The art of counterpoint and its application as a decorative by C. H. Kitson

By C. H. Kitson

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10. No note of the Counterpoint maybe immediately repeated at the same pitch. The leading note must not be doubled either on the or second minim of the bar 11. 4- first SECOND SPECIES 12. A note TWO PARTS IN 45 not be chromatically altered in the same may bar r^ 13. In this Species it is well to avoid the repetition of a melodic formula for more than two successive bars ; a sequence having at least two bars as the limit of the formula is always good. In a more complicated exercise the student should use his own discretion.

Here there is no character- effect of con- z= can only imply COUNTERPOINT TWO PARTS IN and under modern conditions it has been catalogued as a chrowithout necessarily producing is, it can be used matic triad, that modulation. In (3) D is another case of an chord implied (ft) in modern times as chromatic. g: which has been catalogued When the bass submediant, the See minor seventh may bear a first to the inversion. (3). theorists say that in any other case the minor seventh should be regarded as the fifth of the relative major, and a modulation be made to that key Modern A minor.

J J==b Inelegant. , is felt to be unessential. Another concord taken by leap may proceed to a third concord by conjunct or disjunct movement, the selection depending upon the previous and succeeding movement. The best Second Species Counterpoint is that in which conjunct movement is judiciously varied by the use of occasional leaps. Generally speaking, the leap of the major sixth should be sparingly used, and the notes forming the interval should be The leap of a minor sixth may portions of the same harmony.

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