Playable BooksREADING EDITIONS
Fux, Gradus ad Parnassum in English

Johann Joseph Fux · section 13 of 32

Second species in four voices

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Second lesson

On minims against a semibreve

Here it is necessary to recall what we said above about this species of counterpoint in three voices. All of it must also be observed in this four-voice composition. There is no other difference than that there the two minims had to agree with two semibreves, whereas here they must agree with three. In other respects, what was said about note-against-note composition in four voices must be observed, as far as the narrow constraint of this species permits. Proceed to the practice examples.

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Fig. 183 · Play this example in the reader ▶
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Fig. 184 · Play this example in the reader ▶
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Fig. 186 · Play this example in the reader ▶

Joseph. I find this species of counterpoint full of difficulty, and none has seemed more difficult to me thus far, so that I could not in any way carry through the penultimate measure under that rule.

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Fig. 187 · See it in the reader

Aloysius. That is so. But the difficulty of this matter arises from the obligation to place two minims against three semibreves, established for no other purpose than that you may acquire the knowledge of combining them and become careful, circumspect, and attentive in constructing concordances. It is therefore not surprising that in certain cases no means of proceeding can be found. Nor will it occur in any kind of free composition that so long a series of measures must be extended under this rule. For these lessons were devised for the sake of exercise, not practical use. Just as someone who knows how to read no longer practices spelling out syllables, so the species of counterpoint are prescribed only for learning. I entrust the examples in the other modes to your study at home.