(^)
-(S-
ee:3^^z3ee
-o-
^^
-t
vr-^
-(
C^
I
M
^.-5
.^
:?2:
:p:
:<:2:
It:
itz
--
-S-
:f_-^:
~~
Iz
^-
"^N
--
i3Lzr_^:
-<s>-
:q:
ie)
SE==x
'jOL
z^L
-is>-
:s2:
:t:=[==z?
-^
(-
ON A CHORALE
57
ilrzzzzq:
-j
=1:
-o-
e>-
^_p_^_^^_p:
M^fc=
--
m
y-
ifc^r:
^'s.
:^:
III:
'-T=-V-
-^-
=|:
->:
^^
~J-^
:c3:
:q:
:q=
ri
STRICT COUNTERPOINT
sB
14.
Exercises.
Add
Ex. 73.
St. Peter.
{a)
_^
-o-
:p:
;^^e3^
:^:
rr\
-i5>-
-G>
gj-
i^zzze^izd
-G>-
is^lli
-S"-
-f^
:c2:
/TN
=F
^^=F
-iS>-
:c^:
<^-
-Gi-
ic^-
22ZIIII
-<5>-
St. Gall.
rq:
'm-t2l
:p=?2:
1-
iS-
-<S
-o-
-&-
-.<s-
-G>-
=P
<s>-
3^
=!::
-^
:5^
fe=^=a=F
l^^H.
^^
-<s>-
-Gl[
-0-
-O
G^
-iSI
-(S'-
'I2i
Winchester New.
-ri
G-
-i
r^-
-Gh
'JZT.
-G)-
= -p:
22;
-<5-
-ec-
-s>-
rtzii:
-Gt-
c^-
-!-
;=t=:
:Z2:
--^
2:
122:
:p:
-G>-
-G>-
:e
-G-
-Gt-
T2--Gt-
:^:
:^
ON A CHORALE
59
Winchester Old.
{d)
H -S'
rJ
&
-G
-JZL
-G>-
rT\
iQZ:
?2:
-f^
:p:
iS-
rc^:
-<s-
:Z2
rr\
^-^
-o-
-^-
-&-
:2i:
jj
-s-
ic^:
St. Bride.
(^)
:M=^
-G-<s>-
-c^-
-!S>-
-<s<-
:p:
-<!5>-
-s-
?2
-s>-
-<s>-
-O-
2i
^:
-Gf--^-
-s>-
-Gh-
32:
<s>-
-s>
1221
-<S>-
s-
CHAPTER V
MADRIGAL AND MOTET WRITING
Before
1.
(b)
Characteristic idioms.
(c)
Form.
(d)
The Masses,
and
studied,
in
addition
the
its
Techm'que.
2.
The
(a)
may be used
species
is,
as regards idioms.
indiscriminately,
and
No
is
underAll the
any length of
by the words to be
for
The
tion that
work.
was
it
I,
In
if
it
fairly fast,
strosity.
somewhat as follows
j7
9 J
6r
n
The
tf
J
tf
r
thing
is
unthinkable.
(0
Cj'
r
resolves itself
If
crotchet
is
minim
62
Crotchets
species.
(if
them be crotchets
according to
following
even
if
movement
the only
against
also.
is
Ex. 75.
2:
^=^=s=^.
Gt-Gf-
-1&-
^2:
is
-&~
c2:
-s>-
:[=
-iS>-
Z2_
-o-
ro:
-A-
3^:
22:
correct
Ex. 76.
S^
-G>-
-G>-
fs^r=r
@it
ig)
:p:
-&-
-o-
fS-
The
minims and
-Gh-S2i
introduction
of words
demands the
are equivalent to
first
species principle,
Ex. 77.
if
Palestrina.
Aeterna Christi Munera.
Ky
ri
-I-
22:
:z3_
lei
:p:
^-^
repetition
-10-
of
Repeated minims
to
Ex. 78.
Ihid.
i^i=q:
:e2:
122:
Si
^r
1:
Be
prepared discord
pated
uihq:
o-
'
63
may
ne
di
Ex.
-f-l
Ihid.
79.
1
64
Palestrina.
Ex. 80.
La
-Q.
Mk^^
f
:s2:
La
med
med
La
ill
HGH
'-3rczz=rzzrz=^
O-
H-k5>H
med
La
med
-&
m-
:p:
-s>'^--
11
si
z*^
-<st-
Z2:
ZIZIS2:
e-
-rH(SH
-^-
La
med
La
+1<9H-
^i^t
-<S)
--n^w^C31
I-+S1+-
La
med
La
^
2^
med
Wm
(^^^(Sfl
"CJ"
med
time;
point
Ex. 81.
-^
Gibbons.
Dainty fine
-o-
:f_zz3^:
-s>-
-j-
?==pc
-s<-
:[=
3.
Characteristic idioms.
t-
.^.'
m:
bird.
It will
:p:
be useful to have a
list
of
been
The
(a)
Ex. 82.
Palestrina.
Aeterna Christi Munera.
X
-<5>-
^^=S
-s-
:?2:
:S=EEEa:
G>*9'-W.
r-
J-
_c^_
-(S-
A.
:p^q
:t:
The avoidance
(^)
65
note a semitone
Ex. 83.
Lassus.
'-'^-
Sffl
^^
'jC2-
-z^z
Ma
to
na
-O-
:g:
i^zd=^:
/S>-
-Q-s>-
123:
-fe
:?2_
-e>-
:t=:
IQZ2:
The
Ex. 84;
Ibt'd.
cqniQ:
l^ %Tz:
(S>-
m^r-
.^_
-Q_
^-
{d)
The prepared
proceeds to the
fifth
Ex. 85.
Ibid.
-^-
=t
<r:y
-tSi-
:S2:
-o-<s-<s>-
-j:^zz
-s>-
:s3iiz:
'C5'
1837
66
No
cadence must end with the minor third from the bass.
The major third is constantly preceded by the minor third in
some other part, and immediately followed by it in some other
(e)
part
Farrant.
Ex. 86.
i
w
gEfeEilEEi^^i^^
-fs-
-t
And
His
:^-
:^ J-
mer
cy
them that
on
is
Him, throughout
fear
all
m=ifr^=p=^=4
j
Magnificat.
t:
h.
-T2-
=]:
-sifS>-
1221
tr-
'-'=\-
-^
"P^,
ge
ne
He
tions,
J-
G-i
?2:
3t:r*
ii^
:<&-
-<S-
hath, &c.
I
-ts>
~-f^
(/)
The
Ex. 87.
gS
Palestrina.
-<s>-
-O-
;^,q:?i: :
-<s>-
sn
.Q_
:%-
:^
tei=-J.7
^S
:il:
:?2:n
J.
SfejM
W-
-<s>-
3^^^^
15p;
1^31
i.
-G-
=^
The
Lassus.
Matona
Ex. 88.
m
-Q-
Palestrina.
niia cara.
-Gi-
Isfe Confessor.
=r=^=P
9 g3
'^
'.'X2
-O-
j^^
-G-
:q:
-&-
-&
Z3:
-<-
Ex. 89.
~n
-iS^
-e^i^i^S'-
rj-
^If
M>3k\-
^J_
-Q-
-<5
-H<^Sl-
^^=
(/s)
The
-^-
following endings
Batten.
Ex. 90.
Deliver us.
men.
:=]=
:e2:
-<5>
"C?'^"
'-X
-<^-,cr
:**
-. _^_
HS>H
^=
-H<S'H-
''^p'
-c^-
Gibbons.
Almighty and everlasting God.
Ex. 91.
MS:
w
Y
-j^i
-!S>-
-G)
"C?"
^7=1^:
67
:1ttt=:
HHfS'H-
->-
-H<Si|+-
?2:
-it5rr
E 2
:q:
68
Nunc
Blow.
Ex. 92.
1=3
^*-
Dimittis,
men.
men,
-&-
:c2:
(S*-
:^^-
-<S>
*P"
-^
J_
^g-aizr!:k^
^^-^=EE=o-
JW^
-G-v^
4'SH
Bevin.
Ex. 93.
end.
:=i:
-s-
:^:
-c?
3--=^ft^p3=w
-r2-
a=i:@
Ex. 94.
7T
3 -Q np^:
-<^-<&-
-e>
-<s>-
Dimittis.
men.
-X
-(SiS*-
Nwic
r-
HS>H
-HS>H-i-
-^-
Byrd.
Magnificat.
men.
A
:=P
s>
-1=^-
21^--3
(S*-
4tg
ll'^li
--IPiT-
-HS>K-
-0-
'0\
'
common.
{a) Tending downwards:
MoRLEY.
Ex. 95.
Burial Service.
men.
S^
.^.
-<s>-
1
-T<S>-
^AGW
HSfi
-o-
-<s-
"iC?
^
hd:
]~
t^- :^
i^ji^rr
Ex. 96.
Bcmdichis.
men.
end.
-r-
69
HGiH-
iq:
ilmip:
fe H&rH-
^J^tsr:
-^
-<S>-
"?
f:^r
-1-,-
-J- :ri'str^]
Q fe^:
p=g^-|-
-,
^f
:^z:s
l-kS>H
-fVSH-
Farrant.
Ex. 97.
Credo.
:|2:
HH
-HSfl
r--^
r
u
'
HSW
-9
out
--
-p-.
rprr
-Qrsx
zirsni^-izx -j:
:s2:
iS>-
:.Qh
-S2-
^&H
-<s-
^
Bevin.
Ex. 99.
A
"O
HSiH
|?Ek:
r
-&-
Magnificat,
men.
-S>-
-s>-
-^- :p:
-A-
-&-
^ '^L
-^-'-
end
'-^-
r-^
Farrant.
with
^--
^i^:
HS>H-
Tending upwards
Ex. 98.
World
-tf-
^?
<rJ"s"
EES
(6)
-|&-
-tS>-
Magviificat.
men.
^p
oi
ig^
-^-
gEJ
"P"
~&-
-<S>-
At^}^-HSH-
'^or
s-
-IMI
:p:
-/9-
:p:
-^
-e-
1f^"
70
Ex. loo.
VIII
(?)
Ex. 103.
with
Thy
cious
pre
Ml
7*
Te Deiim.
blood.
iq:
=];
-tf
z^z
<s-
M-Jiz^z
-G>-
-0-.
-&-
-s>-
Aldrich.
Ex. 104.
to
gen
er
Jubilate.
tion.
-<S>-
-<Or
A
mt^^
T"
c^z
-Gt-
-&~
-a-
-Gt-
Aldrich.
Ex. 105.
God
my
Sa
-s>
^i^:
--
-[
of
22:
"P"
-G>-
his
hand
Magnificat.
-
maid
t-
hearts.
their
-*-
E.<S>-
-O
hum
en.
=^=^
&
-^
(S* TI
s
:t=[==ti
and
ble
meek.
hS*-
X5:
^.
t<s>-
le:^:
I:
_d-
TT
:q:
1^=*:
:^:
"p-
:?3z:ti
i?:^:
1-
of
-^-
:|:
-^
viour.
-<s-
-o-
_<i_
--
^&-i ^-
f:
-
Q53(9
-^-
-o-
72
face
The
of
all
peo
a long
rejoice
its
end.
pie.
use in Child's
'O
life',
'
',
F by King and
Attwood, in Walmisley in D, and in a wellknown double chant by Hayes. The idiom seems to have an
extraordinary fascination for church composers; Aldrich could
hardly help doing it once every page.
in
4. Accentuation.
{a)
commences on an
unaccented note
Byrd.
Ex, 106.
*^-
^E$;
Come,
come
-0=ri.
help,
help
Ibid.
^--i-
His
blood
j^zni^z^
-&-
blood
sweat.
Benet.
Ex. 107.
:p:
iz=t:
--
dance with
M:
^pe
ness,
with
glad
-Gi-
glad
with
glad-
-a-
ness,
glad
with
ness,
with
:p=q
ifzze^:
glad
ness, with
ness, with
il#5^
with
glad
-S>-
glad
ness, with
with
glad-ness,
p=
with glad
ness,
with
glad
fall
ness,
ness.
:p-
:!=::
glad
-^-
:^
^S>-
glad
r=i:
-a:t=^
nth
?F=
ness,
glad-ness,
-s*-
glad
ness, with
toi=
-jril
glad
_P
:=]=
ness,
ness,
:=]:
s>-
:t:
glad
with
The
with
t---
dance
f|:
ness,
'JOL
ii=|B
i:
glad
M:
_l
dance
ft
with
-iS>-
--F
1^31
glad
dance
ers
lov
:c
-<9>-
lit
y-
with
ness,
;!fe^g
dance,
--
:^:
glad
73
zzip:
glad
with
faulty.
The rhythm
was
of the Alto
p!te
ii*l'
lov
ers
^fe _p
glad
~<s>-
:^:
dance
with
IK
:e^t
glad
-&
(S
ttP=
ness, with
glad - ness,
s=t^
<s>-
C^ziii^:
glad
ness, with
;BEte
glad
ness
:c^:
-
ness,
with
74
fact,
Ex. 109.
Tallis.
H^
The
:^x
iSh-
jeL -Gt-
pa
glo
zq:
:q:
5.
22:
ny
of
-e?-
the
-c^-
pos
praise
ties,
Thee.
Form.
is,
of course,
imitative.
ceding ones, or
if
derive
its
it
Examples for
No
own
forms.
in
study.
England should be
read.
following
will
list
Tallis.
Services.
be useful
(Boyce Collection.)
(Church Music Society.)
Bevin.
Byrd.
Farrant.
Masses.
75
,,
J,
Gibbons. Novello.
Palestrina. Aeterna Christi Munera.
Papae Marcelli.
Breitkopf
&
H.
Iste Confessor.
Missa Brevis.
Motets.
O Jesu Fill.'
'
in
WiLLAERT.
Palestrina.
'
J5
Ego sum
Thou art
J?
'
Handl.
Byrd.
panis.'
Bosworth.
Peter.'
'
In divers tongues.'
Novello.
'
The righteous
Bosworth.
'
Bow
Thine
perisheth.'
Novello.
ear.'
Sing joyfully.'
Souls of the righteous.'
' When Mary to the temple came.'
'
J)
'
ECCARD.
Batten.
Bateson.
Gibbons.
Deliver
'
?>
us.'
Redford.
Hosanna
'
to the
'
Hymni
Son
of David.'
in the style of
Motets
B.
totius anni.*
&
H.
Madrigals.
The
student
will,
of course,
recall
the
names of Lassus,
The
selves
Palestrina.
Benet.
'
Weep,
All creatures
(J
,,
B.
6 Madrigals.
(J
=
=
&
H.
Novello.
silly soul.'
scholastic minim.)
now
scholastic
d=
are
merry minded.'
scholastic d.)
,,
final section, in
which
76
Weelkes.
(J
WiLBYE.
Sweet honey-sucking
(J
Hill descending.'
Novello.
scholastic d.)
scholastic
bees.'
Novello.
d=
scholastic d.)
nature
the time-signature
is J
English madrigals
some innovations
in them.
Examples.
I.
From
the Magnificat.
Elway Bevin
(circa 1590).
pen
xt
-&-
-s>-
=]:c^:
-S-
-j^l
J^l
@1:
S
^
ici:
-S>-
-s-
:=!:
iE^
vant
:s=e
t:
-s--
-s'-
:p:
:t^
-s>-^-
-Gh
122:
.<s-
=J=t:
-Gt-
-^z
3L -Gh
X2:
:c^;
-'-
'f^==J
el,
-^
-&-
-o
s>-
:=F
:c2:
Is
-S>-
-o-
'JOL
As
he
-!S>-
fS-
=]-
-e?-
:c^==
:2
-C^-
-(S>-
he
-iS>-
1=:
.
he
:c3:
-<s<-
2^:
:=i:
:p:
As
^3^
prom
:
As
2
^
his
prom
:^:
jC
-<9-
As
he
iip:
--
flp~a^: -s-
ed
our
to
-]-
=q=::
izp::
:c2:
-e?
fore
fa
77
-s>
is:
tbers,
(0
-&-
-tf-
-<s>-
prom
is
t&~
s>-
t:
ed
to
our fore
=:
iq:
fa
thers,
{b)
1^=^:
ed
to
fore
-cz:
prom
is
-a
-'S-
=]-
fa
- iq:
ed
:p:
to
bra-ham
:t:
- sour fore
-&-
-<
thers,
-s>-
:[=:
2^:
3: IQZZIZiP=
3:
-<s-
C2:
::
-9
and
his
thers,
fa
G>--t^
seed, for
^:
-Gf- -%r2Z-A
-O-
ev
(0
-e>-f(S>-
t:
ft
bra -
:^
-s>-
bra
^ErZ^
tzztz:?^:
:p=t:
ham
and
his
le^:
-h-
-^-
:a:
3^e
ham
and
:p:i
his
:=^p:p
and
his
seed,
Running
for ev
seed,
iS>-
rp=: <s>itii
seed,
^:
for
-3=
-G>-
-S-
1 <S>-
for
-e*-
fec=:t:
:q:
~o-
-t:
above, however,
{h)
jgz^:
:t
:[i:
bra-ham
(<?)
-<s-
er.
is
scored in
time.
The
period.
'
{e)
Nota Cambiata.
'
78
II.
From
Ex. III.
^
^
122:
-<s>-
iq:
ste
Chri
-(S-
:e2iz
<S>-
Chri
231
:p=p:
-F-^
ste
lei
m:di
s;
-^
ISZ
-o-
^:
:^-.
t:
5!^^
lei
'^
221
a-\-^
^-
-P
:p:
:t
zp:
le
-e>-
-e>-<s>-
Chri
ste
^^
*:
32:
122:
Chri
ii^#
-e>ste
:p
s-
-Tjr
|g
(6)
Z3_
lei
-.S>-
--&-
^:
Q-
-(S>
le
son,
-<S>-
Chri
-<S>-
Z3:
ste
-O-
79
(0
-G>-
:p:
-o-
ts-
-e>-
li:
le
:Z2Z
:c3:
-<s>-
%
Chri
.Gt
Ee^
-P^-
:t=t
q-p:
le
-^^
-s>-
t:
1
251
ste
son,
-iS>-
-S-^-
:t
:p:
p-
So
7f-r
Q,
^.
8i
82
par
che'l
mi
cor
toe
-G>-
E
la:
gj
M-
-s-
che'l
cor
mi
t;
1^
cor
-G>-
par
'rjr
(S*
-J?=.^^
G>-
chi,
na
dol
g2
j|!e>
mi
toe
-<s>-
-#^=
::;:p=g2:
122:
na
chi
dol
S>-
1i===^
na
_Q_
dol
-<S>-
cez
-O
"g^'
-S>-
toc
na
chi
gi^Efe^*,^^EgE:E|^
smi - su
ra
nuo
ta e
fe
cez
P
za
smi - su
ra
va,
smi su
nuo
ta e
S>-
-<S>
smi - su
ra
va,
-&
1221
cez
-s>-
1231
ta e
nuo
va,
nuo
-P
-1^
-P-
ta e
ra
-&-
P=
-
dol
:^:
:p:=rji^a:
(-
-ry
<9-
smi
su
ra
ta e
nuo
g^:
nuo
:t=t::
smi-su
ra
ta e
nuo
va,
l^f
:?2:
E^
t:
do
Cre
-ts>-
123:
-s-
o-
:s3:
-el
che
qui
:e=P^F
L_
._|
Ifci
va.
Cre
do
che
qui
tro
si
mi
(o)
)S>
Cre
83
-<S)-
Cre
do
-<S
Q P
che
qui
si
do
, ^tro
va
p-o[=:q
-s>:[i=zt:
che
qui
-Q_
si
84
122:
!::zz:|2z2:
-s>-
-31
g^ -^
-^<s>-
stra
si
:q:
-<s>-
-/S"-
na
dol
cez
P-
za,
non
puot'
P=^
dol
stra
:c~
n3n
za,
itiizd
u
puot'
-s>-
:s3:
dol
stra
-<s>-
na
.^=^1
se
cez
dol
-SJ-
-<s^-
nfin
puot'
-&-
:c3:
chfe
cer
:p:
e?-
G>-
:t=:
da
^E ^&
fei-
non
za,
-1^-
:4
scir,
za,
*ii^-f^-
j:
stra
cez
sua
bel
za,
lez
-US)!-!-
:b:
:c::
ft
non
se
scir,
sua
da
bel
lez
za,
(0
-q:
:s^z=t:
che
--
:t
cer
to
un
:q_
:S2:
:F-
:2:
che
non-
se
scir,
lu
-G>-
^: -O-
-<S>-
-.o-
i?=2:
-<S>-
-s>-
123:
-Oche
to,
cer
.l
to
un
ta
lu
coa
le,
<S>
-P-
-s>-
me
ta
-<s-
che
S>-
:p:
-C2
ta
che
le,
^-
Z3:
:?!?:
?^=t
to un
lu
me
ta
to un lu
=^^
4t
z:
me
:p:
-<S-
cer
le,
cer
to
un
..-P P-
ipzzp;
lizi]
lu
me
ta
le,
-^-^
r^ziri^Q:
-OSI
e>-
stra
85
:?3:
dol
-(-
=t=^-:
122:
^<s>-
SI
W
con
:z=-_=:p=n
na
dol
122:
:s3:
stra
dol
:|223:
stra
za,
f-tra
^&-
^^=i
tr-
cez
^&-r^^-P-^:t=^^c4
:t:
TJ^
na
dol
86
-<s>-
:p^
G>
=^-x=z:p^
da
:c?:
:g2:
-jS>-
fc^
scir,
non
se
sua
4^
-.*3
:t:
-P-
da
sua
=*tzzd
-^bel
7--r-
bel
non
'X^iZLI
puot'
puot'
231
-<s>-
rpzzTL
t:
t:
lez
non
puot'
et
za,
non
P-
scir,
se
-<s>-
non
puot'
da
-<s>-
i^:::^:
=P^
scir,
sua
:p
iq:
&-
non
za.
<S>-
za,
1^~
?=
lez
non puot'
-rJ
lez
123:
scir,
iS>-
bel
lez
or
p_-iZQ:
:t=!r_:
da
112
p p
fE^t
sua
bel
lez
-<2^-
-P=^
siia
bel
non puot'
:?2:
scir,
puot'
scir,
se
non
da
se
non
da
Notes on Ex.
This Madrigal
is
M^l
::
-
siia
lez
za.
-<s>
-h
non
inr
bel
lez
za.
ii2.
Mode
transposed.
The second
point
(c),
is
fourth
and
fifth {e)
first
(bars
this last is
and
com-
(a).
,
{a).
87
will
it
species.
The law of
be kept when all
(0)
the lowest
to
Ex. 113.
'^2i
Be
r:
i
w
-^-v
;s3:
X2:
-G)-
:z7"
Be
-s>cla
et
die
-3^
:s2:
:=^
-Gf-
-s>-i-
:2Z
-<S-
iq:
O-
'jC2L
et
cla
^1
Be
It:
ne
die
ii
=^:
r^=
d^zc:^:
ne
IQZ
-<S>-
die
:3:
cla
et
^^=^'tas,
-<9tas,
(a)
-pii:
-(S>-
22:
-s-
Be
die
ti
o,
-^-
:=]:
:c?:
cla
et
-<S>-
-p^
jz=
T
Be
ne
die
#==
:c^:
et
^--
cla
--
88
-fir
MADRIGAL
-o
-Gh
:p:
MOTET WRITING
:p=^
ti
zzz^t:
*P=
t
ac
P-
AlSib
iS>
P-
o,
gra
89
-
g
ti
90
i
w
':B=^-.
E3P
-Gf-
^-
t^
o
(S)-
fc
Ezzm
-o-
'-d'-
:c^:
gra
et
ti
M:
:i=q:
q=:^:
ti
-^rum
-j^i
ac
-Gh
-
jQ_
-o-
-Q-
ho
nor,
vir
ti
izzq:
-|Si-
:i?=t:
y-'
rum
ac
>-
iE5
-G>
*=
&
:t
-G>
-s>-
^^eH-
ho
o.
-o-
l===j:
^=ciz=^
ac
^^=^-
nor,
-<s>-
22:
ho
ti
->-
nor,
f^-
-^-
vir
tus
X2:
tus
vir
IHHD
ho
nor,
et
-s*-
(S>
-.<S
^:
:p:
ho
-Q.
-.Q-
:p=t:
I!
nor,
vir
^~,
:p:
-fHr
ho
tus.
&-
S
^C=^
qzip:
-o-
tus
et
:5zEt=
:
for
ti
-<S>-.
for
ti
tu
tu
21
-!S>-
-.^-
-iS>-
ct
tus
vir
nor,
do
De
do
-s>-
et
"p2
na
De
-JOl.
^
J^.
=t
-
no
-(S*-
stro
idzizzz^n.
for
ti
tu
J^l
igi^Tizrs:
EE
De
do
-G>-
stro.
De
no
-G>-
-<S>-
:t=:
et
stro.
-^-n-
zzzztiz
t-
for
et
-iSh-
:o:
-s-
:3:
:*2t
ti
De
=1:
+ie?t4-
izzqzresizzi^:
-iS>-
:c2:
:p;
ipn
:2:
fe
-
ti
-^-
tu
Tq=^~
:e^:
do
De
T^'-^~0-
n=
?^5
G>
:
o
=1=;<s
1221
no
in
-<s-
:s2:
tu
do
De
no
se
cu
la
5'S'-
stro,
-S-
cu
stro
tE^S
HI
stro,
i^pi^^z^ii^zq
De
for
se
in
stro.
se
-S-
cu
la
se
92
^-
;^
IC^ZIZZt
In
(0
=1
*^
(g)
cu
se
I-
3i=Sr
:p:
l^'
H^r=p:
:c3:
--iz^
rum,
lo
--J-
:q;
-G>-
la
se
-o
:^z:s2:
F"
cu
M:
rum,
lo
:p:
-e>-
:p:
:ciz=t:
R:
cu
-s>
o-
rum,
lo
-<3
2i:
(^)
-<s>-^-
-s>-
s^-P^
:g3zz
:c2.
la
i:
cu
se
lo
rum,
IQmen,
-^
/S"
cu
o-
a <scu
:i=p:
men,
-s>
(g)
_Q_1_
:p:.
se
-(-
in
(^)
:?2:
E^E^^EE^
la
se
lo
rum,
-<s>-
-^-iSh-
-&
cu
-e>-
-s>-
:^
-^
&-
h-
lo
rum,
men,
ZZPZDI -Plo
rutn,
'jCJtKG^-
93
:s3:
IQZII]
men,
t==^.
Gt-
:p:
_c2_
cu
cu
la
12:3:
lo
-^:n-it|g^
-&-'-
:c3:
-s-
^1
e.*-
-G^-
W-
:p^=: izp;
-.-si-i-
cu
s>
3=EE^B--ij
-<s>-S'-
cu
se
la
lo
:q:
rum
-9-;-
lez:
-r
:z2:
-S>-
In
cu
cu
se
la
2^
-s?-
-|S>-
s-
S^p^E^E^=f
rum,
lo
;q:
-S'-
/Ti
se
:pn
y:
-iSJ-
-e>-
-P-
=:i
-P
4B
cu
lS~
se
la
p-
[-
ft
cu
&
ft
(g)
f^-
:ti^=zt.
:e2:
cu
la
#_a,
-j
i-j
lo
rum
-(S-<s-
-<s-
z^=?d:
la
|S>-r-
-^-
5?t=t:
-<s-
lo
rum,
:c2:
men,
94
i^
:q:
-^:
(5----
-(S'
li:
Z^JZH^liZ
>
cu
-G-
:pzzzp2:
-tS>
^zizp:
rum,
-s>-
<s-
:q:
men,
-Q-
lo
rum,
In
A
:zp='
-o
-<s>-S>-
^-^^EE.^
i2=t
.
_z:t:
lo
rum,
lo
-<s-
:e^:
-(S*-
rum,
lo
:p:
:p:
iczz::
-o-
->meii,
-(SJ-
-G>-
"^3
"
-^-
-&>-
V.
cu
lo
(c)
-^-
:^=2:
:p:
-<s>-
g^^^^^^^^
A
men,
-<s>-
rum,
lo
^:
31
-/S-i-
:f?r^:
i=iz=:p:
:f3:
men,
:mi
:S5:
A
-<s-
men,
:S2:
men,
i|=q:
:?^Ea=^~pcu
lo
rum,
-(S*-
men,
:S2:
Hit-
men,
_!2_
95
?^^S:
-fS>
;fef=:
?S
::sr-lJp: -<s^
--S-
iqziziq:
A
-S-
isx
U^
-p:
:Z3_
&-
-o
i?::^:
ft
A
e=irr^:
:t=^
H(S>H
iq:
;s3:
at^
A
^laiz*^P=i
=]:
-^--
<-;-
:i:
Notes on Ex.
(a)
(b)
The
-s>-
-HH^H
113.
clash between
second Soprano
is
C and C
ff
is
characteristic
the sharp
a cadential convention.
Nota Cambiata.
(d) This is a stock formula of the period.
interesting to note the various occasions on which
(c)
It
it
would be
is used by
different composers.
(e)
Here
forgotten.
(/) Irregular to
the
same
in
part.
and
is
practically quite
strict.
Some
In the motet
'
In resurrectione
'
he uses quavers on
96
the
technique.
Exercises.
(i)
keep
this law.'
W^^
Lord,
(2)
:1:
-S>-;-
-!S>-<s-
-SJ-
i^:
-s
have
irier
cy
up
on
Farrant.
(3)
Start
%
^
_C2_
HS4+-
Be
fr
3!;
IdZIZ.
die
tus
qui
-S>-
-S-
:q:
Be
(4)
--X
-ri^-
-<S>-
ne
-=]=^=P^
lizf-^z^e^f^zd
:t=:tz=t::
:p-
die
-<9
t-
-<s>-
tus
qui
Also,
'Agnus
Start
S^
-G>
-s>-
122:
~m
T2i
ipizq
tzitnzt:
Ag
EB
-s>-
:22:
Ag
-JOr.
-.S'-
:c^-=
De
-f^-
of Tallis.
(6)
in plain
should be modal.
It
Add
97
A. A. T. B.
Bevin.
P$:
He
na
"C?"
ter-ed
proud
scat
tion
of
the
&
Y-
might
v^
t:
:t:z=t:
hath
(7)
ex
alt
ed
-G>-
He
-e^
-kS-
hath
->-
down
put
:ri.-
l^=
their
and
seat,
p e-,
^:
^ri 11^
i=t
-
im-ag-
IP
-^-
from
:|Z-r^3
the
-s>
-.z^znn
^^==1:
-^=P=
arm
his
e?-i-
in
y
the
-1^-
hearts.
their
T^-Z=L-\-IlZ
-iS>
with
^^==3=1:
^
-s'Cq:
^=
:c^=<s-
strength
=?4*z=i
:]=q:
G>-.-
ed
t2L
hath
he
shew
hath
-(S*
1231
k^^l^^
:g=g^=pi=
-e^-
-1;q:
hum
the
ble
t=1-
meek.
and
2^:
&-
=1==^
-G>-
:p==:qz=z:
-G>-
;o:
f-^
-&-
-^-
:ti=t:= :^P=
:q:
-<^-
:si=:c^:
S=P=l^zEe:
-G>- 'OtZZCZ.
-e>-
icj^:
3i^3
98
Start
mEEEEz
-P-
=q:
.p-i=
zzx-TQ:
&-
-<s> P^i
:q;
-<-
?5:
0!
b-i
p:
S=5
-<s-
hS>-is'-
ifizziit:
:x:
^r?=
(8)
Add
Alio
ri
&-
ti
:p
tur
-p_.
-P
di
&-
bus
P
/o
di
-s> 1-P
iu
sti
:e2
:^=:iz:t.
]3
a,
t
in
-P
:p:
-t:
in
a,
^-
ti
Byrd.
-1
&-
P=E
:^!=zt:
-
bus
tu
-P
:p:
-<^-
et
~?zr
ti
-iSt-
:p=
-J?D1
pa
t
dan
ti
pa
?i=^:
-P-
'^--0-
-*-
:t=^:
r:)
:tr=t=:t
bun
:p_^._
et
-#-
:t:
;t:
dan
lU
IS
ti
fe^e^^g^=fi
tE^-i
h-
tu
-h-
:tz=t::
ft
:t:
-P-
sti
-O
0-
^-
<s>>-
(a)
{a)
-P
:t:
(2)
i.
^f^l^E
sti
i :p
(S>-
bun
99
lOO
(9)
me where
Tell
Or
is
Fancy
bred,
How
head
how nourished ?
begot,
Reply, reply.
engender'd in the eyes,
With gazing fed ; and Fancy dies
In the cradle where it lies.
Let us all ring Fancy's knell
I'll begin it
Ding, dong, bell.
Ding, dong, bell.
It is
Shakespeare.
any
3!:
(6)
(I)
-<5>-
-&-
Tell
me
(2)
?3:
1221
'JOT.
--ii~&
Fan
where
derived from
or
derived from.
-Gt-
(i)
122:
:e^=:e
{c)
pitch)
the
in
heart.
(2)
-mhow be - got
(d)
=T
=e^:
it
T^zmcJ
is
en -gen
der'd
-d
^_ i^
.
in
the
yo
S
eyes.
cy
bred.
MT 55 .K69
Afe
Ki-tson,
C.
H.
Applied
a-trlct.
1874-1944
counter point.
*USIC tlBRARY