Canon and Multiple Counterpoint

'm\\v'.CORNELL UNIVERSITY LIBRARY MUSIC Cornell University Library MT 55.B85D7 3 1924 021 750 934 There are no known copyright restrictions in the United States on the use of the text. http://www.org/details/cu31924021750934 .archive.Cornell University Library The tlie original of tliis book is in Cornell University Library. . . NOVELLO. JOHN STAINER. LATE ORGANIST OF THE CATHEDRAL. DOC. EWER AND Edited by Sir CO.'S MUSIC PRIMERS. AND AT THE CRYSTAL PALACE SCHOOL OF ART. . MANCHESTER. Double Counterpoint AND CANON BY J. FREDERICK BRIDGE HUS. and Sixpence. Shillings In Paper Boards. KENSINGTON. ORGANIST AND MASTER OF THE CHORISTERS OF WESTMINSTER ABBEY. PRICE TWO Two SHILLINGS. EWER AND CO. OXOM. EXAMINER IN MUSIC TO THE UNIVERSITIES OF OXFORD AND CAMBRIDGE (x888).. PROFESSOR OF HARMONY AND THE ORGAN AT THE NATIONAL TRAINING SCHOOL FOR MUSIC.SIXTH THOUSAND. loo LONDON & NEW YORK NOVELLO. AND LECTURER ON HARMONY AND MUSICAL COMPOSITION AT THE OWENS COLLEGE. CO.. . EWER AND -PRINTERS.LONDON KOVELLO. Those who propose study Double Counterpoint and Canon to should already have acquired the art of writing the various species of Simple Counterpoint in four or five parts. and to apply. . in probability. If when he has diligently worked at Simple Counterpoint. will be and many those opportunities for happy introduction found by who take the pains to master a subject so necessary and so useful to the true musician. examples of and references to which are g^ven its in the course of this work. be the first direction in which the student will the art. together with a good knowledge of harmony. he far as is will not fail to feel its good influence. application of Double Counterpoint and all Canon to fugal writing will. with its restricted progressions of melody and har- mony. as consistent with the greater ireedom he now enjoys. its many The valuable precepts. should who has been through be debarred the use of the resources of modern harmony writing his examples.INTRODUCTION. student There seems no reason why the this preliminary work. in this style of Although point is composition that Double Counterit most used and most necessary. yet in has often been employed music not of a fugal character. make the use of his knowledge of this branch of it With this in view the Author has thought well to choose many it is of his examples from works of a fugal character. ip of Appendix) . assistance and most useful advice which his well-known acquire- ments and special studies in this branch of the musical art hav. bringing to his notice and permitting him to copy from the ginal MS. . The Cuoistees. 9 of Appendix) to Dr. Bach (No. the canon by J. Locker.. for the student. Bac. An rules. Esq. rendered invaluable.iv INTRODUCTION. The Author's best thanks are due to Miss Smart. justify he -has acquired the knowledge which while he is will him departing from the strict letter observing the spirit.. S. together with suggestions . Westmifstbf Aensr. Mus. many valuable for kind and to James Higgs. Gladstone for Example 128. Esq. to F. for ori. for kindly allowing him to insert the interesting canon by Mendelssohn. ibSi. rules are absolutely necessary. Septemoer. effort has been made to avoid all useless and pedantic but at the until in same time.. hitherto unpublished (No. • • . 53 Imitation Free Examples Strict by contrary movement By diminution By Imitation by augmentation Examples augmentation and contrary motion By diminution and con. l6~a4 CHAPTER Double Counterpoint in the twelfth III.. i — 15 CHAPTER Double Counterpoint in the tenth II. 25 — ^33 CHAPTER Added thirds IV. 76—79 . . 46 —5a —57 CHAPTER Imitation — Strict and free — Examples CHAPTER VIII. .CONTENTS. . . Canonicalimitation— Origin of term— Examples . - —Examples — Examples .. CHAPTER Definition of point in I. PAOB Double Counterpoint General rules Double Counterthe octave Examples Double Counterpoint in the fifteenth Examples Subjects to which Double Counterpoints may be added Examples of models derived from simple phrase — — — — — — — . trary motion With reversed accents Examples — — — — — — — — — — 58 —63 —75 CHAPTER Partial IX.. —Examples CHAPTF" " 34 —3S — ^45 Counterpoints invertible in various intervals — Examples VI. vifhich imitation imitations — Examples— Chorales on are constructed 64 CHAPTER X. 39 CHAPTER Triple and quadruple counterpoints point Example — — Examples— Quintuple counterVII. . CHAPTER Canons : XI. Round 97 Hints to the Student —To compose a canon— Modulation in canon APPENDIX. PAOE —Infinite— Finite by augmentation — Infinite by augmentation — By diminution— Retrograde — Circular— Examples Finite . . four in two 92 —96 — 100 Methods of exhibiting canons —Open—Close—Canon CHAPTER XIV. loi — 102 —12a Examplef) of Double Counterpoint io'> . . 80 —gi CHAPTER Polymorphous canon XII. —Examples— Sequential canon—Example CHAPTER XIII.VI CONTENTS. . c. . point . 30 • 39. 108 117 to 124 102 109 96. 131 126. 117 128 I no to "5 9329.\ . . 2) 1 . 51. 125 „ „ „ „ „ „ by augmentation infinite by augmentation infinite or perpetual . 118.. 42.. 3) tenth . Double Counterpoints most used 65 to 71 81 3 (Sec. „ ... .. . 3) Counterpoints invertible. . terpoint in tenth . 137 '33 124... . 129 130. . 34 • J motion 3 (Sec. .. . c..INDEX.106.. 99. . i) 3 (Sec. e - tvirelfth 43 J Antecedent Canon „ „ „ circular (per tonos) .. a. j Addition of accidentals in inversion of model Addition of accidentals in inversion in the] Added 3559. 136. 80 91 . . . 75 to 81 2 ... . . 62. b. . 13 103 to 105 137 to 143.. 14a close by diminution enigmatical finite finite .. . (g6 (note . 127 „ „ open polymorphous ' ' with coda „ „ retrograde sequential . in various intervals Consequent Crossing of parts .... EXAMPLB. .. . 3) ! oblique motion generally 1 employed f Contrary in Double Counterpoint at the) Contrary and 3 (Sec. 124 3 (notes to Sec. . 63. . 133 to 135. 60. H3 Canoni Chromatic notes „ progressions Clefs prefixed to a close canon Contracted parts subjects . 64 29.. . 40. . . free parts to model for Double Coun. | Added thirds to models for Double Counter. . 61..6 68 to 74 • . 97 100 lOI 107. • . Double Counterpoint . Paraoraph. • .. . 10. „ „ „ „ „ tenth combined with thatintheSve 59- „ tenth..] 1. 8.. . . 58. 77. 8385. retrograde {per rede ei retro} or cancrissans J reversed accents (per arsin ei tkesin) „ reverse retrograde .. „ „ „ „ „ iifteenth 7 (note). Double Counterpoint in the octave „ „ 15 to 24 . 3 (notes to Sec. 21 25 to 30 „ II „ 11 octave displayed 1 at the doubleSve J octave inverted I at the fifteenth J tenth twelfth. strict or regular . on a chorale by contrary motion > . . dimmished or minor Figures denoting the interval in which a) canon is made J teenth. u. Imitation „ by augmentation „ „ „ and diminution. 3 (note to Sec 8. 76. 29 (note) 14.. 93>94 i2g (Sec 126 (Sec. 79 iig to 121 105 to no 96 to 99 accompaniment 100 to 104 88.. III "3. 37... . .. 4). 88. g .. 19. 87. 87. I. „ I. . . b 119 Fugue in epidiapason Fuga ligata .. 25 3 (notes to Sec. . d... 40. Example. ..1 I.. 34 (Sec.] ( 461050. 78..i).. II 41 . . 117 3 (Sec. General rules Hints to attain clearness in canonic writing How to avoid modulation in a canon . Paragraph..! combined with contrary motion J by diminution canonical .. 8g. . .. 29.. on a theme or canto fermo „ Methods of exhibiting canons when written .. 41 144.. i) "5 90 to 95 116 to iiS Model Modifications of terminations in Double) Copnterpoint in tenth and twelfth J Octave on gccented beat Qniission of accidentals in inversion ofmodel for Pe»ble ConjiteFpoipt in tenth / . 34 (Sec.91 90. ..4 62 to 69. 39. „ „ free or irregular in two parts. same . with independent) . „ „ . • .. i). 81 . 6 . c. 112 "4 84. .. 79 . and fourteenth Example of simple model elaborated Expansion of parts Fourth. 10. augmented Fifth. 86. thireleventh.... b. u. b 122.4) 127 76. J „ „ partial or periodical .78 89.. . 2 3..modeland' inversion at the time. t ...VI 11 INDEX. Two ways of inverting in the tenth Unessential note Unprepared discords . 41 Canon Round ... 40.34 (Sec........ 80 72 to 74 .61 43. 53. a. 50 Subjects to which counterpoints may be added Suspension of the second . 58. 11. b. 57 c. 28. 45. » I. „ Third.INDEX. Goss) Seventh diminished Simple model from which others are derived Sixth augmented Sixths in Double Counterpoint at the tenth twelfth . 88 8g 133 Rule for discovering the inversion of any| interval (Sir J. 36. a. 48. 2. . diminished Thirds in Double Counterpoint at the tenth ..54 32 to 36 43 44. Solution Stretto 13.. . Table of inversions in the octave tenth .3 3). Partial or periodic imitation. !x Paragraph. 51 log 116 d. seventh .b.. . 41. 49 37 38. Preparation and resolution of seventh in Double Counterpoint at the twelfth Progressions by similar motion in Double Counterpoint at the tenth PiOposition 93 51. 37.. 41 37. 24. 1.30 7 • \ 4 22 . Use of three staves in inverting exercises Usual method of describing canons 9a.52 34 (Sec.c.44 31 to 33 72 to 74 126 81 to 87 (38. 2. . .34 (Sec.. 60. 47. 27 . . Triple Counterpoint 36. 31 to 33 47. 75 103 log 126 16 i2> . „ „ ninth .. . a. 3) Quadruple Counterpoint Quintuple Counterpoint Reversed clef and time signature Riddle .> >. „ „ twelfth .54 16. c To compose a canon ..59 I.. Origin of the term " canon " . Example. 61 44. 6.. fourth „ . . when they TWO-PART phrase subject's . i.e.DOUBLE COUNTERPOINT & CANON. . will invert : F*^=r= Ex. I. I. when either act as upper or lower part in other words. i^se. A when both may is said to be in double counterpoint admit of double employment..^-! CHAPTER I. DOUBLE COUNTERPOINT AND CANON. General Rules. constitute the for inversion, which together model a convenient term which will be used henceforth in this work must never be separated by a greater interval than that into which fhey are to invert. (i.) The two phrases intended — — In Ex. I the phrases are never more than an octave apart, because they are designed for double counterpoint in the octave. If this interval were exceeded the parts would not invert. In Ex. 3, a, the interval of an octave is exceeded, and at b is given what should be the inversion of the same. Ex. 3. a n i <;r-:J**- =PI ^SiP^ 10 II 13 ^ S P^3 are concerned, is m 4, a, b). ^ It will be seen that at Ex. 3, i, * * * no inversion takes place ; the parts are merely contracted, and the effect of both passages, so far as the last two chords essentially the same (Ex. IZ3Z ma m 3 Ex.4. m10 II ' 13 4 Ex. 5, a, is a model for double counterpoint in the tenth (see page 16), in at T * this interval (a tenth) is exceeded. An inversion of the model is given at b. It will be seen that the faults in the model result in the parts being merely contracted, not inverted, at the places marked * •. which Ex. N 3. a Model for \ d.c. in tenth Hi \- rj *-# II la -•- m m ^ GENERAL RULES. m b Inversion. -^2 Lower part of model a tenth higher. >!-- '^J I JjJJN^^ij.jjL a For a corrected form of the above example see page i8. Ex. 6, a, is a model for double counterpoint in the twelfth (see page 25) witK similar faults. At b it is inverted with the same results. Ex.6. M a Model for d.c. in twelfth. * ' Q --. J=¥=f ^. ^. 13 14 • :$=&: y :t=E ^m^=^^ 6 Inversion. pr^r i :$: It part of -»-f^ ^P &c. <-J ^ (2.) Lower model a twelfth higher. ^ ' o -.° The parts should not cross in the model. It will be seen- in Ex. 7, a, b, that the effect of the -intervals marked * * • is rpractically the same. In this case the intervals marked * * ' in the model a are expanded, not inverted, at b. Ex. 7. gS m g^=^ T^"jyr n a^ rs* — »!- ^Si ^^B * I I 4 (3.) DOUBLE COUNTERPOINT AND CANON. subjects forming the model should be well conas to length of notes and melodic progression, contrary motion being always preferable to similar motion ; the two parts will thus possess individuality and be easily distinguished from one another. It is well that they should not begin together, but that one should enter after a short rest (see The two trasted both preceding examples). of course, be understood from the Introduction is not confined to the progressions and chords used in simple counterpoint in the strict style. While, however, chromatic progressions and unprepared discords are available, it must be remembered that the model will probably be heard alone {i.e., without accompanying parts), and therefore a somewhat strict rather than free use of such discords is advisable. 4. It will, to this work that the student DOUBLE COUNTERPOINT IN THE OCTAVE. 5. The intervals of the fifth and fourth are those which will most require the student's care when constructing the model. 6. The perfect (or major) fifth, although consonant in the This model, becomes by inversion a discord, viz., a fourth. condition must therefore be provided for, and as a fourth will seldom appear upon the accented beat without preparation, the Upon the unacfifth must conform to this usage (Ex. 8, a, b). cented beat fifths and fourths are of course often taken without preparation, especially when they occur as passing notes (Ex. 8, c), or by conjunct movement in at least one of the parts (Ex. 8, d). Ex.8. a i 7. 3±L ^C2= uaz =pzz =g= =r T=^ The bar marked d is not very good in two-part writing. Even upon the accented beat cases may occur where these maybe used without preparation, particularly when one of the notes forming the interval is an unessential note. At Ex. 9. a, is an unprepared fourth upon the accented beat, the E in the upper of the two parts being clearly an unessential- note,— intervals an appoggiatura. e. the diminished (or minor) fifth (Ex. lo.b. but these fourths should be avoided unless the model is accompanied by another part. g. ii. resulting. 6). a) cannot be used because inversion. Inversion. 12. c). b. ii. ii. b).INVERSION IN THE OCTAVE. be removed. h "^ -P" jlBSl . followed by an augmented fourth (Ex. II. g. The augmented fourth (Ex. were dotted. /). II.'-<^. ^ The above par. must be avoided in • two-part writing. is double counterpoint in the fifteenth or double octave (see 8. 2i). when inverted. as the II. lo. and the student will understand that consecutive major fourths are equally objectionable. 12. ^^^1 Ex. a diminished third (Ex. d. a. a). Some authors allow a major fourth. II. 12. all objection would would then be a passing note (Ex. followed by a minor (or diminished) fifth (Ex. The avoidance of consecutive major fifths is of course necessary. gfF^. in a major fifth. The augmented sixth (Ex. lo. ll If the first note of the lower part at Ex. G ll ^-ljl f_tf-H=^ l . d). its a Ex.c) and its inversion. Ex. may be freely used on either accented or unaccented beats. which renders such harmony unobjectionable (Ex. . 13. as. 13. Ex. Thus. for inversion in the tenth (see par. be expanded to apply to inversion in other intervals.. •'$ -W=^ 14. following table . but this is not recommended (Ex. It should not be taken by a skip on the accented beat. and the concords in the model (the thirds. The octave becomes by inversion an unison. 14. not be resolved upon a because in its inversion a fourth results (Ex. except at the beginning and end of the model. c). for example. and in this species of double counterpoint should be ..6 12." for discovering the inver- sion of any interval [in the octave] by referring to the number g. The -." . 27). 16. i 'I A=[^A r^rW^fZ 14. becoming sixths. thirds. of course. or perhaps occasionally as an unaccented note. the principle being to add one to the number of the interval in which the inversion is to be made. With the exception of the fourth and fifth. and unisons respectively. a). a b). " since each interval when added to its inversion will make up that This rjile may. 13.each interj^al added to its inversion will make 11. The diminished seventh may be used if care be taken in resolution. fifth The diminished seventh should on the accent (Ex. 15. sixths. b). and octaves) are concords in the inversion. Rudiments of Harmony. such resolution falls on the unaccented beat . Inversion It may Goss in his " perhaps be useful to mention the rule given by Sir J. especially by similar motion. those intervals which are discords in the model (the seconds and sevenths) are discords in the inversion (becoming sevenths and seconds respectively). to which special attention has been called.used sparingly. resolving on a fifth.shows the result of inversion in the octave Model . its DOUBI-E COUNTEJlPOmX AND C^NON. Ex. if one of the notes forming the interval be resolved before the other (Ex. and for inversion in the twelfth number. H I i "p^^^~p" iri- 13. or if. Handel. Oboe Concerto.INVERSION IN THE OCTAVE. (see pars. Handel. a 16. 15. make note on which the inversion turns is counted twice. however. $m ie^ 6 Ex. in the keys here given. Te Deum atl^i^p^z^izhzi ?3= PH * P Inversion. given in the same keys as their respective models. 6 = g. $ I^E E^ #-»- ^ t=^ p=s= T3i ^ ^ tr ^ in B|?. Some Ex. 43 and 44) each interval added to its inversion will the addition of one is necessary. a Model. It is not thought necessary to adhere to this plan throughout the work. Examples of double counterpoint in the octave if 3 + below. because the central 13 . The inversions of the first few examples which follow are. i r=^ i s^ b ^'--L^r • d * ^m Inversion. in order that each counterpoint and its inversion may be more readily seen by the student. Model. T^Tm gjj -2_g= s ^ izi: ^i ? ^ . 17. thus : are give»' of the inversions do not appear in the compositions from which they are extracted. <s^ Organ Fugue.DOUBLE COUNTERPOINT AND CANON. ^ GusTAV Merkel. Creation. fe^ ^ -r. m fTf ^ . ^. * !"> ~7rr t^* & Ex ig. Ex.WIl <i* p -^ •r =^^ P ^S i f frn* 1=4 ^^4 • -> f # i^ i Inversion. a lit: s 3^ ^^ Model. Inversion. Model. 18. g &^ Leo. * =t= • I * "rrrcriTi lit i^ 6 . ^^kmxTjVj =^ . « i i a :e =PP M ^ Ex. Haydn.JTJPrl^^J -a 3z^ 1:!?::?^: <>• ^ p Kyrie. ^± ^ ?^^^^ ^ n r r? o i i a Model. 17. practical composition it frequently happens that double counter^ point. In or vice versd. : — ^. See Primer on " Fugue. h Inversion. for contextual reasons. but that it is not truly in the . The inversions of the models which follow are given as they stand in the compositions from which they are extracted.JNVERSIDN IN THE OCTAVE 6 -\i •jg Inversion. . although it is. KiRNBERGER. 20. a Model. is exhibited both in the model and its invfersion at the distance of two or even -three octaves.-r-n- ^^ s 35ES m SI m^ Ex. i» :t- The skip of a third at * * is necessary for " tonal " reasons. The difference between this and double counterpoint in the fifteenth will be seen further on. without involving any crossing of the parts. The following model is also double counterpoint in the octave. ^^^ f=w^ i8. accidentally displayed at the double octave. 34. The C at is replaced by B in the movement from which this is taken.fifteenth: is evident from the fact that the upper part maybe brought down an octave. so to speak." par. ig. essentially in the octave. 10 Ex. Ex. 22. or the lower part two octaves higher. when the model is within the octave. |iS -P — —^-F^ P From an Organ Fugue by Albrechtsberger. a Model. ^ i m " M^ b Inversion. the inversion is exhibited at the double octave (fifteenth). Still more often. From PoRPORA. 21. . the upper part being transposed two octaves lower. a Model.C_i: f I r r-^^F . DOUBLE COUNTERPOINT AND CANON. or both parts an octave in opposite directions. The following (Ex. pig rjcsz r \ \ u^ \ f^i±^ #r-=^^^rcr^nr'' M " 6 H '1 Inversion r? iR ^ ^^ aii fe S f7t:frrir-G^f-|f ii 20. 22 to 24) are inverted on the latter plan. . :t ^ ^ % r f i f j^r. II Art of Fugue. i t - -ti I i- ^g^ f =B: S^^ F yi IN r DOUBLE COUNTERPOINT THE FIFTEENTH. or the lower part two octaves higher.INVERSION IN THE FIFTEENTH. Z4. the upper part of the model being transposed two Octaves lower. ^ b -<' Inversion. Ex. Bach. double counterpoint in the octave is often inverted at the double octave (fifteenth). Ti i ^E 6 :ii>^ ^^M ^rrmrr-n^m 6» Inversion. 20. as greater scope for the two parts forming the model. ^^m ^ a W^^Si^ Organ Fugue in a Model. was said in par. GusTAv Merkel. ^m • I*. 23. ^^Jf¥=^ ^ Ex. Double counterpoint in the fifteenth (double octave) is essentially the same as double counterpoint in the octave. I ^^ ^ a Model. except that the wider interval (two octaves instead of one) allows Although. it . 21. A minor. or both parts an octave in opposite directions. Requiem.fz DOUBLE COUNTERPOINT. a Model. Model. ANt> CANiON. Mass -rj- in D. ^^ JOMELLi. Model. I M ^ ^ a . ^i> -J-h f=r=mi ¥=F^ =t=F ^ J Inversion. . 26. Marthji. 3E^ fi fi f-i r f f f f m-^W^ r r 1^^ M F4=4=± i^# Ex. fefc^ Ex. i ^^ :k ^F=F=*: ^^ °v_^ * ' g> - ss 32= =pz. 27. i te^ SE ^ :Phe: o \i r} \' Arv ff ^ I m J b Inversion. should be observed that a model for double countei point in the fifteenth cannot be contracted so as to invert in the octave^ Some examples of double counterpoint in the fifteenth are given below : Ex a 25. Et vitam. 000 Beethoven. i m ^ Pi^^ s • t=& ^a T =F+=F 'r t=i=t * i -ftr D =t=t= ^rrrl^"-^ D ^ &c. ^b''(M.INVERSION IN THE FIFTEENTH 6 I3k Inversion. Handel. Martini evidently regarding the figure given in the inversion as the real counter-subject. i :^E fe^ =k ^^ Ex. i ^ o J Model. r r. The appears in another part when the model is inverted. $ g^ ^^r^rif-H &c. pn^^t--^ . m 6 42- b y> s- r -* :^ :?2Z ^ :?2- pc i ^ &ci Inversion. a Model.rjj-^feff^^^ Hrufc ^^ ^ ^^ :^ ^£^ 3 . 2g. i 1 :ft • ! * I J -•i. . -f3- n^^rf ^^"X^ fr^^^j:^ r-rr( Inversion. 28.^ Ex.'h^Um r Haydn. The rest at • takes the place of the note in the model. The Student should now construct models of double counterpoint in the octave and fifteenth by the aid of the precepts and examples already given.H Ex.rjj I i a B^a Martini. the lower being brought an octave nearer the upper than its proper position by inversion in the fifteenth. 4 i ^S Intervals inverted. It will be found advisable to use three staves in the way indicated in Ex. i ^fe 1^ b Inversion. . to which double counterpoints may be added. Ex. Subjects to which Double Counterpoints may be added. ^ n . a few subjects are appended. : i EE Model. 22. _ J. ^^ 3 Intervals ] in the Model. 32. as we are thus enabled to see readily what the intervals in the model become when inverted. =F7=P 7 ^ . . . 23. a Model. The two uppier staves of Ex. The possibility of this arises from the fact that the model was at this point within the limit of an octave. 31 contain the model the two lower its inversion in the octave . ^^^^ffil r""£r^-'^' ^e l^g ^ At * a slight alteration of the counter-subject leads to a contraction of the paits. 30. Inversion. 31. -^- ^^ . B. F. For those who at first find it difficult to construct 6o<A subjects forming the model. DOUBLE COUNTERPOINT AND CANON. and in the latter case also ^bminant at bar 2. 37. and introducing by exceeding the limits of by modulating to the subfor inversion in the octave. B. Ex. AND VARIED MODEL. i ^i^ Ex. aa Ex. Ex.SUBJECTS. notes . The models at b and c axe those at d and e for inversion in the fifteenth. Ex. Handel. ^U^rrHc^r u ^ 24. a J. Ex. Ex. to be afterwards ornamented and elaborated in various ways. e. When first constructing original models the student need only venture upon simple phrases. 37. 34. at d and e the original model. is a very simple model for double counterpoint in the octave. a. 37. d. 36. are model* in all essential particulars derived from Ex. . aid of passing and auxiliary upper part. i iE 3! -77- Tf - r te^ ^^^ tfT^'^uirrir^ r-T u-^f-^ T ^P^=f= iS i The r tf =E±f i=t^ -p— r varied model at b at <: ^ r I- r r 7^ <>• _P aj ^ is formed chiefly by the by adopting a sequential form in the a chromatic note in the lower part. F. 37. c. Albrechtsberger. S T ^' -^ f p f =t Telemann. 33- 15 Albrechtsbeeger. h. 35. 38. 2 4 best seen from an example. combined with that in the octave. By the use of three staves as suggested in par. the consonances in the model change into other consonances. of considerable value and interest. Although taken next in order. thus g 7 4 7 2 g 28. 59. an incidental variety of double counterpoint in the tenth. The general ruleson pages2. Albrechtsberger. Ex.3. both inversions being rendered in accordance with the signature of the model. i i. is a model b shows the inversion of the upper part a tenth below. the student will easily discover the inversions which the intervals in the model involve (see also par. inversion in the twefth being used far more frequently. 16). There is. a. the two This will be inversions differing considerably in their effect. which will be fully. c the inversion of the lower part a tenth above. IN THE TENTH. (See par. . M a Model. whereas there are two ways of inverting a model for double counterpoint in the tenth.and4 must be borne in mind.CHAPTER DOUBLE COUNTERPOINT 25. Ex. treated of further on. E Upp^ paTt a*ten^ bllow^ i1 i . ^ b t sr dLi^ ) I* ^ 3 t Inversion. will show only one inversion. This method. 27. this counterpoint by itself by no means next in value. is II. however. however. 38.) 26. 22. When the subjects are inverted in the tenth above or below. thus : Model Inversion 10 i 8 3 6 5 5 3 I 6 8 : 10 and the dissonances Model Inversion into other dissonances. a. or notes inducing modulation. 6 is one of the inversions. . Such inversions will often be satisfactory enough. additional accidental at *. the accic is another inversion containing an . Ex. 39. a ^^ Model. 39.^ i =e=q^- ^ 29. but if the model contains chromatic notes. G by the F Ex.INVERSION IN THE TENTH. in others by the addition of an accidental. is a sharp marked * dental being omitted at * .=^ Lower part a tenth above. the result in the inversions will generally be that some modification of one or other of the parts will be necessary. J7 i 14. model commencing in C major and modulating to. ^ E =p=i= ii.. In some cases this may be by the omission of an accidental employed in the model. 34 (3). third lower. but in some cases (see par. 40. 41. A. they must not be used consecutively. At par. Sixths become fifths and follow the same rule. 40. these inversions may be arrived at by other processes. . lower. » » Upper part a s ^^ At t the £= t-^-^ * d ^^ : same model third higher K m is inverted by taking the lower part a and the upper part an octave lower ^^ Lower part a third higher. or the lower part a tenth higher. the : Ex. and Ex. Notice the numerous accidentals necessary to render the inversion satisThe usefulness of this method of inversion for the purposes of writing is ^ W^ F=^ modulation in obvious. some subjects inverting more agreeably in one way than in another. t. 28 it was said there were two ways of inverting a higher part being But . is a model for inversion in the tenth model for double counterpoint in the tenth. 31. ^ Upper part an octave ¥ fiigal fe s factory. P«-r » s » 3=P ' ^Jlj^ -*-»-i-r-r i ^g At h ^ h the model (a) is inverted by taking the lower part an octave higher and the upper part a third lower : fs Lower part an octave higker. f) consecutive sixths are possible. As thirds become octaves when inverted.i8 30.put down a tenth lower. a. DOUBLE COUNTERPOINT AND CANON. Ex. 41. they of necessity render the harmony somewhat bare. 32. ^m ^-l^lMs^jp r T f28). The questionable progressions in Ex. they may niore readily be admitted. or a minor sixth. followed by an augmented fourth (Ex. where the parts niave by similar motion may be used. l Observe the different produced by the two inversions (see par. other parts are pro- ceeding at the same moment with the counterpoint./) : (2) fifth Ex. 42 with an added free part. b. 41 are given in Ex. should be avoided. parts. a). a minor seventh. becoming in the inversion. It is apparent from par. 41. however taken. 40 will show Even remembering that A this. followed by an augmented sixth (Ex. are equally allowable. followed by a major sixth (Ex. A perfect «)Mttfi^r fifth. (3) It is obvious that a minor seventh. 41. viz. reference to Ex. particularly the fourths. followed by a diminished seventh (Ex. effect Upper part a tenth below. e). followed by a diminished owiminor (Ex. 31 that contrary and oblique motion must be generally employed. producing the fifths at d. however. Model. (i) A wwyB i fourth. in fifths two should not approach these intervals by similar motion if by inversion objectionable hidden octaves and are produced. 41. 35. If. 29). ^Lower part a U '^ ^ tenth above.INVERSION IN THE TENTH. c). however. 41. in the inversion they become octaves and fifths respectively. and. their imperfections being at least hidden if not made good. A few progressions. . 33. b and c). We 34. followed by a diminished seventh (Ex. becoming in the inversion a major sixth. producing the fourths at a. by the aid of accidentals (see par. 41. 41. d). and the sixths at e and/. In a two-part phrase these progressions. '9 single thirds and sixths must be used with judgment. As has been seen in Ex. e. The suspensions of the second and fourth occur only in the lower part. or sixth {e). notes. d. with their inversions the major and But a suspension of the fourth takes place fourths. c). e. or hidden octaves \yill be produced when the passage is inverted (b). 43. and will resolve into a sixth or fifth (Ex. a. Fourths with lower free part. The second may be prepared by the unison (c). i augmented ^ ^ 37. -^Q-ljT^ujm^j 76 73 75 4 & 4 & 38. . only in the lower part (as was said in par. c. 42 DOUBLE COUNTERPOINT AND CANON.e. show the preparation and resolution of the suspended ninth. The hidden octaves produced by the inversion of d and e could be softened (See small in effect by suitable accompanying harmonies. The suspension of the seventh will occur in the upper part. Fifths with lower free part. and is generally resolved into a fifth or sixth (Ex. m i m^m 1 3E Inversion. The progressions contained in the two upper staves of Ex. the lower part may rise a third {i. ^ <^ Model. Sevenths with inner free part 36. the note causing either discord must be prepared and resolved in the lowest part.6. fifth (rf). — .. 44. d. 43.f): f^rn^rj^rr1 4 5 ^ . to . The second must not be prepared by a third as at Ex.20 Ex. particularly the dominant and diminished sevenths.. 36).) Ex.e.. i. a. 41 certain fourths and sevenths are admissible without preparation.. It should be added that when the ninth falls to its note of resolution. 44. 43. b. 46. 45. W'T'~=rf^~w~i Model. or a fourth {i. \ T T \ ^ T ^ r~r .e. Schneider. 45. b): Ex. — T — — Ex. ± zpz^-b r r 9 39. the first 21 inversion of the chord on which the ninth would resolve..INVERSION IN THE TENTH. The : following are examples of double counterpoint in the tenth Ex. to another chord a triad on the fourth above Ex. 45. a). 49. KOLLMANN. a. F. c:Sja^.St I Upper part a Ex. C. Inversion. ^^ ::^czK third lower. 49. ^^ 6 ^ * ^^ S :^^^ TT5T1 ai^TK. resolved (ornamentally) \ ii into a . A. C. <!' P =g Inversion.22 Ex. In Ex. i L =FFF= Lower ^ • is -TT m'» i part a tenth higher. KoLLMAtW. &c.. 48. iH ^L b- s I I ^ c -i Lower -*- ^ =1= part a tenth higher. u. O -e[ A. the suspended seventh at fifth (see par. F. DOUBLE COUNTERPOINT AND CANON. Model. 37). a ^i I Model. 'f I <o > > ^^ BS r*^^ r i r T<* • P =t=t: - Inversion. ^^ E :^^=F 6 ^ -p^^ir^trrr r =^^ . ' t=t= MODEI. ^m Inversion. ^ a Ex. &% Ex. thus giving a three-part phrase. when the parts are inverted.INVERSION IN THE TENTH. wrrH-\m a =r^:pa =1=1= ^ :f^-0- ^ J * p" I Reicha. Inversion. 83 Albrechtsberoer. In double counterpoint at the tenth examples Ex. 50. Here follow some is 40. to avoid consecutive octaves (see it often possible to use an inversion of one of the subjects at the same time with the model. Schneider.. a. 52. move in thirds here (Ex. ZC2Z i I .2?. 31). 51. m^ The ^ : ± * *) -m—0=!=iiB which necessitates a slight I parts alteration par. =P2= ^ -m—J » I ±3z iF=F m^ i b' -0—0-4:4=r: — I ^- ^ • b Inversion. ('. 50. r ^F=r q?=«: =1=1= =tii rf-P^-d: zs:t: S. Model. Model. An added part. (: II I =P=I?: =l=t The following inversion is obtained by taking the lower part a third higher^ and the upper part an octave lower. c. such as is suggested in small notes at * would remove all objection to the inversion : ^ =P-p76. . - r^H^^ T3~ 4=t % ^ » I r ip=t: I ^m will Another important example of this counterpoint be found in Ex. g^g^ $ ^ n=t: =P=P 1 I I ^ ^ b 1^1.24 DOUBLE COUNTERPOINT AND CANON. Inversion. All the the sixth consonances change into other consonances except which becomes a seventh. which becomes a sixth. below. 3. all the dissonances change into other dissonances except the seventh.CHAPTER DOUBLE CpUNTERPOINT III. Model Inversion When 4 Concord 9 6 9 4 44. The rules on pages 2. 41. and 4 must be remembered.' the subjects are inverted in the twelfth above or 43. 42. Model . in point of usefulness. next to double counterpoint in the octave. Double counterpoint in the twelfth is. IN THE TWELFTH. 26 DOUBLE COUNTERPOINT AND CANON. these intervals can be readily used. ' a znt: b Model. - Inversion. . 46. ^ ^ m 32 7 6 ~r?~ IZSZ ^ 4: When. 55. and will often require preparation. ^^=i= Ex. For the other intervals contrary and oblique motion will be found generally necessary. b ed. a) which by inversion produce a minor -seventh followed by a diminished seventh (Ex. as this becomes the dissonance when inverted (Ex. 5S. 55. . 47. Ex. Two sixths (Ex. The preparation and resolution must be in the lower part. and may be taken by similar motion. however. by Choron. 48. b) may be used. 54. From Marpurq. and vice versa. 54. It may also be used as a yassing note. a.b). the sixth inverts into a dominant or diminished seventh. The sixth when inverted becomes a seventh. As the third becomes a tenth. preparation is not necessary. t Inversion. the sixth to by the third. it becomes when inverted. 52. however. . or tenth). In this case. 51.. 58. a) or fourth (Ex. as it is itself a discord when inverted. 57. a dimit)ished seventh needs no preparation (Ex. the latter being resolved ornamentally.J- w p .not usually (see. 6). and the note which the seventh falls generally rises a second (Ex. ( Model. sixth The may Ex. it takes the usual progression of the bass of chord of the seventh..e. 58. - 27 50. next paragraph) prepare a seventh in the upper pari. octave. Ex. The sixth does. ^ ^m ' Kirnberger. 58. i. Inversion. which Ex. fifth. 59. Inversion. 57). ^ e $ S „ ^ -rr- mz =t= 51.. Model. Model. does not follow the progression suggested in par. The seventh maybe prepared by any concord except {i. ^ ^ J 1. S i -^ I m 7 7 zz 7 6 i 2z: zz: 32: -e» following example (from Kirnberger) shows that a occasionally prepare a seventh.e. The augmented sixth producing by inversion.INVERSION IN THE TWELFTH. ) RiCHTER. 55. ^ ^S Ex. This harmony is so bare that the suspension is best avoided in the model unless there are accompanying parts. H Ex. 61. falling to a iifth (Ex. KiRNBERGER. 62. when inverted. . 61. (Ex. the ninth may sometimes be taken without preparation. DOUBLE COUNTERPOINT AND CAKON. a).g - -^ ^i $ Inversion. 61. Some examples of double counterpoint in the twelfth are given below. a Model. The suspended fourth (in the upper part).as S3. - -cr- m54. becomes a suspended second. ^^ m I I I =S=p: qtqt I N»J- ! .c. Ex. ^ Model. 60. . b. If this be the case. ^ 9 8 Model.^1 -«t- J J s INVERSION. The suspended ninth (also in the upper part) becomes by inversion a suspended fourth. ^ Model. ^ b INVERSION IN THE TWELFTH. 29 Inversion. m^ f pr^^=p , \ \ \ =PC5: Ex. 63. f^ i^^^ Lower Inversion. ^ 1=t± Reicha. part a twelfth higher. ^f — ^a :* I2- 5.V ^'tvSJ-^ J i y rt i: T=p: SI F There give c is also this inversion, which Reicha has omitted to :— Inversion. m '^ V, :p=f= *=t: r r r ^S _ fJTr. r =*^ n rrr :rir r ip^ ^^ ^ rH^lf Ex. 64. ^a it a Model. No. 47 of Bach's 48 Preludes and Fugues. f^T h ?=e: aap P ^m b Inversion. •M. 3Z Upper part a fifth Lower part an octave higher. lower. '^ ^fttt 30 Ex. 63. DOUBLE COUNTERPOINT AND CANON. a Model. Handel. liA m-0 =^* HS ' — ^^£B P=e=p^ The sequential sevenths at* * become sixths in the inversion (see par. 49). b Inversion. t\U'. .^"^"Ti^^ -^=w^ ! ' I Ex. 66. a Model. • Handel. i J r- 1 i 'is @f3^ b ^ £-^ Ui'iLBt-TV? m Inversion. i^ 56. Ex. 67 "counterpoint. type. is i=i: The two sixths in the model (Ex. 66, a, * *) would produce consecutive', sevenths in the inversion. Handel, however, departs from the strict inversion of the model at this point (Ex. 66, 6, * *). an interesting specimen of the use of its this The model and inversion are shown in lai^e INVERSION IN THE TWELFTH. Ex.67. 5.1 From " The White Delightsome Swan," Madrigal by Orazio Vecchi (1589). S vine, ^ X - ' - W • mdi and har mo-ny » I ISE \ and har - ^ j- 3: di ' \ \ mo-ny di-vine, and har mo-ny te W^ vme. ;t and har • e£ - mo ny di-vine, ^^ har - =t: mo-ny di-vine, blest vine, i 1= d vine, d and har m -mo-ny r di-vine blest thoughts in I life ^3 and har ^^ - spi vine, -mo-ny di-vine blest thoughts in spi i -J31 -rr- thoughts ppi mf and. di - vine. i ring.vine and -p-^r mo-ny di - ^ and har - ^ mo . har - ^ ^ and mo -ny di - vine. i ^ nng. and har - mo .ny spi -i<=^ di vine. i thoughts -rr I Efe =^ i and har - ^=X di .vine mo .ny ^ ny di-vine :t and har - mony di - vine i vine =p=^ ^= di ^^ har .32 DOUBLE COUNTERPOINT AND CANON. blest Mf i w - =^=^ har - ^ ring.ny ^ divine blest and har - mo-ny thoughtg .fe¥^ and har - mo-ny di .mo-ny di-vine - and har - mo . di and har - mo - ny di-vine. 58. Double counterpoint in the remaining intervals. . spi - ring " Requiem") also shows an ad57. is not treated of here such exercises if he so desires. eleventh. blest thoughts in spi ring. he will readily perceive what is possible in a model designed for inversion. berger). ^ in - ^ gi «I blest thoughts spi ring.INVERSION IN THE TWELFTH. Ex. 33 P m g i ring spi nng. thirteenth. and fourteenth. . ninth. viz. being of little or no but the student can of course work out use. If the plan of using three staves (par.. 78 (from Mozart's See also Ex. 79 (Albrechtsmirable use of this counterpoint. ^^ blest thoughts in spi nng. 22) be followed. ) (c. not as m . 3=C S * s ^:^ 6 i i T!=P- V* S =p= ^ =Ui: :P= i . addition cases below. Ex. Albrbchtsbergeh. ^ ^1 :^i?E :g= Bz S=P: «=g4-"pl-i-^ W — — IS I i 1 t r f f ^ £^ . Of course sixths below. c. a model for inversion in the octave. . either subject may. In order that the model shall allow of the of thirds. b. (6. thirds helow are also available but the effect is not very good. sixths (also fifths for inversion in the tenth twelfth). eq subjects capable consisting respectively of three or four different parts of a model the supplementing of method a inversion. Dissonances can only occur as passing notes. thirds above or sixths below. 60. a. the following precautions will be necessary in its :— original construction. e. 68. alternately. The same kind of interval must not occur upon . in addition to the rules already given (fl. In double counterpoint in the octave. is. Albrechtsberger. as far as possible. According to.) Use only oblique or contrary motion.^ essential notes. be used. instead of thirds above. d. f. and octaves being taken. o Thirds added to the upper part c : EE V.CHAPTER Before proceeding to IV. successive ac- cented notes and thirds. ADDED THIRDS. =P2= iS W ^f ^S: -•^•4= T^ FF Inversion. of This consists of a for double coUntetpoirit must be coifsidered. might be written. thus treated. or some duplication of one or both subjects in the third above. triple and quadruple counterpoint. ^^.^8- Model. and the student may so arrange it. qn account of the uncertain tonality induced. ADDED THIRDS.—^ i t EEE =Pi= w ¥=^ -m^ n^^rn £: U^^M^^—^ -I ^ ? — ^ p -p. see par. 62. thirds below the upper part or above the lower may be freely used. to he subsequently inverted with the model. In double counterpoint in the tenth. 61. the fifth should We . tSveifth both the fifth' and sixth may be used as essential notes but if thirds are to be added below the upper part or above the lower. thirds added according to par. In double counterpoint in the tenth and twelfth. have seen that in double counterpoint in the tenth and 63. (For an explanation of the altered position of the lower part. 64.) d is ^cgz rj I 3=±: The following shows tlie previous example in another and perhaps more effective position : i =p=i= i=t ^^e^ m » \ It E ^EE f ^ ' f m ^^ i^ ^T^ tfe=e Thirds added to both parts '. ' 35 Thirds added to the lower part. 61 are simply the^ inversion of the original parts in the tenth put back an octave. " we shall find ourselves free to make the addition in question in almost any position. h. Ex. f^^ f^ 1T Model. which produces a tenth. that the addition of thirds to the subjects combined in double counterpoint may be effected in a variety of ways. and therefore those inversions. shows a sixth be used in preference to the sixth. although possibly applicable under various conditions. 69. It will be gathered from what has been already said. shows a sixth (with twelfth producing a ninth.. If to the three important rules for the addition of thirds already given (see par. 69. Model. which are least effective. |^P=B ^ G thirds. or which entail objectionable points. 70. The author does not think it necessary to go. " the general use of conjunct movement in the model. c) we add a fourth. 70. * It is obvious that the addition of a third above the upper or below the lower part of any model containing a fifth also at once produces a sevenths . the in inverted third) added its (with seventh. 59.36 DOUBLE COUNTERPOINT AND CANON. P ^ i I Inversion in the tenth. a. since every discord will be approached and quitted by step of a second. ^^1 r third) inverted in the Ex. Ex. some positions being more effective than others. The positions of the various subjects and their duplications will depend upon the particular voices or instruments employed. All possible superpositions of the parts will scarcely be required in the actual composition forwhich the model is intended.* Ex. 1 7 Model. viz. The crotchets in the above examples show the added 64. The precepts given by different authors are exceedingly diverse and perplexing. ^ '9 I 7 Inversion in the twelfth. ^ 6 -A a Inversion in the tenth. may be avoided. its added Model i rJz 4 Inversion in the twelfth. opposed to the spirit of good counterpoint. when the Ex. S. occasions may offer for the effective use of the subjects (or thirds are portions of the subjects) in thirds. as will be seen from a few examples contrast. zo of Bach's 48 Preludes and Fugues. below it (the inversion of thirds above) for the first two bars. 72. Inversion of the above in the fifteenth with thirds added below the (original) upper part and above the (original) lower part. which delights in Nevertheless. then thirds below. particularly added to parts inverting in the octave. In the following example the lower part is the imitation of the The upper part has added sixths upper by contrary movement. appended. i -^ r= u r -J ^ -^ J. No. The lower part has added thirds abpve : Ex. Bach. Model. 37 into this matter at greater length. m O =1 l^a — J- ^ .ADDED THIRDS. 71. since after all only incidental It is also somewhat use is made of this method of adding parts. . li*^t^ i^^ — Mozart. expanded Ex. Greene. . < p ^ * J 1. a model for inversion in the octave at 6 it and thirds added to the lower part. fe ^^$-<. 74. is Ex. Variations in A. in the fifteenth. 73.38' DOUBLE COUNTERPOINT AND is CANON'. hF W o —A-^ Ii?3 M m—* ^ ^4 t=t J I ^ frfe<l- ^=?«= -?-rnr ^S f m-teB ^v *^-A-.TT^g ^ Ex. 73. ^= I ^f ?gi ^ # i y> I ^h^^^^trf-ra j. 1 —— L• ~T '-J .j»**'*^ frri-s - — S^^^ ^ I **** pTi Ll Tl| III' k :g- -^ -1* ^^ . From an Anthem by =f2= Dr. a. . If a model is to invert in both octave (or fifteenth) and tenth. 75. i^ izzfc . 60) such model becomes available for inversion. ^^ "pc . b. a third may be against using similar motion. entailing a hidden fifth when the subjects (Ex. depart slightly from the strict rule apply. 59 (for the addition of thirds) will We may. however. For instance. Inversion in the tenth. the rules in par. a. Inversion in the octave. 75. followed by a sixth. and twelfth. tenth. Ex. 66. 65. * *. a Model. either in the octave or the tenth. IN VARIOUS INTERVALS. It is possible also to construct models which will invert in the octave and twelfth.) are inverted in the tenth. Bv the addition of thirds to a model for double counter point in the octave (see par. and even in the octave.CHAPTER COUNTERPOINTS INVERTIBLE V. c. c. and one of the two subjects may be placed in an inner part. is nr»much f^ -I*-©- The effect of the hidden fifth at Ex. When also the inversion softened by the interposed is accom- . Free Part.) or no consequence. PT^-r w Sfc i* =p= Inversion in the tenth. the E in the lower part in the previous bar being a passing note.40 DOUBLE COUNTERPOINT AND CANON. (Ex. practically approached by-similar motion from a third. Bach. * * •) Ex. where hidden fifths are of little (Ex. 76. which inverts in the The sixth at the beginning of bar 2 is and tenth. iB « <j S^ * afei I g (:rjj ! T1^ *:• * s p ±^ in the (double) tenth. fifteenth «. B8. 76. m ^fc See also tlie following example. a Model. =t: H =0 a zz 4 Inversion • in the fifteenth. But anything objectionable in this point mitigated by the accompanying parts. can be easily 67. i— 6 BB i rrr}rj^l^^ £^ i^ J 5ts* w^"— fp F . Test at the beginning of the second bar. ' — I ?«^©= r iS Inversion - rv I -#-s-» =t =f -^^^ 33= =i^5t ^ a ' ^ ' b <' r i=^ I ^ *±^ • *. 75. 76. first note in fifteenth) and 69. 41 panied by free parts every objection to the progression is removed. 77. Here is a " Requiem " (Ex. i I I "i S^^ :^-^ ^=5= fe ^EEB |Q_ ^ J J ^ J ! ! . consecutive thirds and tenths may be used. a.INVERSION IN VARIOUS INTERVALS. Bach. See the following example of the use of the above double counterpoint in Bach's !' Art of Fugue":— Ex. In a model for inversion in the octave (or Welfth. 78.rr M \ -I -±-^r ^ -H'4= ^S it 3=4=1: ^^ffli^B -f-M- m ^ -•-P- Ea <y Observe the accidental (not to be found in the model) before the the tenor.) fine example from Mozart's . p r~r^^ tI^^^t^ .42 DOUBLE COUNTERPOINT A«D CANON. i MS tfnr Sit=n J. ^^ ^^ ^ > -I H^h g =p^ j > ::P=:J^ *-• — ^u c/ * ^u.. Mozart. J- ^^ ^^ r- :^==4. .1 3=^ N: ii=t^ -^ N- ^ i r r r r r /J iT . 78. Notice'also the accidentals introduced in the inversion given The in the fifteenth following is a good example of a model for inversion and twelfth : m m Ex. i J4^B^^ ^[ I ^^ Inversion p. feE f- r^r r^fCr\jr ^ i mI ££: f I ^J 4 p> in the twelfth. c. Albrechtsberger. $ n^=F-=fM ± z3z* ^ s SF^SF^^^r P=i^i^!^^-i^:^ ^ . d. 78.INVERSION IN VARIOUS INTERVALS. Mbfi Inversion in r~rr ^rn^i the fifteenth. (See d. ')tEx.) is. inverted in the twelfth in the key of the relative major. 43 The whole passage d however. ^p . 79. resulting in an unprepared (dominant) seventh when inverted in the twelfth (Ex. Itat g^^^ m The student should observe the sixth (*) in the model. ^^ 70. DOUBLE COUNTERPOINT AND CANON. -n~n A Lobe. invert in the octave (or fifteenth). Few subjects are capable of such manifold inversion without free use of accidentals. eS s i r i f?f' Tt-j: . tenth. d. a. is -i- J^. if not entirely hidden. even in opposite directions. c. b. ^^-TT^ 'txrr e Inversion in the tenth. a Model. tenth. 80. must a. c.44 71. The effect of the inversions in the three intervals may not be equally good. Here are some examples of models which (Ex. J =^=T^ Inversion in the fifteenth J-- > '). 81.) Ex.. objectionable points may be softened. 80. i tisr s^f^SzJ T' ^^ . consist exclusively of contrary or oblique motion. and twelfth. Models for inversion in the octave (or fifteenth). model should not move by skip at the same moment. Subjects which move conjunctly will be the In any case both parts of the best for these various inversions. b. but as we should probably only use those in the tenth and twelfth when accompanying parts are present. d. and twelfth. and Ex. jaiTn d Inversion in the twelfth. . 1^ ^ t=zz: :ft iJT-^ . in the tvrelfth. I .' i 'iri Inversion. in the tenth. Ex. ^'-Jj. J^-Ji^r rj.INVERSION IN VARIOUS INTERVALS. Inversion In the octave. EE ~=~F~ g^^^feff^^ Inversion. 45 KOLLMANN.iTTta rjif m^ 2tl33: -m — ^^^^rrrr i : Model. 8 1.'. . Three subjects designed for inversion in the octave will allow six different combinations of the parts.CHAPTER VL TRIPLE AND QUADRUPLE COUNTERPOINTS. each standing to each in the relation of a double counterpoint in the octave. but the most effective plan is to introduce the various subjects singly from time to time in the course of the composition. Four subjects will give twenty-four different combinations. is.) Generally we should avoid the fifth from the root of a tfiad or chord of the seventh. the resulting | or ^ is likely to be embarrassing. and the hearer being familiarised with each preparatory to their ultimate employment in combination and inversion. but all will scarcely be required. the fifth from the root. which course. Some examples are appended. Triple" and quadruple counterpoints in their mo'st effective forms result from the combination of three or four distinct subjects. of may be dis- 74. . All may not be equally effective. 72. inner. especial care being taken to (a. If the fifth be used it must progress in a manner proper to the bass of a second inversion {i. which it may ultimately become. The best method of testing such models is to place each subject in turn in the bass. This most readily discloses taults. (c. 73. much as possible. fresh interest being imparted with every new subject. The above rule also applies to the third in a chord of the sixth. letting them (6. the rules already given for double counterpoint in the octave must be observed. because when in turn it appears in the lowest part. To construct a model such as this.) Contrast the subjects as enter one after another.e. and therefore ekch available as an upper.) The rule (page 3) against crossing the parts regarded for the sake of a good vigorous subject. The combined subjects forming the model may appear altogether.. or lower part. a | or |). d.JJJ1 ^S r ^ i &c. ^ i 'r-d^ r s &c. In the original the various inversions are not always in the positions and keys here given.T^^. ^^- 221 ^ rij J . but this form will. make the matter clearer to the student. II ps « BE I ^^ iS ^rimLm ^I 4— * ^ &c. c. and all the possible inversions. 82. a. e. 47 Ex. 111 i lis st* #-nr I^J l\ p f~l-f=l ^ i i rjj ^lXIirXj^^TS HT. Hi M^ll &c./. . Ex. shows the subjects. perhaps. No. ¥^m^ f » mW ii: i IS lifri^ &c. 82.POINT. of Bach's fugue in C|: minor. No.TRIPLE AND QUADRUPLE COUNTES. nrrrrrrr'n fct / Is r . 4 of Bach's 48 Preludes and' Fugues. b. 4 of the 48. r|7rr. Chorus firom Anthem. " The Lord is my light..^^^ rt the ^s And speak prais Un to the Lord. un to i ^r[rfi^ I a^g^a I i B * ^ r-rr-r. 83. 74. i Handel.. i ^ ± Ex. [t. as vifas suggested in par. rfr l .rf. .4a DOUBLE COUNTERPOINT AND CANON. inversions of the following It is not thought necessary to give all the possible examples indeed.>. all have not been used by the several composers in the compositions from which these extracts are taken.' ^\^-^/^ And speak prais p p ^ i Lord. . l£=e: ?^r^ d=b ^£^^£^ :ft=pj ^ In the original there is ^ a slight variation from the strict ^ inversion at this point. The student may with advantage work out those inversions not given. ..|^tr.-frrr. ^ 4. 84. ' Organ Fugue in G mloWk 221 ^ M #^i > J m-m~m — ' — :3i=Kxr.9 iS i>=^^ m Bach. Ex. f 3tz:4z ^ S-lj:^ t>'^ C£ifrL^r :?2Z ^> ^ T=¥= frVf^rJ^^TT^Jr -1 i ^E ^ r— ^ ' ^ -r f^ .TRIPLE COUNTERPOINT. '—^- ^^==t ^?:f-:r :t:- %-^^^ i^s i=t I -rfrf-f II I I ^ ^=ii 'i ¥=^^¥^ etfc *i ^r ^^ r- £j'[-y "r^ ^j mTiuim^^=^^ i ^ ^ ^^HF ^^^^^^^^^^r^ f# -U— ' f. a DOUBLE COUNTERPOINT AND CANON. J. 8s.5° Ex. Bridge. F. i T^=^ dSi i-ir ijj /:3i''- 'J r ^^^ i ^ F J- i m T r '^ -» ^^ s 43: ^=^z: i i^ . ^ f » M No. gasii .TRIPLE COUNTERPOINT.^— I r1 =4 -* ' V:^ —^ •- :t=t PP^ J: '^^m ^ ^^ i T r~g n-J ^ * I i^ Ex.- 51 =?2= -. 3 of Bach's 48 Preludes and Fugues. 86. -Pi. DOUBLE COUNTERPOINT AND CANON. i $^ -^ f m en » Ex.52 Ex. Quadruple. 87. 88. . Cherubini. go. That all these properties may exist in one and the same composition will be apparent from the study of some of the canons appended. is of this character: 77. and the and happy use of it by all good composers. B. This is so fully treated of in the Primer on Fugue * that it would be superfluous to give any great consideration to it. i ^ r r 1- s St J. are unchanged. the Stretto. or by any number of parts. though some of them may be looked upon as specimens of intricate and clever wforkmanship rather than as satisfactory and interesting musical compositions. or in any other interval. particularly as specimens of most. will not have The ancient contrapuntists escaped the notice of the student. affords an opportunity for the introduction of devices drawn from the subject and answer by the use of imitation more or less intricate. by James Higgs. above or below.. or examples of it.CHAPTER VIL IMITATION. -+i^ ^m unade Ete =ts rfft 78. . varieties of imitation. See Primer on Fugue. devoted much study to this branch of their art. is all that will be necessary. the scales differing but in one note. in unison. -the The same melodic figure may be imitated. or Regular. by another When the steps of the melody part. F. Le. An explanation of the terms applied to the different here. of them will be found among the canons which follow. the imitation is called Strict. Imitation in the fourth or fifth (above or below) is easily strict. Imitation in the unison. or octave. 76. Ex. Imitation is an essential of all Fugal Counterpoint and that most important part of a Fugue. and have left many excellent examples. if not all. with short examples of each. The frequent interest imparted to music by imitation. repeated. above. HflF . g2 to 95 show Ex. F. -» —*- =^ For imitation in the fifth or . gi. i Ex. For imitation in the fifth or twfelfth below^. For imitation in the fourth or eleventh above. DOUBLE COUNTERPOINT AND CANON. B. 92. J. ^— For imitation in the fourth or eleventh below. In the strict imitation in fifth =*:=«= -*-- * zMzSat the above intervals.54 Ex. twelfth above. In the fourth above.IMITATION. 55 J. F. Ex. 94. FfF" . B. F. DOUBLE COUKTERPOINT AND CANON. =Pl=t± rEitt ^^^^=1= -^-•?2= :t3Cj3t i . J' J . F.-'^ r=W^j r -1 &C. . 53: I I I -i I ' I Ex. B. gg. g8. E =t= =1= . F. B. J. am ^^ r Imitation in the octave below. Ji r . In the seventh above. 100. From Bach's 30 Variations. while a third has an independent accompaniment.-^ J r2v . J. J. . *3* -#-T» =?3= t'^pftrffitr^n student. ^ rM 1 ^*-r«^r-^ The following examples of imitation in various intervals between two parts.^i?. cannot fail to interest the Ex.97.56 Ex.^J ^ • o~ Ss p J » ^ ?2= m i I Ex. In the sixth above."r±Vlr JV 'iU L zSz • r -f ^ ^rtijr. In the third above. B. i 57 1— «^ -a: fcrrCi -H-. In the seventh above. 102.^^ Ex. In the third below. I?- .-fI p— g- In the sixth above. Ex. In the second above.JT":^ ^ b. iq=ZTi -•— ^- ?^ Ife =^g^ lazfjE ^ &c. 103. roi. .IMITATION.fflg ±:^^Sl^ _-i:^rj3j_ Ex. Ex.L& :?^-Lpi ^ r?=&^ :i£fc_ H*- ^ i:r &c.. {04. &s^ ^W^==p ? ^ ^ . ^ 4-=r-. implied when we speak of Imitation by similar motion.e. B. as a rule. and the direction it takes (whether up or down) will introduce various forms of imitation which will now be explained.) It may be free. viz. and in the same direction though this is the most simple. Imitation does not merely include the reproduction of the antecedent or proposition the term applied to the whole part sung by the leading voice* on the same or dif5ferent notes of the scale. — — . common. the time value of the notes). or vice versa. its rhythmical contents [i. the steps by which it progresses (seconds. Ex. as it is termed) There are two methods of effecting descends. it Every movement of the antecedent is here reversed. moving by similar degrees. this imitation. in notes of the same value. and simply moving by antecedent. IMITATION (continued). imitation by contrary movement.. F. beginning at any interval. similar degrees of the stave in contrary motion to the In Ex. and useful kind of imitation. and is that. Where ascends the imitative part (or consequent. 81.CHAPTER VIII. 80.. i IE ^ -"— r- =g =p=f =t= '4m ^ r ^ J. the imitation is by contrary motion at the octave below. 105. 105. P P*^ nr^'J . or larger intervals). (i. thirds. Modiiication of one or more of the features characteristic of a melody enumerated above. i =t=t= ?z t==^ Z!± M-i-rT it4=t: HI ^PP . {2. From Bach's 30 Variations.IMITATION BY CONTRARY MOVEMENT. J. and whichever note of either scale begins the antecedent the companion note in the other scale will begin the consequent. ^ i PI is an example of strict imitation according to the above Ex. Ex. and In the following scales. F.) It may i i^ The scheme following : T=t Or an octave lower. B. be strrct^-semitone answering to semitone. the semitones coincide. In Ex. 106. 106. t) m PR^ ^^ f » WmM- ^^^ ^n^]^ feSE tone to tone. the imitation is 59 by contrary motion at the fourth below. 107. io8." ^^m m^ ^^ Ex. io8 is another example of imitation according to the. both for major and minor modes. above scheme.6o DOUBLE COUKTERPOINT AND CANON. trans> posed to that key. ^^^ ^cst ^^^^^g . Being in A major it is of course founded upon the scales given above. thus : ¥ :!**= =P * J j ! I ^^ 1 I i scales ^ J- J- > ^ lower. Ex. y e sempre legato. lit— Or an octave Cherubini remarks that " each time there is a change of key these given must be taken in the key in which the imitation is made. Gradus ad Parnassum. Clementi. therefore. Imitation scales : by contrary motion is in minor keys cannot generally be strict. transposed to G minor. Whenever. but best effected by the aid of the following Ex.. the imitation ceases to be strict. 6i 82. IMITATION BY CONTRARY MOVEMENT. log. . The following is an example of imitation founded upon the scale given above (Ex.l--^aJB It will j=J^=4^t^B be seen that the semitones do not exactly coincide in In the descending scale the first semitone is found between the third and fourth notes. the above scales. i). in the ascending scale between the second and third. thus : i ^ j_ ?=^«t: m^ J J r 1^ ^ From Bach's 30 Variations. a I =t L-i-j_J. log. the third note of either scale is used. Here the consequent is in notes of augmented value. Lobe. in. or sometimes minims for quavers. &c. &c. Minims for crotchets. IMITATION BY DIMINUTION. F. Ex. —rs— . 112. IMITATION BY AUGMENTATION. Ex. B. crotchets for minims. Jf it value..63 DOUBLE COUNTERPOINT AND CANON. &c. J. 83. 84. Here the consequent is in notes of diminished Minims for semibreves. semibreves for minims. (See Appendix. 5t=^ ^ ?=1=t &c. Handel.e. Ex. or vice versd) are also said to be ^er arsin et thesiitt. Ex. from end to beginning. 63 IMITATION BY DIMINUTION AND CONTRARY MOTION. Here the consequent enters upon a different beat from that on which the antecedent began.. 114.IMITATION BY DIMINUTION. or vice versa. unaccented for accented. the consequent ascending where the antecedent descends.. r mz /SJ^ P -^ . J. -•-F-^ ^*^^ " ' "i^- 87. termed per recte et retro. -^i^^ ^7: o- 1^ IMITATION WITH REVERSED ACCENTS.) . * Canons which answer by inversion («'. §lp e — .«. There is also retrograde imitation. i. and reverse retrograde a combination of retrograde and contrary motion but little practical use can be made of these forms. or cancrizaris (crab-like). i. in which the conser quent takes the antecedent backwards. 115.e.* 86. This is said to be per arsin et thesin. ETC. Amen in the Messiah.. The student should endeavour to construct other imitations on these two subjects. which might otherwise be In vocal music much use is made of it in choruses. without being strictly fugal. thirds answering seconds. 118. the introduction of short points of imitation interest to a composition dull. ii6. ^^ P » Imitation in S tlie | =?i=i= it=z|= unison. strictly speaking. though the general form of the phrase is preserved. good method of practising imitation is by working on a theme or canto fermo. yet all may often enter with the first few notes. fifths answering sevenths. these variations from the exact repetition of the phrase of course rendering the introduction of so-called points of imitation more easy. If it is not possible for every part to imitate the complete phrase.CHAPTER IX. Ex. tinuous. canonical imitation is conperiodic imitation is intermittent . Partial imitation is when only a certain strain or period of a preceding melody is Canonical imitation is. Frequently also. the intervals are much altered. afterwards passing on to three and four parts. A Ex. i t^- =^=-^ * J f^ ^= -»-*- ^^ *3S= ^ *#: BiE . &c. The various kinds of imitation already explained may be combined. 8g. and thus preserve a semblance of imitation. 116. 88. . Partial or whole preceding melody is imitated throughout. when the imitated. PARTIAL IMITATION. one or more of the parts imitating by contrary motion even when the others have answered by similar motion or some may enter by augmentation or diminution. »•:> Cherubini. are by this means made more contrapujital in character. 117. These various methods may be used to effect Luth partial (also called periodical) and canonical imitation. which. are quoted from Cherubini's Treatise on Counterpoint and Fugue. The student should practise the working out of various imita^ tions in two parts. Partial imitation is now used far more frequently than canooften adding insipid or nical. 117. Free part. ^ dist =H!=tt :|1°ft: Ex. 65 [ |d3E^ -jzr p — 'g- t^ eE^ j-j-|^i. s -!S S^- T' ' • »: W: IM I :tl=tt ^E . £: 9-» m o ^^^ o • m iMr =i=F= I I I ^ i Z2Z -•-F4=t: J^=2lJ- -Hsfr ?2Z Imitation in the second above.a^ i ^^ ?-ri*~ i|=*. Cherubini.IMITATION ON CANTI FERMI. 66 DOUBLE COUNTERPOINT AND CANON. *fr -g3 • t=t^ F ' m F I I F i ICZiL ! I *it i ri~~rrrrrrr^ g flgfF ^ i ^ =P=S: 41*: ^ i ©3= -HeH- 4^ dM^ ^ ^Mi rj 1 ^ 4Pit P ! |eff **: =P[f *=tt= Ex. Ii8. ^m i^ ferrrrr ^ Imitation in the ± T^ fifth below. m^ m^ ' I =pa= Ty =fHt NI ^ tf^ ^ . Cherubini. Imitation in the seventh below. Ex. 119. the imitation being thus at these points brought into greater prominence. iig. movement. jj^^tfrrj. The point to be imitated need not be of great length indeed it will be found that a phrase of a short distinctive character will more readily lend itself to the kind of work proposed for the student. 119 is a specimen of this method of imitation.IMITATION ON CHORALES. A break may be made between the phrases of the chorale. 67 i i ^^ IZ2I •-*=- ^ - r^ -^—f=^ iwt ^ ^ go. b. " ^- m Canto fermo. a. ^ and even being introduced between the phrases of the canto See Ex. i± •-P- Mh -^ =H=*: ^ ** tHt liMz Chorales are very suitable as themes on which to construct The chorale may be placed in any part. tr ^^ }=^ ^ ^^^ 5^ I* . 1= S^ appearing frequently both above and below the canto fermo. d. i^S fermo. imitations may be founded on some part of tho subject. and the imitations. or on an The chorale may enter at the beginning of the original theme. sometimes also by inversion. or after a bar or two. c. pm^m-T\ ''^[ Cc^ Rink. Ex. the point . ^g I .68 DOUBLE COUNTERPOINT AND CANON.J I j ^ * j-^*= ^^1 — p- ^ 1 r ^M^TT^^r r ^ ^ 3t = 1 I > 1 r i ^—P^-F^ FTTf »i^r ip I ffi *J* ^ r *f7 f If ^^ . • :t: =F=^ ^^'^"T-F=^ ^Frf=^=f[^=q=F^ ^^^ ^ • ^ '^J^J. IMITATION ON CHORALES. the method pursued being that referred to in the early part of par. —r^ •!• ^ni!5 m^ ^ ^^^ *-"-» i^sz 'r^=r I I @i? 1^ 1 r- ^i ^^^^^^^=^^^ ^^ ^^ * =t=t*z Ex. 69 ige: Seltefe: -f^-^- i"^ i p . 120 is a good specimen of Bach's treatment of a chorale with imitations. Each phrase of the canto fermo (in the soprano) is taken as a " point " for imitation by the other parts. . 90. ^^^il>^^g^-rrg^^^ . =P2= Bach. DOUBLE COUNTERPOINT AND CANON.'-rT-t^=^ . 120. ?3Z E^^g^F^^ i r 1 ^- > =t=t: • f ^ 3=1=3= he:*: -i— !—I- fc^^:j:4]= uij^^^ ^ ^ zar i& i g^ffr^ ifcufe rPfTPf BE ^JJJT^^TO ^ fTW ::?sp atitat I =it:it i35t I H. Canto fermo.70 Ex. r-p= ^* ^^p^. arFjFfF I m ^ 1" ^ ^ ^ * -m i^ _f ! r ^-^ \ ?=i^ ^^55 — M'^^r^^r ^H-ft^ r I ^^ ^ fi^^^r sismzf -?2= ^ i^ l-r^Mrf^ ]^B ^b'j. 71 i w- n fcufe *=? bJ J-' j- 3tjt ii^^ T=t: =H: i^iSt H*-!*- q*=P= r-j-r- S i ^ f ei=t -^J^=feEJE -P fcfc i^ feufe it*:=t N T ^*'^ ' : ! ' 3Ci3t: ^ P^^gr'^rf nL^rarTL' ^^ i I r r r'i. .IMITATION ON CHORALES.'=r=^ ^ gs ^ ^^J ^:ri:r i"hJ ^' [Tj- if.K< r 1 I lS' i uP ^» "• I ——u=t I f > \ ^5^ . 1 ^ .f=f= ^^^^^^^^^^^^g -r ^^ ' ZSZM. M=^ fttVj n.72 DOUBLE COUNTERPOINT AND ^ANON.^." r =f2= s6¥ ^^ =f=»= ! I 1 ' —H- a^ ^5: ^^ I& i^ gfcE i> '^-^4-^ 3^ ^ * l * #J I *CJ — i I ^ u ^ p i^ r 5^ ^^~^^=^\ n ^ ^ . j:P\FTh i ji ] I ^ i> 11 ^ rt^ ^^i^ ^ i ^3 ? ^^T^ 1 r 1^ - -t^^^g:^:^ :^ i ^ b . ^ p'Ki}. Bach. 121. ^ E& . Soprano. 73 rt . P fe •S Tenor. ^ *- :t=tFt =fc=fi» S a portion of another chorale (too long for quotation accompanied by many interesting points of imi- Ex. i -pc J 3i: J I t=^ J-. is in its entirety).IMITATION ON CHORALES. -f^-T^ Basso Continuo. 121 tation. T?~ ^i=q= d — -8 r- >1 l-J^ i£at: ^^=F ^ *=^ i I^ =1=3= -d • ^P » P ^ itii* S 1 « ^ Ex.^J =?^ Bass. Alto. H DOUBLE COUNTERPOINT AND CANON. Canto fermo.-J 3=F ^ » -^—»- - 3±: q=^ ^F e^ -i^—*- ^ ^^1 EEE ^i=»=p= 4=t: ^ -7-j- f r> =n=i tr-t^ f i i ^ ^^ -P-iM- . S . i tf ^ ^>- i— =#»^=t -•—!«- ^=t =r=t ^ Fr=?= ^^1 /'-a^ ^ @= 4=t ^^ i ° . 120. 75 $ T^ =t=t: -f3- f^ ^^ i -^ ^iiS - J-r-td-^ gj - a^ » „ I 1^=FF ^ ' ^^ f > T7^ I ^ -pQ I W I P = I I I * ^^^^ ^ ^ 2:1: • <j f a P F=rT^ It— rJ J ^ -^ ^ ^ "r :?2Z H Sa: itatit: J^r S^c i r * ^ Q — JT^ ^^ I . on some suitable chorales. 121. in the style of The student should endeavour to construct imitations Ex.5=^ I ^^ ^^ &c. . iig.IMITATION ON CHORALES. . Thus. composition was at one time exhibited. three. It is usual to describe canons by giving the number of the parts and subjects (or antecedents). as they are termed.CHAPTER - X. All the various methods of imitation before explained may be applied to canon. deriving 93. strictly 92. in which one subject is used 3 in 1 having three parts and one subject . a better explanation of the origin of the term Canon seems possible. the number of parts being shown by the first figure. The various parts were seldom written in full. when the whole preceding melody is imitated throughout. and the different parts of the same canon may If desired. and sometimes four are used. it from the Greek word . "Canonical imitation . may be in any interval. CANONICAL IMITATION. • It is ly augmentation. speaking. unravelled). and even obvious that the whole antecedent cannot well be imitated in canoni in finite canons generally. .. signs which were used in canons not written in score. and in any number of parts." at any point. There may also be more than one antecedent or subject and frequently two. . is.* Partial or periodic imitation is intermittent canoniIn a canon the imitation may enter cal imitation is continuous. xaviiv. the number of subjects by the second. (See par. &c. it was said. completing the harmony. the form in which this class of 117). of the parts may -be in canon. What we now call a canon was termed Fuga Ligata {a fettered fugue). mdicating where the" various following parts entered.. Of the origin of the term Canon. not usually in the music (although sometimes given there also) but in a preceding sentence called "the canon" {i. ruling what shall be performed by those which follow the other. rule by which the composition was to be > —one. 4 in 2 having Four parts and two subjects (sometimes termed a double canon). canon 2 in i means a canon for two voices or instruments.e. only one being given. In paragraph 88. only some 3be written in imitation of various kinds. If we consider. 91. the leading phrase. from the Canoni. . were to be found. however. and all explanations as to the number of parts and the places of entry. two explanations are given which signifies rule. each being imitated by one or more parts in various intervals. as it were. the others being free. 122. and prefix a Title. ~r3~ 3tS m -7?~ fJ |o ez fc=^== — 22Z ^ 33r i ifc:^ Ex. b =?=a: ^ I =S=F: ^ g=^=^ ¥=^ I iV^—d- I /• J o -yd- o • i?* i Fugue in EpiEx. ' yy following remarks and examples are quoted from an . not semibreves)." Ex. 6 (explanation): The Canon is: diapason. as in this example of Calvisius. post duo Tempora (Brevia non-seroifcrevia). 122.CANONICAL IMlTAtlON. 122. " The Canon is : Fuga in Epidiapjison. or higher octave. a. 122. seu octava superiore.'* The — Ex. —A ir -o c^ 6 ^-t-o o a \ c^- d' . or bars (breves.* in which Fuga Ligata is explained :— " Sometimes they write only the Principal. after two times.94. declaring both the distance of the Reply and the time when it comes in (adding afterwards in his due place the mark of his close) which Title the Musicians call Canon. old work. after a time.3d: i -Q . 123. 123. b (explanation) : The Canon is : voices. 123. superiore. Tertia t 1^ II H '"- ^ -^ ^ _ Ht=&: I&—p*:&c. =pz: 3i: ^ s>- Ex. or bar. post 1 23. $ ^ t=Z2= r> -I—«. a.78 DOUBLE COUNTERPOINT AND CANON." —Fuga ' 5 vocum. im s 4E ^i -?2= =p= f^-H-el. —A Fugue of five m b Ex. I *4: ^ 3^ Zt ^ ' :?2= =P=^= :t is: :«=*: in Ex. in the higher third.- i^g i *=t: tJz =PJ= P2= aCstat -^ =?=: Eg ^=^:i^ :t:t: I ^ « '> P fc=^ fe^ Ex. "The Canon Tempus. .CANONICAL IMITATION. . From these remarks and examples it is clear that the term "Canon" is derived from the fact that a canon or rule of performance always preceded a " Fuga Ligata.^ ^ tf. use. 79 Ziziz -^ g3= -G> r -> r io ^J - -^ r- * —s>- -e> —f2_ ^ -s^ -f^^ . 95. and the word Canon been substituted." The latter term has fallen out of. CHAPTER XL FINITE CANON. or the parts may conclude one by one in the order in which they began (see Ex. 136. :?2= ^ ^^ Quintet for Wind Instruments. Canons are divided into Finite and Infinite or perpetual.* Finite canon generally concludes with a coda. (See Ex. ical imitation being discontinued (see Ex." but this term seems more suited to the canons which induce modulation and make the circuit of the keys.) . H I ^^ ^ T^ I I ^ * By some authors called " circular. A ^ ^^ fcfc: Ex. 124. Mozart. '-»^ p ^ ^^ i ^S ft f >'!. 96. 124). the canon97. p £Ez£ 5^ -f ffTfr^^^^r^ =ti=t: ^ y * ^»f r ^ pc» fTf^n ^Eff ^^^ Coda. /^N non i^ Non no - ^ bis. Ex. \i Ig Do Non no . See the following indicated by a pause.FINITE CANON. non w^ Non no - ^ bis. m §S dtn^ r ^ f i h J i:^^=st =15= i ^^ rT~in^ ^ -!^ -f- f=t=h Both the above examples have accompanjring parts which. .bis. but on the termination of the antecedent a repetition is made by this part to the beginning. 126. Other examples will be found in the Appendix. hovirever." well-known canon 3 in i : Ex. and in turn repeating. -mi 1 - ne. 125. or to a sign (X) the other following parts completing their points' The terminating chord is of imitation. g8. or the word " fine. a 'rj- 81: Beethoven. it is not thought necessary to give here. e fcufe K rJT :P2- Byrde. T3~ Do - ^^ mi - ne. An Infinite or perpetual canon does not come to an immediate and regular conclusion. :P2: - ^&-fc tu t==t o da glo ri - no . . sed no -mi- ni tu - I ii==t -ts- da glo ri sed nomi-ni m. There is no indication of the terminating chord in the priginal. Non no - bis. When that happens those notes which first have the pause are' severallj to be held on till the others copv* in.o F=.* "as here giveii : * " The pause willsometimes be found over notes which are not placed under each other. ^^ glo - X.mi - ni o da =t=t: -*—0.-PC no-mi-nt tn ^ Do - - bis sed mi - ne.The following is a good example. y= b r> .82 DOUBLE COUNTERPOINT AND CANON.\> r ^^±:i r. =?2I I m bis sed no . Non no- bis. but it might occur at bars four and five.mi ni am. . mi' e o =t=3= 32Z da glo ri - am. non bis sed S glo ri i: - am. o - r> - I Do - o da ri am. ^£fc3^ ' I M glo ri - sed no-mi - ni o da am.. ."— Horsley. the Stfc^ Lift -. . t Praise up .©-=- It up your hearts. m Zt Lift l-M-4 »— -. 11= 83^ Simon Ives (died 1662). Christ our B t^E Lord with cheer - fIf ful =F=». He -» is ris - en from the dead. your hearts . ^ and re-joice. -p-d- ^ is s If: -Jizzmz :r—^ . Lift your . 127. Ex. your hearts .ful Cap - tain Captain and our head. Lift up . * p '•'•[>' Christ our the Lord with cheer . . -N—>=P5= . and re'-joice. =t= E^ voice. tain and our m^ . Praise :?= Praise =1=^ ^ the ^ I E^S=^ - Lord with cheer ful voice. i - He ris - en from m =FEe= and our head. =fv=Ps= Lift up . . £= He ^ is — i=3t =£ y^~ ^-f— ir - the dead.INFINITE CANON. Lift up your hearts Qup ris en from the dead. and re-joice. i head. Christ our CF=5= Cap - voice. 100.. as the consequent being in notes of at least double the length of those in the antecedent. i. E. not intended. for imitation. ^ ?E5:pc rf Q -77~ For other examples of infinite canons see Appendix. 128 : coda added to an infinite Ex. as in Ex. be of any great length. The consequent often starts at the same 'time as the antecedent or after a very short rest. Gladstone. Mus.e.84 gg. A finite canon by augmentation cannot. 128. DOUBLE COUNTERPOINT AND CANON. ^m :& m ^^^. is soon left so far behind as to be devoid of imitative eifect. Doc. Sometimes when there is is no convenient resting place a canon. It is obvious that the latter part of the consequent must of necessity be free. i 1^ ^ ^ iS T" X F. . ~ i * »- x=t m m ^ 5=t w a= r tTj^LTf^ 1=it -r rf-' tf\f^»r-^ 'K Coda. of necessity. From this point there are two methods of continuing the part which has the antecedent : To effect this it will be (i) It may be repeated in its entirety. 130 might thus be heard alone. 100). V. Bach (Vol.* or after a very short rest.) Manual. An infinite canon by augmentation is more difficult to construct. the consequent often starts at the same moment as the antecedent. 129 is part of an organ movement too long to quote in its entirety.FINITE AND INFINITE CANON BY AUGMENTATION. and the end of the antecedent is reached. and an important point in its working must be noticed. as then the imitation would be more perceptible to the ear. As with finite (see par. so here. necessary that from the first every note of the antecedent shall be • The whole antecedent may of course be taken first. 129. J. The canon (by augmentation) is between the first and third parts. Sirm Pedal. The first two bars of Ex. S. Ex. of Organ Works. when the conse- quent (having notes of double the length) has done but one half. with advantage. 85 Ex. . but which the student will do well to examine. EEE 101. bar 6. 130). ^^ M O m Cooke. 131.86 DOUBLE COUNTERPOINT AND CANON. Ex. No. i T^^=i=3=g m^&^ ^=?= Lobe. A . and also Bach's " Musikalische Opfer.* =t=t =P=f= :a3f3B (2) The antecedent instead of repeating itself may be continued by a free part. ^j_jj m- - ^ . A ** m J: ^ men. * For other examples see Appendix. last note of uppej part). 131. . Many examples of this more easy method of imitation by augmentation may be met with. ^ I [ g^riEr^ !=Sfc: ^e ^ ^ * ^s =^ +* d • * i ^^5 ^ • ^ ^acf^ ^—i ^^J i ^ Ex. ^r-*- o I S ^ (p)\ii^- men. designed to combine with the consequent at two different points (see Ex. but it is evident that the essentially canonic character of the composition is somewhat interfered with by the interruption of the imitation when the free part enters (see Ex.." 7. 130. p=^ ?=^3 A -men. A ^^^^^^ men. m men. ^^ A ^E » ^ p==?= f=^H i 6 ®o A r-* ?^ ^ 1 102. - A i m^ ?^ i men.J. P^ i men.4 A i ^ men. as the consequent soon overtakes the antecedent (being in notes cf . canon by diminution cannot be of any great length. 87 ^^:k^m^^-A.jp. J'-' 1.:.INFINITE CANON BY AUGMENTATION. a 4=t P- ^ men. w^ *3tt= rrrr r f^ p r^ men. men. The following quotation from Emanuel Bach will show this the canon is at first in notes of equal length. and thus ceases to imitate. Emanuel Bach. li? 'A - 1 r r 1 .88 DOUBLE COUNTERPOINT AND CANON. and then by diminution . : Ex. only one-half the length). 132. the dots) will stand on " Also. — i^ -r-i- *=t= i " Only the 106. ^ ^ r^=3=t Canon. i=^ 23t I \ Reverted thus- ^^ -ry- g — -r± -rJ-!'F tti* R - H " Either of these alone is a canon of two parts one part singing forward. and sung from left to right. returning to the original key in which it started. find on trial that passing-notes and discords. they hit upon the beginning instead of the latter part of the note." he goes on to say. 89 104." canon (^per tonos) is usually one that modulates key of the note above. the other beginning at the wrong end and singing the notes backward the composition whereof is no more than this which follows " : Ex. gives a caution against dotted notes.e. and. The following simple example and remarks (also from Compendium ") will perhaps make the above explana: '^=H^ ^FS. Simpson's " tion plainer Ex. then instead of letting it stand below in its propei place. lest in the Revert. The construction of this canon appears extremely simple. in his " Compendium " (London. Recte and Retro. 135. add it reversed {i. will all be displaced and fall on the wrong part of the bar when sung from right to left in a retrograde canon.CANON. RECTE ET RETRO. " In the Retro they if. Write a counterpoint to the whole of the antecedent. effective and innocent enough when standing below as a counterpoint. " you must be wary the wrong side of the notes." 105. to the -rrr- -rir ^ 3=ti end of one part is joined to the end of the other in a retrograde form. 1732) on this point. 134. Simpson. last note first) to the end of the antecedent and the composition But (and here comes the diificulty) the student will is complete." how you use discords therein. the antecedent recommencing every time a note higher. saying.e. by making the circuit of the keys. The conclusion A circular . or Retro. this being the chief difficulty. made in some other interval than the note above. tN^ . Ex. 136.go DOUBLE COUNTERPOINT AND CANON. 136 liigher. Ex. each repetition beginning a note Agostini (1593-1629). is a circular canon. of the antecedent must lead naturally to the repetition in the new Sometimes the repetition is key. ENIGMATICAL CANON. or other device. and ajl the means that we have previously indicated as proper for varying a subject. 133 is taken. and to transposition of the clefs . 142. 6). at its sixth repetition) will have reached octave of the original model. one." from which Ex. or when it proceeds by semitones. quaver. io8."* Sometimes a motto preiceded the canon contiadning a hint as to the proper resolution. and other rests. however.advised to give much time to the elaboration of such useless problems. and for its solution '' it is frequently necessary to have recourse to inversion. as itg name implies. left some interesting specimens of the enig» matical canon in his " Musikalische Opfer.. The day of such things is now past. 142 is a circular canon of this kind. Bach has. An enigmatical canon is. Ex. Old authors were very fond of setting this " riddle " canon. lastly. 109. . a hand. A circular canon passing through all the keys can only result when the repetition takes place at a fourth or fifth higher or lower. the workifig out of wtiich cannpt fa^l to interest and improve the student. tation * Albrechtsberger. crotchet. or the number of parts in which it will work. to retrograde and inverted retrograde motion. minim. and the student is not .. etc. to contrary motion.e. Sometimes it is necessary to transpose one or more of the parts an octave higher or lower (see Ex. the subject of which gives no qlue to the kind of imitation. with an enigmatical Latin inscription. time the it gi it appears {i. each repetition beginning a fourth lower. it is necessary again to try semibreve. augmen- and diminution. or the solution was indicated by a cross. As will be seen from of which will work in canon. 1 10. The figures indicate the distances below the first note of the antecedent (see par. iig) at which each part enters. antecedents however. 137 resolved. 117). III. Stolzel has left a celebrated specimen of the polymorphous canon. or by some re-arrangement of the position of the various phrases of which it is composed. should be founded upon the origfinal as regards harmonic structure. A Close Canon (see par. length i * r> 3 3S -^ =1= ^ -p-r. 231 5 8 FN^ 12 i.. A POLYMORPHOUS canon has an antecedent capable of many all forms. The : following is Ex. Ex. I a. the imitation is sometimes made on a point derived from the middle of the antecedent. 1 "P" =^ -^ f- f W o-l .CHAPTER XII. 137. ^ written out at The sign § shows the entrance of the various parts. Ex. POLYMORPHOUS CANON. Passing notes which were not in the original are sometimes All the various inserted when it appears in an altered form. Canon 4 in i. 139. =^ J. which is worth quoting.e. ^F5= a6i' Kin= EE ^ ^ ?3- i rrr^ -^-^ A. -U4- 2dz ^ctzizqe ^ ^ ^ ^ . i. Canon 4 §5 in .^e^ =!=* 4 i—t- I- :im Ex. 93 Antecedent by contrary motion. 139. In Ex. 138 and introducing passing notes (* * *). § _ §8 iz ^. 138. EB ^ =P2= * * • P=t —* * * «- Mh =t The above resolved ^ -• — ^«0-K ES i m=is w=i=ii-Mf=l?^ JJ:-A iit=*: ^-0 ' -G>-^- m —— • *=?»= itf^ M ^^ =S=P- —p- g rt* =P= &c. Ex.fE32I LBE :?2- :^=± zi: ^ =5= The above resolved- SE ^P— r?- ^ -rj- ^ =^ U. 139 the antecedent is formed by beginning at bar four of Ex. P T3~ :p& It ^ az 112.POLYMORPHOUS CANON. Canon 4 in i. a. ifistead of the first (Ex. the above four antecedents beginning at the "second part of the bar. The same by g contrary motion. 141. tzzt i ^=P=g=F 2=t F==r=^ ^ P=d=^=^ The above resolved ^ i BE E^ I^Z^. 139. DOUBLE COUNTERPOINT AND CANON.-^ The above Jjoly-morphouB Ex. (i) the accents may be changed.94 Ex. 140. a i E3E <*)] /» r-> J=gg= i^^ fi m '-yrsr^ $^ P (2) The antecedent may begin on any of the (essential) notes of the originalinstead of the-first (Ex.. rr ^^ r 'F are the chief canons to be obtained from this But there aie many other possible subject. Canon 4 =£3= ii« i. for instance. d) -. b. c. 140. I ^ 113. a. changes . c) : . b. a. 6. a ?3=: 95 :^3E l=t 3i: t^z ^. In Ex. 142 the key changes at each return of the antecedent. rzi: 114. 142. 141. Ex. iE -o ^"^ ^ ^+2^ i J-^^J.^ r-ig- fi'l'P Z2 ^3 J. the latter beginning every time a fourth lower The parts are transposed an octave (a) or a fifth higher (6). 108). Ex.POLYMORPHOUS CANON. in the latter case (see par. It can also appear as a four-part circular canon in two ways (Ex. v-f^^^F^ . T" ^ ii E lfc^=^ -J-^ ^^ . 143). 142. 143 the antecedent begins every time a note higher. which continually modulates. In Ex. differing as it does from an ordinary circular canon. sequential canon seems an remaining in the original key. s . appropriate term for this species. I EE Z33Z ^ 3-^^^ — "F" =cii=: ^ ^e :^ =g= w -^A m =P2= Ul -Aqt=P= :i=F: J.96 DOUBLE COUNTERPOINT AND CANON. still A Ex. 115. 143.J I . and indicating the various entries by the sign § (see par. This was called a " close canon. 117. It was. but in the fifth. the term "open canon" was applied. and so on. 123. 118.) . Formerly there were many methods of writing canons. the last but it. the student must remember that the system on which the clefs are prefixed varies very much. at the beginning one next.f" It is also usual to indicate the place of entry by the sign §. g). 123. stating the number of parts for which it was composed. (See Ex. CLOSE CANONS. Sometimes figures are used to denote the interval in which the canon is made. Sometimes also all the clefs belonging to the parts composing the canon were prefixed thus : '^^=ft-r=# 119. the leading part having its clef immediately before the first note.CHAPTER XIII.) which entered last was written Jtrst. According to Albrechtsberger : desired that the answer to a canon shall not be above or below.* it is usual to place before the time signature all the clefs in retrograde order. and being in no way affected by those which clef for the part of the stave. however." When follows very closely This term must not be taken to indicate a canon in which the consequent upon the antecedent. preceded (See Ex. In unravelling canons so written. very usual to write only the principal part. a canon was given complete in open score. p. 117). though this is the sense in which the term is used in Fugue (see Primer." it is " When made in the unison. or rather of exhibiting them when written. or octave * t And The also in other intervals. and these are placed above or below those notes on which the succeeding parts enter. a. Another method was to give. The figures placed above the staff indicate the intervals above. for the next fdlowiog parte. i. the tenor with E in the octave below at the figure 8 and the bass with A a twelfth below. and those beneath the staff the intervals below. those belong to that part. In Ex. to be dispensed with. and the alto enters with C in the octave above at the figure 8. the tenor takes <5 at the figure 5 a fifth above the first bass note.e. the requisite rests which every part had to observe before enteringThis plan would enable the canon (or rule). stil causing that which standeth neerest unto the musick. 144. at the figure 5 . in retrograde order. For a specimen of this method see Ex. " The intervals indicated by the figures are always reckoned from the first note of the first part (antecedent). b. But if betweene anie two cliefes you find rests." G 120. so manie cliefes do they set at the beginning of the verse. 1597). the next towards the left hand. the alto enters with A a fifth below. says :—" But the F/rench men and Italians. oldest systemf. yet might it be perceived and sung at the first. Canon 4 5 in i.* Thus. and so consequentU? to the last. in addition to the clefs. and the manner thereof is this. and also the mark § showing the places of entry. serve for the leading part. which the cliefe standing next unto them on the left side signifieth- . t Morley in his " Plaine and Easie Introduction to PracticaB Musicke (London. The same observation applies to the sign §. 144. the treble entering with at the figure 12. Placing the clefs from right to left. 123. and not from that note above or below which the figure is placed. iiave used a waie that tho^h there were foure or five partes in one. in Ex. but later writers depart Even this has been departed from. Of how manie parts the canon is. m ^- a ^ 1 m =^ ^=g^^ i ipz: ^ ^ ej • S ISt i fc^ ^ . 144. DOUBLE COUNTERPOINT AND CANON.98 Ex. " Canons in which the entries are indicated iDy figures may be written in one clef. seems undoubtedly the * 121. at the figure 12. in his " Lehrbuch der Musikalischen Komposi123. is ^ clefs in ^ ^ -r±- ^ ^^ =rt left * Lobe. follow the old system of placing the clef of the part which begins immediately before the first note. _ tion " (Leipzig. Kollman. 119). 4 IN I.CLOSE CANONS. It will be seen that the parts enter in the order of the clefs. *fe rz2 PER TONOS BX FIFTHS. in the order in which each voice entered. sent by him to Haydn. 145). 143. arranged the clefs from left to right. Ex 146. stand as mentioned above. 1799). 147. ^ ^ clefs The here given precede a circular canon. 99 from this. ^ P iF$ ^ ^m 33t 1^ ^^ Ex. Hypodiapente. 147 in Ex. =P2= ^m * » ! ^ E m . and even Albrechtsberger. whose rule we have quoted (see par. and not in retro- which the a canon by Albrechtsberger. in his " Essay on Practical Composition " (London. mm E ft -^ r I Canone Perpetuo a 4 Voci. thus : Ex. to right. The following shows the entry of all the voices in the canon given above (Ex. 122. but the other clefs are placed from grade order. ED Hypodiapason. from left to right. i860). 100 124. The following shows the entry of : all the voices in the above canon Ex. 148. iTi—r-f f fi 1 - . DOUBLE COUNTERPOINT AND CANON. i-r JT! 1 1 • • r . to the point of the entry of (2) Transfer this in the proper interval to the part which has the consequent. 127. If we wish to escape modulation. bar 4). (4) Add this new progression to the consequent. we preserve the key relationship and materially help the return (see Ex. nant. . if the antecedent modulates towards the subdominant. 130. will show right places. One of the most frequent modulations is to the domiThis employed in a canon and answered at the fifth above would lead us to the key of the second dominant. an accidental will be necessary to make the semitones fall in the The scales already given (on page 54. No difficulty will arise in a canon answered in the fifth above (or fourth below). (3) Continue the antecedent as a counterpoint to the consequent. which 128. and not merely to the eye. bar 6).CHAPTER XIV. as the modulation in the consequent leads us back to the neither will any difficulty arise if original key (see Ex. but requires the accidental in the consequent. and so on to the end of the movement. many excel- . 128. 127. 126) the antecedent does modulate to the dominant if the consequent be at the fourth above or fifth below (see Ex. and the student may easily find examples to which he may refer. To be really effective a canon In ear. HINTS TO THE STUDENT. 129. If the difficulty. canon be at the octave or unison there will be little if the answer is to be strictly at the fourth or fifth. difficult to must be perceptible to the a canon 2 in i this is not lent ensure. what accidentals are necessary. If however instead of the harmony of the second dominant we use the minor chord on the supertonic of the original key. the return from which would prove embarrassing. To compose (i) a canon we proceed ihus : Write the antecedent up the consequent. we must avoid that particular note in the antecedent. with diligence and welldirected practice. these artificial combinations will. . and the young composer who regards them as a means to an end and not the end itself. If the canon be in more than two parts it is generally necessary to let the consequents enter at unequal distances. for the sake of contrast. and vice versa. (2) The continuation of the antecedent above or below the consequent should. if possible. Double counterpoint.I02 DOUBLE COUNTERPOINT AND CANON. (3) Occasional rests. become easy. differ from it rhythmically. On the other hand the closer the canon the easier is it to make it infinite. The following hints may be of assistance to the student : in his efforts to attain desirable clearness in canonic writing (i) Let the consequent follow the antecedent at a moderate distance and before its effect on the ear Too long a lead renders the construcis weakened. letting the consequent be heard between the phrases of the antecedent. In a canon formed on two or more subjects. imitation. (4) 132. endeavour by all means to contrast these subjects. and canon. tion comparatively easy. and the student will be well rewarded who searches for and discovers other examples which abound in the — — Writing instrumental and vocal works of the great masters. are of universal value and importance to the musician. 131. The Appendix includes examples taken from orchestral and pianoforte works. will realise how vastly these studies have expanded his powers. but detracts from its value as a canon. This is too often overlooked. not only in fugal writing of which they are the very essence but in every kind of musical composition. will be an easy and ready means of making the canonic character of a movement apparent. Kreisleriana. Meno mosso. Langsamer. No. . ^m tt=fc ^P=Pf'E1 Lj' ' i f f f ^S?=t 2^ Zj- f^?ff# r ^ m 1^5^ 4-3^ ^g? t^t-- a it r Ss^B "r^"— • Preceding Bass inverted in the fifteenth. EXAMPLES OF DOUBLE COUNTERPOINT. 1. Schumann.APPENDIX. R. 1==F $J J J_ \ ^-y-in ' -d I o Mozart. Coriii in D. Spohr. -zr m=^ -irr- Inversion of Cello part.' . ^^ J J 3. ^rj J =. Overture to " Last Judgment. I. 2. Violin part. Violino Overture to " Die Zau berflo te." i=s Violino I Viola. -ITS- ^E m No.104 No. APPENDIX. m^ Cello. :Sfc J . H'+f Inversion of ist -rrm^=^^ m M into. 4. &c. S »/-^ U I f ^^ . 105 «L^ No.1 . Op.APPENDIX. Pianoforte Sonata. Beethoven. 28. ^TrYrM-^ ^£gf^ ^ ^J J J. J 2. q^ •=p3 =P5: ir^- s=T-rrn ^S ^ . m ^^: E3_ ifeES No.io6 APPENDIX. 3. From Symphony In D. Violino i. Viohno J3^ ^^^=^ m f\T'f -t— I 1^^^ •- t- F=E Viola. Havdn. P^ i - I li=M^ ^F=*M :#*:«: ^ M ES ^PF^ JCIi- i tr 4r J I ^ ^ ^s f=r^^ -• r \f F- i m 'J Cello. J. quadruple counterpoint results. . fe: $ EEE ^ m ZgZZMZ ^ ^=T: :^=A- ^51 ^^E?E Sfe^^^gl^:^^^?^^^^^ •|i:?^?^|i^ I r^ E^i^ft«=5^i ^f^EEt^ ^!ses: s^^^^s ¥P '^& :±t^« M^ -=^ ^'W :=i: M^^^^ ^ =tr^ P=V^^ -F=* ^ m^ EE^ 1^=^ E^ - ^=^ * ^ w=^~ -^=1-fotir s The above may voices are taking part in be looked upon as a Round.XPPEKDIX No. and when all it. Bach. 6 107 —^EXAMPLE OF QUADRUPLE is COUNTERPOINT. S. io8 No. 7.— IMITATION APPENDIX, SION AT Violino I. AT THE SEVENTH BELOW, AND BY.INVER. THE SECOND ABOVE. Mozart, From Sympho ny in D . Viola. jteE Cello e Basso, ^ ivt- ^%-rT-p^^ E^ ^S APPENDIX. 109 No. 8.— CANON 4 IN X. ^ i - ^m -n::/^ Francesco Turini. =t - ^ e y » =t=F TH Chris te fcrp:: ti:^ le - :^^ :i^ son . ^P o ^ e frf^ le i - i-son, lei - son. % e- tJ fo fZ ^rtr-k \ —J L, itt le **: le I - son, e I9 - i - son, The above canon (from Burney's " History,") shows a little variation in the method of exhibiting a close canon. The clefs here are placed as explained in ;par. 123, but the notes on which the various consequents enter are indicated by "The tenor leads a direct (w) instead of figures (see par. iig). Burney says: oil the subject and is answered at the second bar by the soprano in the octave. At the third bar the bass begins a fifth below the tenor, and is answered at the fourth bar by the counter-tenor an octave above the bass." — tio APPENDIX. No. 9.— CANON 4 IN i. J. S. Bach. E as^^ * -^**- ^ U-^-=-id= *# yTT-ry^ ^ rr ^ SS tt=E!t 5^^H «* S ^^^^ K ^ i ^i 43^ U --^^^ "I ! T M"^^. ^=ib^'-r^ ^ I fLT f r L^iU ^* : ^ q=f; ::#*^ S . mr J I I * J * =*z?zi *-i^ iSS #-: ^^r?=r ^ &=^^ Pi* t=?^:^ u r I I I ^ ^^^^^^^^=z^^=^ 4r ^' I ^ ^ ^^ f *. ^=tT=?r7 ^ *=rH«5r ^m ^tis^ il\l::t^ % PPE^^^S -m—0^ -•-^R»*-r ^E^^P^Efe and sent it to you immediately. here. Smart.APPENDIX." - .would like -it. Ill i u -i-d^ =t2=t± -1^— *. I think it better to send you first a specimen. in fulfilment of a jocular promise to write a Viola duet for their mutual performance coft* "The idea of 'the Tenor Duett' presented itself to I would have written it down Science. in Order to ask' you whether I shall continue it in my ¥h€ someway.- •• f ^ £@^ m -f^-i -^ 1 ^UJ "^T TJ ^ K '^ :^ ^^^^^^ b -* a^»- 1 H I i^ V -•- r-^—fl I : ^m ^ ^=^j=j=^ ^ =^ qfi ji ^^^ Em=tf^ ±i: K ^^ to The following canon and Sir letter were sent by Mendelssohn : G. and I felt myself guilty. . but as I do not exactly know in what style you. 10— CANON 2 IN Viola I.) K mf ^ -w—w-~w w ^ B iy=^ ^=^=^ -r> s — '• -1 y rI i I EztzEzzE 5^ fffc^^ p ^p r '/^i i I I ^ T^ ^ r ^fe "^ -F :^ u L r r PPC^ i* W^ 3E^ ^b-^ fr — t^ ^^ ^ =g: rrHrrrrT -rtt i d — i: V. iv.> . / ¥^^ E^.nr ^ "^^ff tt f f fi -I 1 L /rrr-f4^ '' j ^ n ^^^gg 1=4=^ :t^r?: . E^ . Smart. (F. ^m We 2.112 APPENDIX.-r ^ r . 4: rirrrrr Z2Z it ^ Viola M. B.) =?2= Mendelssohn. (Sir G. r-f. . No. i.u^ e^ i^ «=± JU tT. Al i^^^m^^ 5 jah. n> m ^ mW- X ?z= -rile ^ P i! Al le - lu Al X For =1=1= A rJ the ^ jah. " You see in this mamner it goes to eternity. No. Al • le lu - jah. I Lord God *3: S =F--»- lu Al le lu - jah. Smith. ^^ Om =s= K i 6 -•^MK- -w w =t=l=± =t= le .— CANON. 183 1. PER ARSIN ET THESIN AND AUGMENTATION. ^dJ= 32Z po tent reign ^m eth." This Letter was received by Sir George Smart. fuly ii. II.lu -jah. and perhaps you would like to have the duett somewhat shorter. Al le - lu jah. X =pm Al - ie - lu - jah. J. yt I SE '^ t^=^=tl Al-le-lu-jah. . S.APPENDIX. and P=F the :t=t: S d to ZEti the X ther. and i ^ im ^ to fc=fc I QHo :pc ly ¥=^ ^ the . As it was in looked upon also as a specimen of 4 in 2.* From =t: i m fcit iR-^sGlo - H. * ^=^ the zei. ze:t: rp: Fa ther. and Ho ^-=P= =t=t - Ho ly Ghost.be to let the Fa =F - ry ^ be ry P y Fa q=^ lizzac ther. and to the Ho ly Ghost. GJo fy be to and SH M=^- y Glo * ry :?=: . tuRCELL. * This may be . and to the ^ the X Son. and to u fc=?3= the r- * Ho ly Ghost As it MEE^ ZX:. and to m - =t: S the Ho ly Ghost. Service in 'B\f. i: Ho ly Ghost As it was in the be the ^ Ho ly Ghost. . to ^P=* the =Pt -i^i - U to Fa * ther. as there are tw6 antecedents. and to ^ the t5>- Son. la—CANON 4 IN i BY INVERSION. and to M-=^ Son. 4=t: to the and to . Son.114 APPENDIX. the ^rftsfe^sz Glo ^ be -*—«L_6L. and to the Ghost. No. Ghost. although that in the Bass i^ derived from the Tenof by inversion. . world with-out end. . world without world m with-out end. and ev er shall - be. world without U tit Iti?. F=I^ be. is M=± gin-ning. U =F=F shall ^ ± end. »^ in VZix: -3±: is X and -P—*ev - now.gin-ning. world ^^ ^F »^— i ^ ai itzt: q=F £ the be . r r - i^ %*=^ -f^ ^- ^A be. fciFif^ mi^=£i M-:. world with men.APPENDIX. ^a is 3^Z and ev - now. is now. er shall be. r=r^^ ±=^ men. A men. with-out end. =pi: « men. A - . ^^ -t end. er shall feE »^^T=rT: l=:t it utzt=e=t the be - 4—1 and :?3Z ev - V er As was gin-ning. =twas in - nEE t=t the be gin-ning. rr ^ J J i No. 13. ^ ^^^ ^^ ^ P"^ I J L h- -^ J J ^ * =^^ ^^3= K . 14.i isg^i iu i' —rr?^ J If ^^ i r J J .— CANON APPENDIX.Ii6 No. KiRNBERGER. BY AUGMENTATION AND IN CONTRARY. ^ »^^??^ '^ 73 r ^s fr 1 J. MOTION.— CANON BY DIMINUTION AND CONTRARY MOTION. lamb Iamb IXJ^ m^^^ to the slaugh - ttr. No. Andante con Soprano.ter. brought *^ brought as a lamb to the slaugh -ter. .ter." an Oratorio. lamb to the slaugh - ter. »!= 80. F.— CANON 4 IN 2. ' ^ to * the slaugh -ter. jnoto. 15.APPENDIX.* Bridge. fr r a I H lamb c to r the I J slaugh r . ThU Canon has an independent orchestral accompaniment. From ** Mount Moriah. is brought as a iamb to the slaiigh . 117 J. is brought as a lamb to the slaugh - ter. slaugh - ter. -3^ Tbnor. sheep be - fore her shear - ers is dumb. is . . . be and as a sheep be-fore her shear - ers is not . dumb. . .efh ' . H» month.ii8 APPENDIX. He D - pen. HtB mouth. APPENDIX. He IS brought as brought as a l amb to the slaugh . lamb. i^ He is as ^^ a lamb. .ter. a lamb. tamb. is brought as a lamb to the brought as lamb to the slaugh . lamb to the slaugh-ter.120 APPENDIX. aa n lamb. He is brought as a brottgtit. m lamb. ' ai .ter. — CANON ^ IN i. for the fir«4 time. Esq. jj-f^-TTr-^ £=g=pr^-g^ ^^ :^^^iS ^s^^^M ^^ ^^ —From * a Manuscript in possession is of. by whose kind permission it . 121 No.. C. now iSEinted.APPENDIX. i6. . it is believed. Taphouse. Henry Purcell.' ON A GROUND BASS. 122 APPENDIX. . 123 .APPENDIX. ^r- . r r \ r r jta=r=rf&i:^- ^^ #-. |=^U^|Eg^:^.124- APPENDIX. f^j . Chords. —Different kinds of Motion — Rules governing the filling in of Bass Parts — Examples and Exercises. treatment. D r. Minor. PRICE HARMONY BY TWO SHILLINGS. Progressions to Its to to Its to Its Its Its to to sion. — Double Suspensions — Triple Suspensions — Examples and Exercises. Enharmonic — Variety of forms of Minor Scale — Relation of Scales —Diagram of Division of Scales — Key — Relation of Keys — Cycle of Keys —Method of reckoning and naming Intervals —Major. Chord of Dominant of nine Ninth — inversions. — Suspensions — Suspension of nine eight — Inversions — — Examples eight and Exercises. Intervals. CONTENTS. Diatonic and Chromatic — Cadences — Attendant or Relative Keys —Modulation —Exercises. and Diminished Intervals — Table of Diminished Sevenths — Simple and Compound Intervals —Diagram of threefold Division of Intervals — The Construction of Chords — Common Chords —Rules governing the Succession of Common Chords —Examples and Exercises. staine r. — ConcluSubjects included in the study of Harmony . —Analysis of Simple Harmony ^Chorals be Analysed— Chord of the Dominant Seventh — inversions — Their figuring and treatment — False relation — Examples and Exercises. Ewer & Co. . — Chromatic. — Inversion of Chords —Figuring of Chords—Distribution of Parts — Treatment of Leading-Note — Examples and Exercises.Novello. Scales.'s Music Prifners Edited by Dr. Stainer. — Suspension of four three — resolutions and inversions and resolutions — inversions —Dominant Eleventh — resolutions and inversions —ExamSuspended Leading-Note— ples and Exercises. and figuring—Examples and Exercises. — Different Triads — Their nature and treatment — Chords of the Augmented Sixth — Suspension six-four five-three on the Tonic — Six five on Dominant —Neapolitan Sixth — Passing-Notes. The different kinds of Scales : Diatonic. For its dimensions. most serviceable abridgment of Stainer and Barrett's well-known DicFew." Perthshire Advertiser. (Compressed from the Imperial 8vo Edition by K. OPINIONS OF THE PRESS. hardly a word being omitted No other work of the kind conveys so much accurate information within the same compass. " A ference this Gra/>hie.) Shillinq." Illustrated London Nems. EWER & CO." Perth Citizen." Britiih Mail. " The musical learner will find much useful information on the principles o) music and on many technicalities of the art only to be found in high-priced productions. Stainer and Barrett's well-known Dictionary of Musical Terms." The Scotsman. BY DR.'S MUblC PRIMERS. EWER AND CO. It is particularly copious in German terms. Is. and Mr Ross. words that the student can wish explained are absent from this little volume. if not superfluous in themselves." ' " Most of the special information contained in the large volume has been reproduced in this shilling pamphlet. Novelio's series ri Music Primers' shape of an abridgment. M. ' ' " The issue of this abridgment of Messrs. happy thought. Stainer ' and Barrett's dictionary was a decidedly cannot well afford the pric( of the complete work. has executed the business with evident care and intelligence. " Of even more general utility is Musical Terms. " No individual with any pretensions to a musical taste should be without this excellent book of reference. of Messrs." The Musical Times. 6d. A DICTIONARY OF MUSICAL TERMS." Daily Telegraph." " A tionary.' 'That work has ranked as a standard one ever since its publication. BARRETT. " An important addition is made to Messrs. Us pages are crowded with succinct definitions of musical terminology. if any.NOVELLO. STAINER. ROSS. Edited by Dr. which should be in every amateur's library. The present issue exactly meets the wants of the many. Paper Boards. ' in the ' KM. .' Many amateurs LONDON & NEW YORK: NOVELLO. STAINER & WOne A. an embarras des richesses as part of a book of reference for words in common use. " In its condensed form the work contains a mass of information which is rarely to be met with in books of the class.' As a dictionary of relittle volume should be on the table or shelf of every musician. and will be found Athenaum. or rather compression. The little book is the best shilling's worth in all musical literature. the compression having been judiciously made by Mr. useful to those by whom the original is inaccessible. careful and judicious abridgment of the larger work. M. Ross. K. this little book is unquestionably the best dictionary of musical terms in our language. while many others find its varied contents. who has performed the task of reducing it to the slim dimensions of its primer form. which are now becoming of nearly as much use as the Italian. ARGENT.9. I BEETHOVEN—coM^mw^rf.. 6d.. David of Olives in s. 6d.. (in BEETHOVEN. 2 2 6 u Gaspar Becerra A Song Sigurd of . 6d!) 6 . in I.) 6 (Sol-fa. Matthew) Ditto (Abridged as used at St. 3 .) . (Sol-fa. Sol-fa o B flat P. 3 130) i F.. R. SIR JULIUS BENEDICT. I 1 BRIDGE. Pau:l's) The Passion (S. Christmas Oratorio Magnificat BRADFORD... as Thou livedst. 3d. i Priceless Treasure When will God recall my spirit Daniel . 2d.) The Lord is King (Psalm Nineveh 2 2 i LEONARD BARNES. Mount Engedi. 4d. ARMES. The Praise of Music Ruins of Athens . . CANTATAS. BETJEMANN. Mass in JOSIAH BOOTH. BRAHMS. FRANZ ABT. The May Queen (Sol-fa. Passion Music from St. ed. W.) The Woman of Samaria (Sol-fa. js. hast Thou departed o o THOMAS ANDERTON. The Song of the Western Men 6 o 4 i o The Gipsies Endymion 1 o ASTORGA.) The Legend of St. J. 6 6 6 6 Mass in C Communion Service in C Mass in D The Choral Symphony Ditto (the Vocal Portion) Ditto Sol-fa (Sol-fa. now will we praise Thee I J. or. &c. Peter is. BARNETT. No.) International Exhibition Ode (1862) G. Glory.. Barnabas E. Meek. . F.. The Lay of the Bkown Rosary E. Yule Tide The Norman Baron Wreck of the Hesperus (Sol-fa.. i Harvest Cantata God goeth up with shouting God so loved the world God's time is the best (Sol-fa.... J. rockofages(latinandenglish)(s0l-fa. The Fays' Frolic (Female Voices) Springtime s. BRADSHAW. The Lady of Shalott (Female Voices) Ditto St. 97) I Mount Moriah o 6 Boadicea Callirhoe (Sol-fa.) i 2 2 i o 6 o i AGUTTER.) I 2 i W. The Inchcape Rock The Lord's Prayer The Light of Asia o o i DUDLEY BUCK. Stabat W.) Blessing. and Wisdom 1 wrestle and pray (Sol-fa./92I ••• F minor) 2 I 6 CARISSIML Jephthah o . I Young Lochinvar J.. BOYCE. 6d.. ASPA.. RsBEKAH (Sol-fa. MASSES. Destiny CHARLES BRAUN. 4 2 i i Mater BACH. The Choral Fantasia o 4 2 Albano (English) A Calm Sea and a Prosperous Voyage . Out of the Deep (Psalm Mass for Four Voices W. The Song of Jubilee Praise the Lord . 6 6 the Wilderness i i i o o o 6 6 Summer The Golden City The Wishing Stone The Water Fairies The Silver Cloud Minster Bells B. Peter 3 z i *> 6 fi Hezekiah St. I I KAREL BENDL. F.) o 6 6 6 J.Novellas Original Octavo Rditions of ORATORIOS. Mass. i2. .. Jesus. d. 4d. 2s. BYRD.) BARN BY. SIR W. o o ^ The Ancient Mariner The Raising of Lazarus Paradise and the Peri 3 6 4 6 6 o EDWARD BUNNETT. BEXFIELD. John the Evangelist St. gd.. 6 Water-Sprite's Revenge (Female Voices) i o 6 o WILFRED BENDALL.) Thou Guide of Israel Jbsu. d. BRIDGE.) My Spirit was in heaviness LIGHT Everlasting Bide with us A Stronghold sure Be not afraid (Sol-fa. MissA de Sancto (ditto) (ditto) (ditto) (ditto) (ditto) (ditto) (ditto) (Sol-fa. 3 2 IS. STERNDALE BENNETT. Cecilia (Sol-fa. RUDEL . is. The Day of Rest (Female Voices) 6 6 6 6 o 1 : B minor Missa Brevis in a The Passion (S. . 363.4d. C... The Bridal Day J..John) 6 s o 6 M. Israel Restored 6 R. GOODHART. 6 6 2 WILL MAGNIFY ThEE. 6d..) HENRY GADSBY. Requiem Mass 5 o Earl Haldan's Daughter „. is. Sol-fa (Latin and English) 2 5 o o 4 M.) MAUDE CRAMENT. M. ROBERT FRANZ. C minor (Latin and English) Second Mass in D minor Third Mass (Coronation) Fourth Mass in C E. o i I Erl-Kihg's Daughter (Sol-fa. is. is. COWARD. Salamis. Joan op Arc (Sol-pa.) The Shunammite The Two Advents R. o Philippi GLUCK. Voices) 1 The Water-Lily (Male Voices) 6 6 o 6 CH. SiHPONiA Cantata (Psalh NIELS W. 4d. D. 8 o Ditto (Out of Darkness) o 3 The Seven Words of Our Saviour 6 o Daughters of Jerusalem 2 6 Gallia {Sol-fa. F. The Ascension The Epiphany Elysium Ditto (German and Bohemian Words) 3 A. DIEMER. 4d. CUMMINGS. Sol-fa DOSSERT. 6d. Mass St. Orpheus 3 W. GRAUN.) Israel in the Wilderness (Sol-fa. 2 2 2 2 2 is. CHIPP. i W. gd. Mors et Vita (Latin or English) Ditto. St. F. 6d. R. is.) 6 6 6 of Thanksgiving Sleeping Beauty (Sol-fa. G. H. i. of Song o 6 The Paraclete HENRY FARMER.) The Holy City (Sol-pa. The Ludhila Ditto (German and Bohemian Words) Spectre's Bride Ditto (German and Bohemian Words) Stabat Mater Patriotic Hymn Ditto (French Words) Ditto (German Words) Mbsse Solennelle (St.) 2 1 2 8 10 i i i 2 i i 6 6 i i o 6 i H. By THE Waters OF Babylon (Psalm 137) . GOUNOD. Te Deum 2 2 o o o 2 2 I 6 J.. Barney Ditto. FOSTER. IS. Salvator Mundi 2 6 C. is. in E minor ANTONfN DVORAK. Psyche ZiON (Sol-fa. Placida Spring's Message (Sol-fa.) . TsDeum The Desert (Male P. B flat (Latin and English) I 1 HANDEL.. F. CUSINS. 6d.. 6d. 1 G.) MACHILL GARTH. I45) 2 4 2 2 3 o e Ruth (Sol-fa. Lazarus F. GERNSHEIM. T. is. 2 6 G W. d. Troisi&me Messe Solennelle 5 De Profundis (Psalm 130) (Latin Words). edited BY J. is. Budora (A Dramatic Palestine Idyl) '.) is. I i I i NffiNIA FIELICIEN DAVID.. Harvest Cantata (Sol-fa. GRIMM. Alexander's Feast Acis AND Galatea Ditto. Sol-fa 2 i i i o MYLES B.) Alcestis (Male Voices) 4 2 Columbus (ditto) 2 4 2 6 a G FREDERICK CORDER. 6 H. The Bridal of Triermain (Sol-fa. Supplication CARNELL. E.) 2 3d. iiS) s. CHERUBINL Requiem Mass. Lord OF THE Isles o O 6 (Sol-fa. CROTCH.ORATORIOS. New Edition. i o 3 EDWARDS. GARRETT. 6 6 8 6 The Lady of the Isles The Angels of the Bells (Female Voices) Alceste Semele - 2 3 3 o Ditto ditto Sol-fa o The Bonnie Fishwives (ditto) 2 The Passion The Triumph of Time and Truth 3 o o . COWEN. i 2 Praise to the Holiest 6 The Soul's Aspiration G. G..) 2 SIR The Dreah MICHAEL COSTA. W. Passion Service GAUL. a Triumph Song (Male Voices) F.. CRESER. O. E. 5 i GEORGE CARTER. 6d. H. O GoD (FsALU FR. is. The Story of Bethany (Sol-fa.) 6 8 WILLIAM CARTER. DYER. Cecilia) 5 Out of Darkness Communion Service (Messe Solennelle). ditto. 1 3 i o s A Song RuTh I H. (Sol-fa.) gd. J The Crusaders COMALA 2 1 z (Sol-fa.. Arethusa A. ROSALIND The Birth Mass in ELLICOTT.— Continued. &c.. i The Wild Huntsman 6d. Electra of Sophocles 1 6 The Passion of Our Lord (Der Tod Jesu) J.) 2 2 i o o o o Christmas Eve (Sol-fa. I I HALFORD. John's Eve (Sol-fa. DOORLY. 4 Bethany The Redemption (English Words) Ditto. Praise ye the Lord (Psalm 117) .) 2 2 1 6 6 6 6 A. The Fairy Ring H. 2 6 6 HERMANN GOETZ. J. E.) Ten Virgins (Sol-fa. G 6 GLADSTONE. is. GADE. 8d. The Silver Star (Female Voices) HAYDN.. Eric the Dane 3 i LLOYD.) First Mass in B flat (Latin) (Latin and English) Ditto Second Mass in C (Latin) Third Mass (Imperial) (Latin and English) (Latin) Ditto Sixteenth Mass (Latin) The Passion or. T Best Israel in Egypt... The Fairies' Isle (Female Voices) 2 6 LEONARDO Dixit Dominus H. Pocket Edition .. LESLIE. JACKSON. My heart is inditing o 1 i Let thy hand be strengthened Ode on The ways of Zion St. d. L'Allegro 2 Blow ye the trumpet in Zion N. Nala and Damavanti A Song of Victory 4 ' HAMISH MACCUNN. ^ ^ Andromeda Hero and Leander The Song of Balder The Lonobeards' Saga (Male Voices) The Gleaners. JENSEN. KILBURN. St. as. is.. is.. Fair Rosamond {Sol-fa. H.. 3 3 3 3 3 3 o o o o o o B flat The Messiah. JOHNSON. o JENKINS..) The Soldier's Legacy (Operetta) Outward Bound . ° Alcestis O MAY I join the Choir Invisible o GEORGE HENSCHEL. Novello. HEINRICH HOFMANN. The Seasons (Each Season. Cloth 5 H. The Village Fair LONGHURST. is. I cried unto God o o W. Lord Ullin's Daughter (Sol-fa. HANDEL Alexander Balus Hercules Athaliah continued..) The Creation. A. A. H. Elizabeth Thirteenth Psalm C.) 2 Solomon 2 Jephtha 2 Joshua 2 Deborah 2 Saul I Chandos Te Deum i Dettingen Te Deum 1 Utrecht Jubilate O praise the Lor"d with one consent 1 (Sixth Chandos Anthem) Coronation and Funeral Anthems.ORATORIOS. HUSS.— Continued.) edited 3 o o o o by V. Pocket Edition .' Harvest (Female Voices) A Song op Judgment . LAHEE. The First Christmas Morn F. is.. i Pocket Edition 2 Judas MACCABiEUS (Sol-fa. ditto Second Mass in E flat Communion Service. ° ° Lay of the Last Minstrel (Sol-pa. W. o H. The Year D. The Epiphany OLIVER KING. H.) G. 6d.) LISZT. • Cinderella Song of the Norns (Female Voices) Fair Melusima * 4 .). ILIFFE. 2s. Jubilee HEALE. ditto Alma Virgo (Latin and English) Quod in Orbe (ditto) (Sol-fa. o o John the Divine JOHN WILLIAM JACKSON. Seven Last Words Te Deum (English and Latin) Insane et Van^ Cur^ (Ditto) . HUMMEL. edited by Mendelssohn W.. EDWARD HECHT. 2 i 3 i i i i o o o o o o o 6 o 4 ALFRED KING. is. Stabat Mater 2 2 o o o o Israel in Egypt.6d. The Crusaders ^ ° W. KINROSS. &c. edited by V. C. 137) i 1 . EccE Homo C. The Messiah. IS. x Ode 6 H. Sol-fa Songs in a Vineyard (Female Voices) 2 i Ditto. edited by W. Ave Maria (Female Voices) F.) i . Novello 2 i Communion Service. H. FERDINAND HILLER.. 3 6 The Legend op St. ditto.. . HUNT. MACFARREN. Out of Darkness (Psalm 130) 2 6 HENRY Fayre Pastoeel HILES. singly The Feast op Adonis 8 3 8 6 The King shall rejoice Zadok the Priest o o . SWINNERTON HEAP. s. The Creation (Sol-fa. The Messiah.. LEO.. Judas MACCABiEus. Ditto.. SoNos in a Cornfield (Female Voices) . ditto Third Mass in D Communion Service. By the waters op Babylon (Psalm The Naiads (Female Voices) J. First Mass in Esther Susanna Theodora Belshazzar '.) David and Saul (Sol-pa. singly. Or. The Sleeping Beauty (Female Voices) Sol-pa BATTISON HAYNES. Pocket Edition a Samson (Sol-fa. Cecilia's Day o o WARWICK JORDAN. ° ° i May Day (Sol-fa.. . O why hast Thou forsaken me (Psalm 22) Sing to the Lord (Psalm 98) Six Anthems for the Cathedral at Berlin.. J.) PERGOLESI. Jason MACKENZIE. 4 i o o o 3 3 i A.) . 2S. . o Eton The Lotus-Eaters (The Job Choric Song) o 2 i i o DR. Litania de Venerabili Altaris (in E plat) Litania de Venerabili Sacramento (in B flat) F. 6d..) i o Not unto us. gd. John THE Baptist PEACE. 93) B.. Prayer and Praise Third Motet . ROBERTS.) The Rose OP Sharon (Sol-fa.ORATORIOS. z i o o 4 o 4 3 Sol-fa Hear my prayer (s. gd. x Horatius (Male Voices) MENDELSSOHN. PARKER.) Lord. o o o o o The Crusader T. .. MOLIQUE. Ditto . Twelfth Mass (Latin) Ditto (Latin and English) (Sol-fa. PATTISON. 8d.~Conhnued.) The Hundredth Psalm Freedom i o o o o 6 B. M. The First Walpurgis Night (Sol-pa. MEYERBEER.. MOZART. Paul {Sol-pa.. For 8 voices. Cecilia's Hymn op Praise (Lobgesang) (Sol-fa. o i 8 o PROUT. O God (Psalm 43) (S .. The Second Advent E. Sol-pa Judge me. The Martyrdom of St. Missa Assumpta est Maria MiSSA PAPiB MaRCELLI MiSSA Brevis Missa "O Admirabile Commercium" H. Jeremiah 5 . 130) H.) Athalie (Sol-pa.. HERBERT OAKELEY.. Sol-fa . o o W.. Harold x i i I I o o o o 6 6 3 Bartiheus Caractacus The Consecration of the Banner In the Forest (Male Voices) Psyche J. O Lord (Psalm 115) i o St. First Motet O God. H.. Creator Spiritus . . is. 8 voices 2 4 x i i 1 i PARSONS. is.) . V.) De Profundis (Psalm Ode on St.. is. solo and chorus) . MEE. P. .) Why rage fiercely the Heathen .. 3 3 3 The Good Shepherd ROLAND ROGERS. Nebuchadnezzar (Sol-fa.) 2 Elijah (Pocket Edition) i o As the Hart pants (Psalm 42) i o Come. is. 2 2 i 2 o 6 o De Profundis J.l-pa. JOSEPH PARRY. My God. is. Ave Maria (Saviour of Sinners). Day (Sol-fa. W. 6d. Roland's Horn W..) . 3 2 6 R. Honour. L. JOHN NAYLOR.) St. E. .gd. 6d. Deus.) Requiem Mass Ditto (Latin and English) Ditto Ditto. Funeral Ode (Shirley) .. 2 6 REV. Stabat Mater (Female Voices) (Sol-fa. Thb Dream op Jubal The Story op Sayid The Bride (Sol-pa. o The Lord Reigneth (Psalm The Prodigal Son Great is the Lord PALESTRINA. is. MARKULL. Ditto ditto Ditto.. o o o 4 6 6 8 GIRO PINSUTL Phantoms— Famtasmi hell' ombra A. Jonah Splendente te. H. NESVERA.. ijd. 6d. arranged in 4 farts .. Dido and ^neas Tb Dbum and Jubilate in J. A. SIR FREDK.) 8d. &c. LET us SING (Psalm 95) i o WhbnIsraelout op Egypt cAMB(SoL-PA. 6d. E..) Jubilee Ode The Cotter's Saturday Night The New Covenant Veni..) Antigone (Male Voices) (Sol-fa. C. The Kobolds C. Paul (Pocket Edition) a i . The Vision OF Jacob J.. May Day (Sol-fa. 6d.. O Lord. 2s. .. Praise.. PARRY.. Prince Sprite (Female Voices) MARSHALL. Midsummer Night's Dream (Female Voices) o i Blest Pair of Sirens (Sol-fa. MUNDELLA.) . OUSELEY..... H. s. McEWEN.. S. ROCKSTRO.. Ditto Have mercy. a 3 6 Victory of Song (Female Voices) o 6 o 6 2 z . when Thou appearest. Ninety-first Psalm (Latin) Ditto (English) x Damon and Phintias (Male Voices) The Red Cross Knight (Sol-pa.. . H. D READ. DR. Sol-fa Lauda Sign (Praise Jehovah) (Sol-fa. how long wilt Thou forget me Ditto.) Three Motets for Female Voices Son and Stranger (Operetta) LoRELEY (Sol-fa. Second Motet Glory. gd.. Polycarp F.) The Miracles of Christ (Sol-fa. Prometheus Unbound Judith L' Allegro (Sol-fa... is. 3 Hereward Queen Aim^e (Female Voices) Abraham PURCELL. PAINE..) CEdipus at Colonos (Male Voices) To THE Sons op Art (Ditto) Ditto. Elijah (Sol-pa.) The Ancient Mariner The Lay of the Last Minstrel St. IS.. B.. Selection prom a Jubilee Lyric F. d. why. King Thamos First Mass (Latin and English) i i x i x x Seventh Mass in B flat Communion Service in B flat. Man is Mortal (Eight Voices) Festoesanq (Hymns OP Praise) Ditto (MAle Voices) Christus (Sol-fa.. is... PRENDERGAST.. D. ) How lovely are Thy dwellings fair Jehovah. Order (Hymn) Mass in G (Latin and English) (ditto) Mass in E flat Communion Service IN E FLAT Jubilee Cantata preciosa Three Seasons S.) Ode FOR the Colonial and Indian Exhibition Festival Te Deum SCHUMANN. Mass in A plat Communion Service." 2 2 C. The Good Samaritan R. . YOUNG. D. Lord of Hosts The Transient AND the Eternal (Sol-fa. V\r. ditto Song op Miriam (Sol-fa 6d.) The Christian's Prayer God. ^ is. . Troutbeck. 2 6 John the Baptist A.) King Arthur (Soi^fa. The Golden Legend (Sol-fa. Ariadne (Sol-fa.Worshippers THOMAS.) St.„ FERRIS TOZER. ditto Mass in C Communion Service. Mass in C minor CHARLTON T. The Lay of the Bell (New Edition. LEE WILLIAMS. H. each extra.D. { gd. WESLEY. St. THORNE. with red or gilt edges. Cecilia • SPOHR. — Cceli enarrant 1 (Psalm FRANK SAWYER. gd. Thou art my God C. is. GORING The Sun. TAYLOR. Mary Magdalen (Sol-fa.. Heavens ig) declare J. Calvary Fall of Babylon Last Judgment (Sol-fa. is. at is. translated BY THE Rev. The Daughter of Jairus Sol-fa. is.). (S. 6d. J. Narcissus and Echo God IS OUR Refuge (Psalm 46) k ARTHUR SULLIVAN. Jerusalem In Constant George) Joseph) 2 I E.. SAINTON-DOLBY. Soi^fa o X O O 8 Ode to the North-East Wind Ode to the Passions A. Gideon VILLIERS STANFORD. 6d.. 2 2 2 2 I 1 Kino Rent's Daughter (Female Voices) . The Minstrel's Curse The King's Son Mignon's Requiem Paradise and the Peri (Sol-fa. ditto Mass in F Communion Service.) CAMILLE SAINT-SAENS. King Neptune's Daughter (Female Voices) H. C. The Bride of Dunkerron (Sol-fa. STORER.) ROSSINI. gd. (ditto) The Red Kino (Men's Voices) The Song of the Little Baltunq Ditto. The C. gd.) J. SLOMAN.) W. and in CHARLES VINCENT. M. Mass in C Communion Service in C TOASH WALKER. as. The Last Night at Bethany (Sol-fa. is. The Day Dream Lord. ) JOHN STAINER. 6 ALICE MARY SMITH. O 2 O 6 Gethsemane THOMAS WINGHAM. 6d. Day (Sol-fa. STEWARDSON. I 6 WEBER. WAIT. Sol-fa Sec—Continued. is. gd. Mass (Five Solo Voices and Double Choir) 2 I O The Return of Israel to Palestine Hymn to St. 4 Supplication and Praise HENRY SMART. 6 M.. X 6 CHARLES Divine Love o o 6 6 RUTENBER. Stabat Mater (Sol-fa. H. each extra. or 2s. Most of the above Works may be had in paper boards at 6d. ditto Mass in G Communion Service. W. SMIETON.) Ditto.) . SILAS. SOMERVELL.S. The Village Queen (Female Voices) (ditto) The Little Mermaid SHORT. Choruses SCHUTZ. The Tournament J. ROMBERG. SPEER. E. SUCH. In exitu Israel Dixit DoMiNus S.—continued. "In Lowly Guise" New Year's Song (Sol-fa. 2 1 6 The Star in the East 6 SCHUBERT. 4d. Cecilia's VAN BREE.ORATORIOS.) God is our Hope (Psalm 46) CEdipus Rex (Male Voices) The Battle of the Baltic H. W. Troas" J. SVOHR.) WESLEY. Be merciful unto me Advent Hymn. ditto Mass in E flat ^ Communion Service^ ditto Mass in B flat Communion Service. Pilgrimage of the Rose Manfred Faust St. 6d.. R.) The Passion op our Lord BERTRAM LUARD SELBY. M. 6d. WOOD. 3 3 Incidental Music to 6 6 "Helena Mass Mass (S.} 2 Eden * The Voyage of Maeldune Carmen S^culare The Revenge (Sol-fa. or handsomely bound in cloth. Thou art great (Sol-fa. Ode to the West Wind J. Florimel (Female Voices) The Crucifixion (Sol-fa. Mass in D Te Deum (Latin) • 2 CHAS. is. is.) Moses in Egypt B. (English . — . . . . .) . .. . . First Series . . Cloth gilt 4 Irish Melodies . . Irish Melodies. i KING. THOMAS A. Forty-six Illustrations Cloth gilt •Volkslieder Album (Forty Songs) •Ditto . i i MACKENZIE. Bass .." Soprano.. 39 . VARIOUS COMPOSERSEnglish Folk-Songs . .—Twenty Sacred Songs i i LODER. . . . . . . i LISZT— Twenty Songs ' HOOK. . . GEO. . STERNDALE—'Twelve I Songs .. Cloth (Twenty-six gilt Cloth gilt Songs). S. Cloth gilt 'Woman's Love and Life (Eight Songs). . .— Cycle of six Love L}nics .. . 2 2 5 Songs . 31) Eight Love Songs (English. and Tenor . German. Sixteen Songs (Op. . .VOCAL ALBUMS. * . . . .—Twenty-two or Selected Songs (English. Cloth gilt . i ney). R. . . . 83 ELLIOTT. SCHUBERT—Twenty Songs (MezzoI . Cloth . JAMES—Twenty 2 4 These Songs have German and English Words. Irish Melodies 2 . Ditto. . DORA—Twelve Songs . For high low voice.. — Twenty-one ANTONIN — *Sixteen and . A. Twelve Songs for Tenor TwelveSongsforBaritoneorBass Songs (Op. . . . . Morris) DIBDIN. . . DANNREUTHER. and German Words). Eighteen Songs.) . . Op.) Songs I .I 10 I SCHUMANN— 'Songs.. . J. G. . Op. Songs Sop. III. Eighteen A. HENRY—Twelve Songs RANDEGGER— Sacred Songs for PURCELL. Three Books. Op.. 'Seventeen Songs (Vol. . French. CHARLES Songs . The Sunlight of Song. OLIVER— Six Songs (Baritone) 2 . . I. each . each 4 6 8 i . i FRANZ. . . 25 * Liederkreis Folio. 2 BEETHOVEN— * Twenty-six (Vol.—Ten Songs (Robert Burns) . . W. II. . .. . . Second Series. C. 'Twelve Songs (Op. Folio. Rosetti) . 42 .) 2 Folio. . . . . Ditto Little Singers. 2 2 HAYDN—Ten Canzonets HILL.—Twenty Songs . B. . Cloth gilt . (With Portrait. 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THIRTEEN SONGS Tonic Sol-fa ho || S3 TWENTY FOUR (Sop. TWO PART - and Cont.). - 2/6 — — 1/0 . . . . 2/0 TWENTY FOUR (Sop and Cont.). DUETS Book 2 .. 2/6 0/8 2/6 STERNDALE BENNETT. — FOUR SACRED DUETS F. H. COWEN. . . THIRTEEN TWO PART SONGS .. .. Folio THIRTEEN TWO PART SONGS (German and English) - 2/0 4/0 1/0 MOORE. IRISH MELODIES. Duets.. 1/0 SIX DUETS (Sop. and Cont.^ 2/6 — SIX GIRO PINSUTI. SIX E. DANNREUTHER. FIVE TWO-PART SONGS.. 2/6 E. C. SIX — — — TWO-PART SONGS .. TWO PART SONGS. - 2/6 Second Set 2/6 FORD. .. CARL REINECKE. TWELVE CANONS (for Twopart Female Chorus or TWO-PART SONGS 2/6 MYLES SIX SIX Singly, B. FOSTER. 1/0 Two 1/6 Solo Voices) TWO-PART SONGS .. TWO-PART ANTHEMS Threepence each. 1/0 — RUBINSTEIN. EIGHTEEN SONGS TWO PART - 2/6 4/6 BATTISON HAYNES. SIX SIX DUETS (Sop. and Cont.) TWO-PART SONGS .. 2/6 2/6 — H. SMART. NINE SACRED DUETS (Sop. and Cont.) 2/6 — — — OLIVER KING. SIX SCHUMANN. 2/6 DUETS (Sop. and Cont.) THIRTY DUETS lish FIVE VOCAL 2/6 (German and Eng- words) JOHN KINROSS. SONGS OF THE FOREST. Six Two-part Songs Singly, . . . . CHARLES WOOD. SIX TWO-PART SONGS. (or 1/0 For Solo Voices Chorus) Female 2/6 Threepence each. LONDON & NEW YORK: NOVELLO, EWER AND I2/9/9S. CO. ORATORIOS, &c.—Continued. HANDEL Alexander Balus Hbkcules Athaliah Esther Susanna ' '. continued. s. d. HUMMEL. First Mass in Theodora Bblshazzar The Messiah, edited by V. Novello f (Sol-fa, is.) ... The Messiah, DITTO. Pocket Edition ... The Messiah, edited by W. T Best Israel in Egypt, edited by Mendelssohn Israel in Egypt, edited by V. Novello. Pocket Edition IDDAS MACCABiEUS (SOL-FA, IS.) ... Judas Maccab;eus. Pocket Edition SAMSON (Sol-fa, is.) 3 3 3 3 3 3 3 B flat o Communion Service, ditto Second Mass in E flat ° Communion Service, ditto ° Third Mass in D o Communion Service, ditto o Alma Virgo (Latin and English) Quod IN Orbe (ditto) o o 2 i W. H. HUNT. Stabat Mater 2 2 i o o O o H. H. HUSS. Ave Maria (Female Voices) F. St. 2 i ILIFFE. John the Divine 2 o o Solomon Jephtha Joshua Deborah Saul 2 2 2 2 JOHN WILLIAM JACKSON. I o o o cried unto Qod W. JACKSON. The Year D. a 1 ... .; Chandos Te Deum Dettingen Te Deum Utrecht Jubilate PRAISE THE i i 1 o o o o o 8 3 8 JENKINS. Lord with one consent Cloth 5 (Sixth Chandos Anthem) Coronation and Funeral Anthems. Or, singly David AND S'aul (Sol-fa, 2s.) A. JENSEN. The Feast of Adonis , W. JOHNSON. EccE Homo C. The King shall rejoice 2adok the Priest inditing My heart Let thy hand be strengthened is .,. ^ The ways of Zion ^de on St. Cecilia's Day o o o o WARWICK JORDAN. ... 6 Blow ye the trumpet in Zion N. KILBURN. The Silver Star (Female Voices) >L'Allegro ALFRED KING. The Epiphany , HAYDN. The Creation (Sol-fa, is.) The Creation. Pocket Edition • The Seasons (Each Season, singly, is.) 3 i First Mass in B flat (Latin) i Ditto (Latin and English) i Second Mass in C (Latin) Third Mass (Imperial) (Latin and English) i i (Latin) Ditto i Sixteenth Mass (Latin) 2 ^HE Passion or. Seven Last Words ... i Te Deum (English and Latin) o Ihsan^ et Van-e Cur^ (Ditto) ; OLIVER KING. By the waters of Babylon (Psalm The Naiads (Female Voices) o o o o o J. 137) , KINROSS. Sol-fa Songs in a Vineyard (Female Voices) Ditto, 6 o o 4 H. Ditto, Dixit Dominus - LAHEE. LEO. The Sleeping Beauty (Female Voices) Sol-fa LEONARDO BATTISON HAYNES. The Fairies' Isle (Female Voices) ... ... a 6 H. Jubilee HEALE. i H. LESLIE. The First Christmas Morn F. Ode C. 6 G LIS2T. , SWINNERTON HEAP. 2s.) The Legend of Alcestis St. Elizabeth Thirteenth Psalm 3 Fair Rosamond (Sol-fa, C. H. LLOYD. ,^.. EDWARD HECHT. Eric the Dane MAY I join the Choir Invisible 130) ... ... 3 x o o 6 GEORGE HENSCHEL. Out of Darkness (Psalm 2 6 2 Andromeda Hero and Leander The Song of Balder The Longbeards' Saga (Male Voices) .The Gleaners' Harvest (Female Voices) ... HENRY Fayre Pastorel A Song of Judgment HILES. 6 The Crusaders 6 ° o o o W. H. The Village Fair LONGHURST. 2 1 FERDINAND HILLER. Nala and Damayanti A Song of Victory ... • HAMISH MACCUNN. Lay of the Last Minstrel (Sol-fa, ia.6d.)... Lord Ullin's Daughter (Sol-fa, 8d.) G. A. MACFARREN. Songs in 4 i 6 o HEINRICH HOFMANN. Fair a Cornfield (Female Voices) ... Melusina Cinderella Song of the ^ 4 ... Norns {Female Voxcbs) i May Day (Sol-fa, 6d.) The Soldier's Legacy (Operetta) Outward Bound 2 I 6 o 6 I o o ORATORIOS, &c.— Continued. A. C. MACKENZIE. The Dream OF JuBAL TH5,ST055f OF Sayid JasoK ... b. d. 2 3 2 i 6 6 E. MUNDELLA. Victory op Song (Female Voices) DR. Jeremiah JOHN NAYLOR. J. THE Bkide (Sol-fa, 8d.) The Rosb of Sharon Sol-fa, 2b.) JuBiLBB Ode The Cottei^*s Saturday Night The IfBW Covenant ( ' o o 6 o 6 5 NESVERA. >/ ... 2 2 i De Profundis HERBERT OAKELEY. Selection from a Jubilee Lyric Veni, Crsatcir Spiritus z o 6 F. \y. RoXiAND's MARKULL. 2 REV. SIR FREDK. OUSELEY. The Martyrdom of St. Horn Polycarp ... , ... F. E. Prince Sprite (Female Voices) J. MARSHALL. 2 i • 6 o R. P. PAINE. The Lord Reigneth (Psalm 93) The Prodigal Son H. MEE. Great is the Lord HoRATius (Male Voices) MENDELSSOHN. PALESTRINA. MissA Assuupta est Maria MissA^APA Marcelli MissA Brevis Elijah (,Sol-fa, is.) 2 o Elijah (Pocket Edition) i o i o As THE Hart PANTS (Psalm 42} ... i o Come, let us sing (Psalm 95) When Israel OUT OF Egypt CAME (Sol-fa, gd.> i o i o Not unto us, O Lord (Psalm 115} St. Paul (Sol-ja, IS.) St. Pa,ul (Pscket Edition) ' H. The Kobolds W. PARKER. , 2 i ... ... Hymn op Praise (Lobgesano) (Sol-fa, is.) Lord, how long wilt Thou forget me Ditto, i i i C. H. H. PARRY. o De Profundis (Psalm X30} o Ode on St. Cecilia's Day (Sol-fa, is.) o Blest Pair of Sirens (So£-fa, 8d.) o Ajax and Ulysses 4 „ Sol-fa ... Hear Uy prayer (s. solo and chorus) ditto ... DXTTo „ Ditto, Sol-fa Lauda S'ion (Praise Jehovah) ( Sol-fa, gd.) ... The First Walpurgis Night (Sol-fa, is.) ... Midsummer Night's Dream (Female Voices) ... Athalie (Sol-fa, is.) Antigone (Male Voices) (Sol-pa, IS.) ... Man is Mortal (Eight Voices) Festgesang (Hymns OF Praise) Ditto (Male Voices)' ,. Ghristus (Soc-FA, 6d.) Three Motets for Female Voices Son and Stranger (Operetta) LORELEV (SoL-FA, Gd.) CEdipus at Colonos (Male Voices To the Sons of Art (Ditto) Ditto, Sol-fa Judge me, O God (Psalm 43) (Sol-fa, i^d.) WHY rage fiercely THE HeATHEH My God, why, O why hast Thou forsaken me (Psalm 22) Sing to the Lord (Psalm 98) Six Anthems for the Cathedral at Berlin. For S voices, arranged in 4 farts ... Ave Maria (Saviour of Sinners). 8 voices - Prometheus Unbound Judith o 4 L'Allegro -0 o 2 i i 3 Eton z 4 i i i o o o o DR. JOSEPH PARRY. Nebuchadnezzar (Sol-^fa, is. 6d.) B; PARSONS. PATTISON. gd.) o o o The Crusader T. M. id i o 4 I o O o 3 May Day (Sol-fa, 6d.) The Miracles of Christ (Sol-fa, The Ancient Mariner The Lay of the Last Minstrel St. 3 i A. L. John THE Baptist PEACE. 6d.) o o O PERGOLESI. Stabat Mater (Female Voices) (Sol-pa, 4 6 GIRO PINSUTI. Phantoms— Fantasmi nell' ombra A. H. D. PRENDERGAST. The Second Advent E. 6 o 8 o z 8 o o o o PROUT. MEYERBEER, Ninety-first Psalm (Latin) (English) Ditto i i Damon and Phintias (Male Voices) The Red Cross Knight (Sol-fa, 2s,) The Hundredth Psalm Freedom B. MOLIQUE. 3 Abraham Hereward Queen Aim^e (Female Voices) MOZART. King TitAMos PURCELL. o o 6 Seventh Mass in B flat Communion Service in B Twelfth Mass (Latin) First Mass (Latin and English) flat. Ditto ... x i .1 Dido and Mveas Tb Deum and Jubilate in D J, F. H. READ. Ditto (Latin and English) (Sol-pa, gd.) Requiem Mass Ditto (Latin and English) Ditto Ditto, Sol-fa ... Litania de Venerabili Altaris (in B flat) LiTANiA DE Venerabili Sacramento (in B FLAT) i i i i i i I Harold Bai^timeus o o 6 Caractacus The Consecration of the Banner In the Forest (Male Voices) Psyche J. ... V. S. ROBERTS. I ... ... 6 3 3 3 Jonah SPLENDENTE TE DeuS. FirST MoTET God, when Thou apfearest. Ditto Have mercy, O Lord. Second Motet Glory,'Honour, Praise, Third Motet O o W. ROCKSTRO. O o 3 The Good Shepherd Prayer and Praise ... ... ROLAND ROGERS. . . . . . .1^ Asw/h.