{ "schemaVersion": 1, "version": "ste100", "label": "Simplified English", "status": "Draft adaptation informed by ASD-STE100 Issue 9. Full vocabulary and rule compliance has not been verified.", "notes": [ { "block": "64-2", "text": "The English source calls the third note consonant here, but the adjacent blocks call it dissonant. Both adaptations preserve this inconsistency." } ], "sourceSha256": "dafd0e6983d908f2324b4de9fb5cc51196ac711c37c56e990f0fd6a1c8c051f7", "scope": "All 777 English reading blocks. Source notation, labels, lyrics in the scans, and editorial notes retain their original wording.", "blocks": { "intro-43-h2": "Dialogue.", "intro-43-1": "Josephus. I have come to learn the rules and principles of music from you, respected teacher.", "intro-43-2": "Aloysius. Do you want to learn musical composition?", "intro-43-3": "Joseph. Yes, I do.", "intro-43-4": "Aloysius. The study of music is an immense sea. Even a life as long as that of Nestor cannot complete it. You propose difficult work, a burden heavier than Mount Etna.\n\nChoosing a way of life is difficult. A good or bad choice affects the rest of your life. Consider music with great care before you decide to study it.\n\nMusicians and poets are born with their gifts. Think about your childhood. Did a strong natural impulse draw you toward this study? Does the pleasure of harmonious music move you deeply?", "intro-43-5": "Joseph. It moves me very deeply. Before I could reason fully, an unexplained passion directed all my thoughts and attention toward music. That strong desire to learn still carries me along, almost against my will. Sweet melodies seem to sound in my ears day and night. I have no reason to doubt my calling.\n\nThe amount of work does not discourage me. With help from nature, I trust that I can overcome it without difficulty. An old man once told me that study is pleasure rather than toil.", "intro-44-1": "Aloysius. Your natural inclination gives me great pleasure. I will raise one more difficulty. If you resolve it, I will accept you as a pupil.", "intro-44-2": "Joseph. Speak freely, respected teacher. I am certain that neither this reason nor any other will make me abandon my plan.", "intro-44-3": "Aloysius. Do you want this way of life because you expect riches and many possessions? If so, believe me and change your plan. Apollo rules Parnassus, not Plutus. Those who strongly desire wealth must seek it by another route.", "intro-44-4": "Joseph. Not at all. My only purpose is love of music itself, without any desire for profit. My teacher often advised me to be content with a modest life. We should seek virtue, reputation, and a good name more than wealth. Virtue is its own reward.", "intro-44-5": "Aloysius. I am very glad to find a young man whose outlook agrees with mine. Do you know all the material in the preceding book? It covered intervals, the division of consonances and dissonances, the kinds of motion, and the four rules.", "intro-44-6": "Joseph. As far as I know, I understand all those things.", "intro-44-7": "Aloysius. Let us begin the work with God himself, thrice greatest, the source of all knowledge.", "intro-44-8": "Joseph. Before the lessons begin, may I ask what counterpoint means? I hear this common word frequently from experts and from people who know nothing about music.", "intro-44-9": "Aloysius. That is a good question. Counterpoint will be the main subject of our study and work. In ancient times, people used points instead of modern note shapes. They called composition with points against points counterpoint.\n\nThe name remains in use, although note shapes have changed. Counterpoint means composition made according to the rules of the art. As a genus, counterpoint contains several species. We will study them in order. Let us begin with the simplest species:", "45-h1": "Exercise I.", "45-h2": "First lesson.", "45-h3": "Note against note.", "45-2": "Joseph. You answered my first question. Now explain the first species of counterpoint: note against note.", "45-3": "Aloysius. This is the simplest composition for two or more voices. All notes have equal duration. All intervals between the voices are consonances. You can use any note value, but all values must be equal. We will use semibreves to make these exercises easier.\n\nWith help from God, start with two voices. Use a cantus firmus as the basis. You can compose it yourself or take it from a chant book. For example:", "45-4": "Put a consonance above each note of the cantus firmus. Follow the motion rules at the end of the previous book. Use mainly contrary or oblique motion to reduce errors. Use more care with similar motion. It has a greater risk of error.", "45-5": "Joseph. I understand those rules. But you divided consonances into perfect and imperfect consonances. Must we use them differently?", "46-1": "Aloysius. I will explain their differences later. Here, follow the motion rules and use more imperfect consonances than perfect consonances. Otherwise, you can use either kind. But the first and last intervals must be perfect consonances.", "46-2": "Joseph. Why must we use more imperfect consonances? Why must the first and last intervals be perfect consonances?", "46-3": "Aloysius. These questions come before their usual place. I will explain only enough to avoid confusion. Imperfect consonances give richer harmony. I will explain the reason later. This simple species for two voices sounds empty with too many perfect consonances.\n\nThe beginning represents perfection. The ending represents rest. Imperfect consonances cannot supply that perfection or complete the ending. Therefore, use perfect consonances at both ends.\n\nFor the penultimate note, use a major sixth when the cantus firmus is below. Use a minor third when the cantus firmus is above.", "46-4": "Joseph. Is that all we need for this species?", "46-5": "Aloysius. No, but these rules are enough to start. You will learn the others through corrections. Use the cantus firmus as the basis. Write counterpoint above it in the soprano clef. Follow the rules already explained.", "46-6": "Joseph. I will try.", "47-1": "Aloysius. Your work is correct and careful. Why did you put numbers above both the soprano and the alto?", "47-2": "Joseph. The numbers above the alto identify the consonances. They help me check the motion between intervals. The soprano numbers identify the notes in order. They show that I followed the rules deliberately.\n\nThe first note forms a fifth, a perfect consonance. From notes 1 to 2, I used oblique motion from a fifth to a third. Any of the three motions would be permitted. From notes 2 to 3, I used similar motion between thirds. Any motion is permitted between imperfect consonances.\n\nFrom notes 3 to 4, I used contrary motion from a third to a fifth. The rule requires contrary motion from an imperfect consonance to a perfect consonance. From notes 4 to 5, I used permitted similar motion from a perfect consonance to an imperfect consonance. From notes 5 to 6, I used contrary motion from an imperfect consonance to a perfect consonance. From notes 6 to 7, I used oblique motion.\n\nFrom notes 7 to 8, I used permitted similar motion between imperfect consonances. From notes 8 to 9, both consonances are imperfect, so any motion is permitted. The same rule applies from notes 9 to 10. Note 10 is penultimate and forms a major sixth because the cantus firmus is below.\n\nFrom notes 10 to 11, I used contrary motion from an imperfect consonance to a perfect consonance. The last note forms a perfect consonance, as required.", "48-1": "Aloysius. Your reasoning is correct. Memorize the three motions and four rules to support further progress. Leave the cantus firmus in the alto. Write the tenor counterpoint below it. Measure consonances downward from the cantus firmus, instead of upward as before.", "48-2": "Joseph. That seems more difficult.", "48-3": "Aloysius. Other pupils also find this difficult. Remember to measure each consonance downward from the cantus firmus to the lower voice.", "48-4": "Joseph. Why did you mark the first two notes as errors? I began with a fifth, a perfect consonance. Then I used similar motion to a third. The rule permits any motion from a perfect consonance to an imperfect consonance. Please explain.", "48-5": "Aloysius. You had not yet learned this rule, so the first error is not your fault. The counterpoint must use the same mode as the cantus firmus. Its beginning and ending show the mode on D, la, sol, re. You began on G, sol, re, ut, outside that mode. I replaced the fifth with an octave to keep the correct mode.", "49-1": "Joseph. I understand the first error. Why did you mark the second note?", "49-2": "Aloysius. The error is between the second and third notes, not between the first and second. You used similar motion from a third to a fifth. The rule requires contrary motion from an imperfect consonance to a perfect consonance. Keep the second note on the lower D, la, sol, re. Oblique motion then produces a tenth. The following tenth to fifth uses contrary motion, as required.\n\nBeginners make errors, and practice helps. The rest is correct. You correctly used a minor third before the final note because the cantus firmus is above.", "49-3": "Joseph. Why is similar motion forbidden from an imperfect consonance to a perfect consonance? The reason will help me remember the rule.", "49-4": "Aloysius. Two fifths occur in succession. One is explicit, and the other is hidden. Diminution reveals the hidden fifth, as this example shows.", "49-5": "A skilled singer can add diminution, especially when singing alone. The same explanation applies to similar motion from an octave to a fifth. Diminution produces two successive fifths, as the next example shows.", "50-1": "Fill the leap of a fifth with passing notes. Two fifths then appear. One was previously hidden. This shows that the rules have reasons.", "50-2": "Joseph. I understand, and I am impressed.", "50-3": "Aloysius. Repeat this lesson through the natural modes within the octave. You started on D. Continue with E, F, G, A, and C.", "50-4": "Joseph. Why did you omit B between A and C?", "50-5": "Aloysius. B does not have a consonant fifth. Therefore, it cannot form a mode here. I will explain further later. See this example.", "50-6": "This fifth contains two whole tones and two semitones. It is a false, dissonant fifth. A consonant fifth contains three whole tones and one semitone, as Book One explained.", "50-7": "Joseph. Can a flat on the lower note or a sharp on the upper note make this fifth consonant?", "50-8": "Aloysius. Yes, but the fifth would then be outside the diatonic genus. The result would be a transposed mode, not a natural mode. We are studying only natural modes now. We will study transposed modes later.", "51-1": "Joseph. Do these modes differ?", "51-2": "Aloysius. Yes, greatly. Different semitone positions in each octave produce different melodic patterns. We will study this later. Now write counterpoint above this cantus firmus on E.", "51-3": "That is correct. Now put the cantus firmus above and write the counterpoint below it in the tenor.", "51-4": "Joseph. Did I make another error? If two voices are difficult, how will I manage more voices? What does the crossed line between notes 6 and 7 mean?", "51-5": "Aloysius. You had not yet learned this rule. Practice will prepare you for more voices. The saying warns against mi against fa, the devil in music. From notes 6 to 7, you leapt from fa to mi by a major fourth, or tritone.\n\nThis interval is difficult to sing and unpleasant to hear. Do not use this leap in counterpoint. Now continue from the mode on E to the mode on F.", "52-1": "This is correct from beginning to end.", "52-2": "Joseph. You put the cantus firmus in the tenor this time. Does that change anything?", "52-3": "Aloysius. This helps you learn the different clefs. Use neighboring clefs to distinguish simple consonances from compound consonances more easily. Now write bass counterpoint below the cantus firmus.", "52-4": "This is correct. Why did the counterpoint cross above the cantus firmus from notes 4 through 7?", "52-5": "Joseph. Otherwise, I would have needed continuous similar motion there. The melody would have been less graceful.", "52-6": "Aloysius. You followed the rules carefully. During the crossing, you correctly treated the cantus firmus as the lower voice. You measured the consonances above it. Now continue with the mode on G.", "53-1": "Joseph. I worked carefully, but you marked two errors. They are between notes 9 and 10, and between notes 10 and 11.", "53-2": "Aloysius. You have not yet learned these rules. Notes 9 to 10 leap by a major sixth. This is forbidden because counterpoint must be easy to sing. Notes 10 to 11 move from a tenth to an octave. The lower voice rises and the upper voice descends by step.\n\nThe Italians call this octave Octava Battuta, and the Greeks call it Thesis. It is forbidden because it occurs on the downbeat. But I have found no reason for treating these examples differently. Consider the octave in this", "53-3": "example, which is accepted,", "53-4": "while the following example is rejected:", "53-5": "Both examples reach the octave by contrary motion. A unison reached in the same way is different,", "53-6": "as in this progression from a third to a unison:", "53-7": "The unison has a ratio of equality. Its sound almost disappears because the voices merge. In this species, use it only at the beginning or the end.", "54-1": "You can use or avoid the battuta octave described above. I consider the difference small. But do not let the voices converge by leaps from a more distant consonance into an octave. This also applies to compositions with several voices. For example:", "54-2": "This warning applies more strongly to a unison. For example:", "54-3": "In eight voices, such leaps can be difficult to avoid. This applies especially to basses and voices that replace them. I will explain this later. Now put the counterpoint of the last example in the lower voice.", "54-4": "Joseph. What does NB mean on the first note of the counterpoint?", "54-5": "Aloysius. A leap from a unison to another consonance is usually unsuitable. A similar leap into a unison is also unsuitable. Here, the leap belongs to the cantus firmus, which cannot change. Therefore, we must accept it. In free composition, the fixed-chant exception would not apply.\n\nWhy did you put a sharp on note 11? This is unusual in the diatonic genus.", "55-1": "Joseph. I wanted a sixth there. I learned that fa tends downward and mi tends upward. Here, the progression from the sixth to the third rises. I added a sharp to strengthen that movement. F natural at note 11 would also conflict with F sharp at note 13.", "55-2": "Aloysius. That is a good observation. Continue with the two remaining modes, A and C.", "55-3": "The last two examples show that you understand this species. We will now study the second species.", "56-h1": "Exercise I.", "56-h2": "Second lesson.", "56-h3": "The second species of counterpoint.", "56-1": "We are using duple time. Each beat or measure has two equal parts. The lowering of the hand is the thesis. The raising of the hand is the arsis. We will use these terms in this exercise.\n\nSecond species puts two minims against one semibreve. The note on the thesis must be consonant. The note on the arsis can be dissonant if it passes by step between the adjacent notes. If it moves by leap, it must be consonant.\n\nIn this species, dissonance occurs only through diminution. It fills the space between two notes a third apart. For example:", "56-2": "The inserted note can be consonant or dissonant. It only needs to fill the space between the notes a third apart.", "56-3": "Joseph. Do the motion and progression rules from first species still apply?", "56-4": "Aloysius. Yes, except in the penultimate measure. With the cantus firmus below, use a fifth followed by a major sixth. With the cantus firmus above, use a fifth followed by a minor third. The example shows this.", "57-1": "Plan the ending before you start to write. This makes the work easier. Use the earlier cantus firmi and proceed step by step.", "57-2": "Joseph. I will try. Please be patient with errors because I am still uncertain.", "57-3": "Aloysius. Do your best. Corrections will help you understand.", "57-4": "Joseph. You marked the first notes of measures 9 and 10. I do not understand either error. Both progressions use contrary motion from an imperfect consonance to an imperfect consonance.", "57-5": "Aloysius. Your reasoning follows the rules already given. Both errors require one new rule. An intervening leap of a third cannot make successive fifths or octaves acceptable. The short arsis note and small interval do not sufficiently change the sound. The ear still hears the successive fifths or octaves. Examine the exercise from measure 8.", "58-1": "Remove the intervening arsis note. The progression then has this form.", "58-2": "Apply the same rule to octaves.", "58-3": "A larger intervening leap works differently. A fourth, fifth, or sixth makes the first thesis note less prominent against the next thesis note. In this octave example, the intervening fourth makes the succession acceptable.", "59-1": "The leap of a fourth also makes measures 3 to 4 acceptable in your exercise. Without the intervening note, the progression would have this form.", "59-2": "That progression breaks the rule requiring contrary motion from an imperfect consonance to a perfect consonance. The leap of a fourth removes the error, as shown here:", "59-3": "Now correct the preceding exercise.", "59-4": "You understand the rules so far. Before writing the counterpoint below, learn two useful options. You can replace the first note with a rest of half a measure.\n\nThe voices can become too close for a suitable contrary motion. In that case, use a leap of a minor sixth or an octave. The minor sixth is permitted. See these examples:", "60-1": "Now write the counterpoint below in the preceding exercise.", "60-2": "Use all the cantus firmi from first species. Complete the remaining five modes with counterpoint both above and below.", "60-3": "Joseph. You prescribed a fifth on the first note of the penultimate measure when the counterpoint is below. But in this mode, that fifth is dissonant because of mi against fa. I used a sixth instead.", "61-1": "Aloysius. That is correct. Continue the exercise in the other four modes.", "62-1": "You did this well. Knowledge requires effort. Repeated drops hollow a stone, although each drop has little force. In the same way, study requires continued practice. Work every day.\n\nConsider the following measures as well as the measure you are writing.", "63-1": "Joseph. That is true. I needed to look one or two measures ahead before I could choose suitable notes.", "63-2": "Aloysius. Continue to work carefully and persistently. Do not let difficulty stop you. Do not let confidence in your knowledge reduce your effort. Understanding will gradually increase.\n\nWe must also consider triple time, with three notes against one. A few examples will explain it. A separate lesson is not necessary.", "63-3": "The middle note can be dissonant because all three notes move by step. If any of these notes leaps, all three must be consonant, as explained earlier.", "63-h1": "Exercise I.", "63-h2": "Third lesson.", "63-h3": "The third species of counterpoint.", "63-4": "The third species uses four semiminims against one semibreve. Consider five consecutive semiminims that move by step, up or down. The first and third must be consonant. The second can be dissonant. The fourth can be dissonant if the fifth is consonant. See the examples:", "64-1": "There is a first exception. If the second and fourth notes are consonant, the third can be dissonant. See the following examples:", "64-2": "Here the third note in each example is consonant. This is called diminution of the leap of a third. Reduce the examples to their basic form to understand this:", "64-3": "The third note, the dissonance, fills the leap of a third. It fills the space between the second and third notes of the reduced form. This space always permits diminution with an intervening note.", "64-4": "The second exception is the changed note. The Italians call it Cambiata. The second note is dissonant and leaps to a consonance. See the examples:", "65-1": "Strictly, the leap of a third should occur between the first and second notes, instead of the second and third. The second note would then form a consonant sixth:", "65-2": "Diminution between the first and second notes would give this result:", "65-3": "This species does not permit fusae. Authoritative masters therefore accept the first example, with a seventh on the second note. Perhaps its melody is more graceful.", "65-4": "Finally, consider the penultimate measure, which is usually more difficult than the others. When the cantus firmus is below, arrange it as follows:", "66-1": "When the cantus firmus is above, arrange it as follows:", "66-2": "Use these points together with the earlier species rules. This species should then be manageable. Always consider the following measure carefully to avoid difficulties. Begin with all the cantus firmi from the first lesson, in their given order.", "68-1": "Aloysius. Why did you use flats in some places? These signs are not customary in the diatonic genus that we are using.", "69-1": "Joseph. Without them, mi against fa seemed likely to produce a harsh relation. I think the diatonic genus remains intact. Necessity introduced these flats as accidental changes, not substantial changes.", "69-2": "Aloysius. Your observation is correct. The same reason sometimes requires sharps. Judge carefully where and when to use them. Your examples show sufficient understanding of this species. To keep this discussion short, study the remaining modes, G, A, and C, privately. We now begin:", "69-h1": "Exercise I.", "69-h2": "Fourth lesson.", "69-h3": "The fourth species of counterpoint.", "69-3": "This species uses two minims against one semibreve. The minims have the same pitch and are joined by a curved line. The first falls on the arsis and the second on the thesis. This species is called Ligatura, or Syncopation. It can be consonant or dissonant.", "69-4": "In a consonant ligature, both minims are consonant, on the arsis and the thesis. See the examples.", "69-h4": "Consonant ligatures.", "69-5": "In a dissonant ligature, the first note, on the arsis, is consonant. This first note must always be consonant. The second note, on the thesis, is dissonant. See the example.", "70-h1": "Dissonant ligatures.", "70-1": "These dissonances occur substantially on the thesis. They do not occur accidentally through diminution, as in the earlier species. They cannot please the ear by themselves. Their effect depends on the consonance immediately after them, into which they resolve. We must therefore discuss:", "70-h2": "The resolution of dissonances.", "70-2": "A tied note delays the following note. It is like a prisoner who is then released. Therefore, dissonances must always move down by step to the nearest consonance. See the example:", "70-3": "Remove the delay. The example then becomes:", "71-1": "Remove the delay to identify the required resolution. It is the consonance on the thesis of the following measure. With the cantus firmus below, a second resolves to a unison. A fourth resolves to a third, and a seventh to a sixth. A ninth resolves to an octave.\n\nThis principle forbids a ligature from a unison to a second, or from an octave to a ninth. See the examples:", "71-2": "Remove the delay. The first example gives two consecutive unisons. The second gives two consecutive octaves:", "71-3": "The result is different with a third moving to a second, or a tenth moving to a ninth:", "72-1": "These cases are correct because they remain valid when the delay, or ligature, is removed:", "72-2": "We have examined the permitted dissonances and their resolutions with the cantus firmus below. Now consider the permitted dissonances and their resolutions with the cantus firmus above.", "72-3": "Here a second can resolve to a third. A fourth can resolve to a fifth. A ninth can resolve to a tenth. For example:", "72-4": "Joseph. Why did you omit the seventh? Is it unavailable when the cantus firmus is above? Please explain why.", "72-5": "Aloysius. I omitted the seventh deliberately. The main reason is the authority of the classical masters, whose practice deserves great weight. Almost none of them used a seventh resolving this way to an octave.", "73-1": "An octave might seem too perfect to give sufficient harmony to a seventh that resolves into it. But the masters often resolve an inverted seventh, a second, to a unison. The unison is the most perfect consonance and supplies even less harmony. I therefore think we should follow the established practice of authoritative masters. Examine this seventh, inverted to a second and resolved to a unison:", "73-2": "Joseph. Before the exercise, may I ask whether a dissonant delay, or ligature, can also ascend? These examples seem to follow the same reasoning:", "73-3": "Aloysius. This question is harder than the Gordian knot. As a beginner, you cannot yet understand it. I must explain it elsewhere. Remove the delay, and the ascending and descending thirds seem equivalent. There is a difference, which I will explain in its proper place.\n\nFor now, follow my instruction: resolve every dissonance down to the nearest consonance. With the cantus firmus below, the penultimate measure must have a seventh resolving to a sixth. With the cantus firmus above, it must have a second resolving to a minor third. Then proceed to a unison.", "74-1": "Joseph. Must every measure have a ligature?", "74-2": "Aloysius. Yes, wherever possible. Sometimes a measure cannot contain a ligature. Use untied minims until a ligature becomes possible again. Now practice ligatures.", "74-3": "You did well. But why did you omit the ligature in measure five? A fifth after the third could start it. Stay on the same staff line to obtain another ligature, a sixth, on the following thesis. I said to use every opportunity.", "74-4": "Joseph. I could have done that, but omitted it deliberately to avoid irritating repetition. I had just used the same ligatures in measures three and four.", "74-5": "Aloysius. That was a prudent choice. The melodic line and graceful progression also deserve considerable attention. Continue.", "75-1": "Aloysius. These examples are sufficient for now. Ligatures greatly enrich harmony. Use them with the cantus firmi in the remaining three modes. Find other cantus firmi and practice this species extensively. You cannot practice it enough.", "76-1": "The next species requires grace. The ligatures already discussed can also take other forms. Their basic structure remains unchanged, but the harmony moves faster. For example:", "76-2": "The first and third cases show the basic forms. The following versions, marked “the same,” vary the melody or motion. A ligature can also be broken as follows:", "76-3": "The next species sometimes permits two fusae. Place them in the second and fourth parts of the measure. Never place them in the first and third parts.", "76-4": "With these points understood, we begin:", "76-h1": "Exercise I.", "76-h2": "Fifth lesson.", "76-h3": "The fifth species of counterpoint.", "76-5": "This species is called florid counterpoint. It should bloom like a flower garden. Use varied ornaments, graceful melody, easy motion, and a pleasing variety of note forms. Arithmetic division uses numeration, addition, subtraction, and multiplication. Similarly, this species combines the preceding counterpoint species.\n\nThe only new advice concerns graceful melody. Never forget to give it the greatest care and effort.", "77-1": "Joseph. I will do my best. But I scarcely trust myself to write without an example.", "77-2": "Aloysius. Be confident. I will make the first example for you.", "78-1": "Now adapt the counterpoints for the remaining cantus firmi to this model.", "78-2": "Aloysius. You worked diligently and gave considerable attention to the melodic line. You generally entered the thesis with oblique motion or syncopation. Continue this practice because it greatly improves the grace of counterpoint.", "79-1": "Joseph. I am very happy that my work pleases you. Your kindness encourages me, and I expect to progress quickly. Should I study the remaining three modes with you or privately?", "79-2": "Aloysius. This species is extremely useful. Complete those three modes with me. Continue to practice this kind of composition more and more.", "79-3": "Joseph. I will always follow your advice as a law.", "80-1": "Joseph. What does nota bene, NB, mean in the soprano of measure five in the last example?", "80-2": "Aloysius. Do not worry. I have not taught you this yet. This is advice, not a rule. Two semiminims at the start of a measure can make the melody uneven unless a ligature immediately follows. Connect those two semiminims to a following ligature, or add two more semiminims for smoother motion. See the example:", "81-1": "We have completed all five species for two voices, with a cantus firmus as the foundation. Praise be to God. Now return to note against note in three voices. We will examine each species and the method of composing for three parts.", "e2-p81-0": "EXERCISE 2. LESSON 1. Note against note in three voices.", "e2-p81-1": "Three voices can make a complete harmonic triad without another voice. More voices usually repeat notes that the triad already contains. The printed source refers to an added third voice here. The source note explains this questionable wording.\n\nSkill in three-voice composition prepares the student for composition with more voices.", "e2-p81-2": "Joseph. I want to learn how to compose this music. I am afraid that the task will exceed my ability.", "e2-p81-3": "Aloys. There is no cause for fear. You completed the two-voice species without much difficulty.\n\nFirst, learn the points that I will explain. Start with note against note. Use the same sequence as in two-voice composition. The three-voice work will then be less difficult.", "e2-p81-4": "This is the simplest species for three voices. The three voices use equal note values. Each voice has one semibreve at a time. Each interval must be a consonance.", "e2-p82-1": "A triad is the normal choice for each measure. Another musical requirement can prevent its use.", "e2-p82-2": "Joseph. What is a harmonic triad?", "e2-p82-3": "Aloys. A harmonic triad contains a bass note, a third above it, and a fifth above it. Refer to this example:", "e2-p82-5": "Joseph. What requirements can prevent a triad?", "e2-p82-6": "Aloys. A smooth melody can require a sixth or an octave instead of the triad. Forbidden consecutive perfect consonances can also prevent a triad.\n\nIf this problem occurs, use a sixth instead of the fifth, an octave, or both. Refer to this example:", "e2-p82-8": "Joseph. In measure 2, the tenor could use a fifth to complete the triad. In measure 3, the tenor could use a third. The other measures could stay as you wrote them. Refer to this example:", "e2-p83-2": "These movements appear correct. They also permit a smooth melody.", "e2-p83-3": "Aloys. Your proposal is acceptable. My first example has better melodic movement, order, and variety. The tenor descends by step through measure 3. It does not leap.\n\nMeasure 3 contains a sixth. In this context, the bass note mi favors a sixth over the other consonances. I will explain the reason again. First, refer to this arrangement with a sixth:", "e2-p83-5": "The note that makes the sixth has moved from its normal position. In its normal position, the arrangement is as follows:", "e2-p84-1": "C makes a triad in its normal position. If C moves one octave higher, the other notes stay in position and a sixth results. This applies when fa comes after mi. Refer to this example:", "e2-p84-3": "If mi leaps to a different note, a fifth is preferable to a sixth. Refer to these examples:", "e2-p84-5": "The discussion now returns to variety. In my example, A occurs once in the tenor. In your example, A occurs twice. Refer to this comparison:", "e2-p85-0": "This variety is important in the present work and in future work.", "e2-p85-1": "Joseph. I have another question. Why do the voices start so far apart in your example? A different arrangement appears possible.", "e2-p85-2": "Aloys. Your questions cause little difficulty and much pleasure. The bass in that example ascends continuously by step. The other voices need space to approach the bass by contrary motion. They therefore start far from the bass.", "e2-p85-3": "Show examples of the different arrangement.", "e2-p85-4": "Joseph. I will give two examples. My purpose is to learn, not to prove that I am correct.", "e2-p85-6": "Aloys. Some details of your examples are correct. In the first example, all three voices ascend from measure 1 to measure 2. Some voices move by step. Other voices move by leap.\n\nThis motion can cause a problem. The tenor and alto show that problem here:", "e2-p86-0": "Without the bass, the progression is incorrect. It appears to move from an imperfect consonance to a perfect consonance. But the fifth is diminished. It is not a consonance.\n\nThe rules apply between the upper voices as well as between each voice and the bass. Composition with more voices can require less strict use of these rules. A strong reason can also permit an exception in three voices.\n\nIn the first example, the penultimate fifth moves to the final octave by similar motion. Both intervals are perfect consonances. No alternative is possible here. Refer to this example:", "e2-p86-2": "Joseph. Can a tenth replace the octave to prevent the problem?", "e2-p86-3": "Aloys. A tenth is possible. But this imperfect consonance does not give sufficient completeness and rest to the final note. Four-voice composition can include the fifth and the third. The fifth can then provide the necessary support.", "e2-p86-4": "Joseph. What is incorrect in my second example?", "e2-p86-5": "Aloys. Ascending motion into sixths on the downbeat has some harshness. Sixths on the upbeat have less weight and are more acceptable. This species has no upbeat notes. I will explain upbeat sixths later.", "e2-p86-6": "I will give a model in three forms. First, put the cantus firmus in the upper voice. Next, put it in the middle voice. Finally, put it in the bass voice. Use this procedure in your subsequent exercises. Use the earlier cantus firmi in their specified sequence.", "e2-p87-2": "The example uses a triad in each measure where no other requirement prevents it. The voice movements also obey the principles already explained.", "e2-p87-3": "Joseph. From measure 7 to measure 8, the alto and bass move from an imperfect consonance to a perfect consonance. The rule requires contrary motion. You use similar motion.", "e2-p87-4": "Aloys. That observation is correct. In three voices, an exception is possible when no alternative prevents a more serious problem.", "e2-p87-5": "Joseph. I remember the exception. But the bass could move from F to the higher C by contrary motion. Refer to this proposal:", "e2-p88-0": "Aloys. The proposal prevents the first problem. But it causes two subsequent violations. One occurs from note 9 to note 10. The other occurs from note 10 to the last note.\n\nAt note 9, the tenor and bass also make a unison. An octave gives more harmonic support than this unison. In this type of composition, stay within the five staff lines unless a strong reason requires otherwise.", "e2-p88-1": "Joseph. I accept those reasons. Is this different proposal possible?", "e2-p88-3": "Aloys. This proposal is worse. A major-sixth leap is not permitted. A seventh leap gives an additional problem. The melody must be easy to sing.\n\nI will now make an example with the cantus firmus in the middle voice.", "e2-p88-5": "Joseph. Why do you use an octave in measure 9? A fifth appears possible there. It would complete the triad.", "e2-p89-0": "Aloys. A fifth is possible. But the octave gives a better melody. The melody is an important consideration.\n\nOne model remains. It will have the cantus firmus in the bass.", "e2-p89-2": "Joseph. The final measure is my only concern. A third instead of the fifth could give more harmony.", "e2-p89-3": "Aloys. The choice of third matters. A minor third does not give a sufficiently clear ending here. A major third causes a different problem.\n\nThis mode uses a minor third, F without a sharp. The listener hears that pattern throughout the cantus firmus. A sharp at the end can cause an unwanted change. Omission of the third is therefore preferable.", "e2-p89-4": "Make examples in the five remaining modes. Put the cantus firmus in each of the three voices. Obey the principles already explained.", "e2-p90-0": "Joseph. The final cadence was difficult to make. The standard cadential formula does not fit the penultimate measure. This is the formula:", "e2-p90-2": "The mode does not naturally supply a perfect fifth in that position. It does not permit the sharp that the standard cadential formula requires. I therefore used a different ending.\n\nThe final major third concerns me. You said to omit the third in modes of this type. You specified a fifth instead.", "e2-p90-3": "Aloys. Your decision about the cadence is correct. The semitone has a position that prevents the standard cadential formula. A different cadence is therefore necessary.\n\nThe final major third is acceptable here. The instruction to omit the third applies only when omission is possible. A final fifth would cause two consecutive fifths. A major third is therefore necessary instead. The minor third gives a less complete ending.\n\nContinue with the exercises.", "e2-p94-1": "Joseph. These are my examples in the remaining modes. I think they are correct within the limits of the cantus firmus. Without those limits, more measures could contain the harmonic triad.", "e2-p94-2": "Aloys. That is correct. Later, you will write free composition without a cantus firmus.\n\nPractice with a cantus firmus gives substantial benefit. It develops practical skill and understanding. These prepare the student for knowledge of the art. Repeat this practice frequently.", "e2-p94-3": "The first-species examples are complete. Continue to the second species.", "94-h1": "Exercise II.", "94-h2": "Second lesson.", "94-h3": "Minims against a semibreve in three voices.", "94-1": "Apply the two-voice rules for this species and the three-voice triad rules for semibreve against semibreve. One exception applies here. To obtain a harmonic triad, a minim leaping a third can sometimes permit two fifths. See the example:", "95-1": "This case is forbidden in two voices but permitted in three to obtain the harmonic triad. These three model examples will help you make the others.", "96-1": "Joseph. In the two-voice lesson, you forbade two minims on the same staff line. Thus this species excludes ligatures. But each of these three examples has a ligature in its final cadence. The last example also ends with a major third. I remember that this was forbidden too.", "96-2": "Aloysius. You remember correctly. Almost every rule has exceptions, so follow it where possible. This is always possible in two voices, but not always in three. Here two untied minims would produce a faulty unison or an octave without harmony.\n\nNecessity also permits the final major third in the third example. A fifth in the soprano would produce two consecutive fifths.", "96-3": "One part must use minims throughout the cantus firmus. The other two parts use only semibreves. The minims must agree correctly with both semibreves. Follow the rules of motion and the other rules as far as possible.", "96-4": "Now compose examples for the remaining tenors. Use the three positions that I showed you.", "99-1": "Aloysius. These examples are sufficient for now. Study the remaining three modes privately in the same way.", "99-2": "Joseph. This study is difficult. Sometimes progression to the next measure seems almost impossible.", "99-3": "Aloysius. These species are difficult. The two minims must agree with the semibreves in both other parts while satisfying all applicable rules. Before writing, plan one or two measures ahead, as I have often advised. Otherwise, the task is difficult and almost impossible.\n\nThis practice greatly improves student skill and ease in writing. After the cantus firmus restriction is removed, experienced students can compose freely with almost playful ease.", "99-h1": "Exercise II.", "99-h2": "Third lesson.", "99-4": "We follow the same lesson order as for two voices. This lesson therefore uses four semiminims against a semibreve. In two voices, the semiminims agree with the semibreve in one other part. Here they must agree with semibreves in two parts. Apply the two-voice rules for this species and all the three-voice rules given so far.", "99-5": "Joseph. Is there anything else to observe?", "99-6": "Aloysius. Only this: give the greatest attention to notes on the thesis, as in every counterpoint species.", "99-7": "Joseph. I will try this species without a model example.", "99-8": "Aloysius. Good. If the first semiminim of the arsis cannot form the harmonic triad, try the second or third.", "102-1": "Aloysius. These good examples show considerable understanding. Complete the other modes and cantus firmi privately at home. Then, if you wish, repeat the cantus firmi of all six modes. Use semiminims in one part, minims in another, and semibreves in the third. Follow this example:", "102-2": "These three different note forms greatly improve musical composition. Give this exercise the greatest care. Use the threefold or fourfold change of position practiced so far.", "102-3": "Joseph. I will make my greatest effort. I must always follow your advice as a law.", "102-4": "Aloysius. We must now work through:", "103-h1": "Exercise II.", "103-h2": "Fourth lesson.", "103-h3": "Ligature.", "103-1": "Apply the two-voice method of constructing ligatures exactly in three voices. We need only explain the accompanying concordance for the added third part. Remember that a ligature only delays the following note. Therefore, give the third part the same concordance it would have without the ligature. The examples explain this apparent paradox.", "103-h4": "Without ligature.", "103-h5": "With ligature.", "104-1": "The third part has the same concordance in both examples. The ligature does not prevent this. The same principle applies to ligatures in the low, foundational part. For example:", "104-2": "Without the ligatures, the harmonic triad would give these forms. However, several consecutive fifths prevent their use:", "104-3": "Joseph, this faulty example has one purpose. It shows that ligatures do not change the arrangement of the concordances.", "104-4": "Joseph. Master, your statement raises a doubt. May I explain it?", "104-5": "Aloysius. Speak freely. Your long silence almost made me doubt whether you understood my uninterrupted explanation.", "104-6": "Joseph. If ligatures change nothing, the first example with ligatures must be as faulty as the second. The second example has consecutive fifths when its ligatures are removed. Disregarding the ligatures in the first example reveals the same fault.", "105-1": "Aloysius. Your careful argument shows great attention. Distinguished masters approve the first example and reject the second, and their authority has great weight. My statement concerned only the nature and substance of the concordances, which remain the same. In other respects, ligatures can certainly change things and make them permissible.", "105-2": "Joseph. That distinction would answer me, except for the earlier two-voice example. You rejected its ligature because it could not make two octaves permissible. See:", "105-3": "The ligature cannot prevent two faulty octaves in this example. For the same reason, it cannot make two fifths permissible in the following example:", "105-4": "Aloysius. This is a substantial objection. The high part reaches the ear more clearly. Thus it forbids many things that the low register obscures and permits. High pitch makes details distinct, while low pitch suppresses them.\n\nA deeper distinction concerns the perfection of consonances, discussed earlier. The fifth is perfect, the octave more perfect, and the unison most perfect. Greater perfection means less harmony. Dissonances have no pleasing harmony of their own. Their pleasant effect comes entirely from the following consonance into which they resolve.\n\nTherefore, resolution to a fifth is more acceptable than resolution to an octave. This explains why good masters reject the first example and accept the second. A resolution is easier to permit when its perfect consonance is nearer in nature to an imperfect consonance. If this answers your question, prepare for the exercise.", "106-1": "Joseph. I will do as you instruct.", "106-2": "Aloysius. Why did you mark an error, or a doubt, in the soprano of measure three?", "106-3": "Joseph. I remember that the first part of a ligature must be consonant. Here I used a fourth, which is dissonant. The required two semibreves prevented me from finding another solution. I also remember similar examples by good masters.", "107-1": "Aloysius. Your doubt shows praiseworthy attention. This departure from the strict rule is acceptable. The first part must be consonant when the foundation moves in every measure. Here the bass remains stationary in the same position. In this case, a ligature consisting entirely of dissonances is correct and very elegant. The example demonstrates this.", "107-2": "What does the other doubt sign in measure six mean?", "107-3": "Joseph. The seventh requires a third as its companion. But the cantus firmus restriction made me use an octave instead.", "107-4": "Aloysius. These lessons practice a ligature in every measure. We do not apply the other concordance requirements as strictly here. We discussed them elsewhere and will return to them.\n\nFree composition requires a different judgment. No restriction prevents each dissonance from receiving its appropriate concordance there. Therefore, accept the seventh with an octave in this exercise. Now continue with the remaining exercises.", "108-1": "Aloysius. Why did the foundational part begin with a full measure of rest in the last example?", "108-2": "Joseph. I could not find a ligature for that position. I thought another species should not fill the space. Therefore, I used a rest.", "108-3": "Aloysius. I appreciate your resourcefulness. However, this arrangement was also possible:", "109-1": "The tenor acts as the bass in the first measure. The alto can do this too, and even the soprano, if possible. Always treat the lowest part as the foundation and build the others above it. Now construct examples for the next two tenors in their natural order.", "110-1": "Aloysius. These exercises give as much harmony as ligatures with two semibreves in every measure permit. The species restriction prevents fully complete harmony. As stated before, ligatures receive greater attention here. Their many forms in this exercise give a complete understanding of their construction. I strongly recommend this exercise because ligatures are a principal ornament of composition.\n\nThe first measure could be improved. Here it is:", "111-1": "The alto and soprano produce a hidden succession of two fifths. The ear detects this easily, so avoid it in three voices. Insert a rest in the alto as follows:", "111-2": "Joseph. I used a similar rest in the bass of measure six in the same exercise. Otherwise, I could not continue the sequence of ligatures.", "111-3": "Aloysius. That was resourceful. The rule requires ligatures in every measure only where possible. Complete the same exercise in the remaining three modes.", "111-h1": "Exercise II.", "111-h2": "Fifth lesson.", "111-h3": "Florid counterpoint.", "111-4": "Aloysius. The two-voice lesson explained this species. It combines all five species with beautiful, graceful melody. The three-voice exercises should have taught you to arrange concordances for the other two parts, which use semibreves. Further explanation is unnecessary here. Proceed directly to the examples.", "114-1": "Aloysius. These examples are sufficient for now. Study the remaining four modes privately with equal diligence. You will then understand how to construct this species. Oblique motion in most measures makes the work much easier. Now proceed to four-voice composition.", "114-h1": "Exercise III.", "114-h2": "First lesson.", "114-h3": "Composition for four voices, or four parts.", "114-2": "Three voices already contain the complete harmonic triad, as explained earlier. A fourth part must therefore double an existing consonance. Certain dissonance cases are exceptions, to be explained elsewhere. Unison and octave differ greatly in interval and position, but share the same note name, such as C. The octave is regarded as a repeated unison.", "114-3": "Four-voice harmony mainly uses a third, fifth, and octave. Faulty progressions often prevent the octave. In that case, usually double the third instead, and less often the sixth.\n\nApply the Book One rules for progression and motion as far as possible. Compare the parts with the foundation and with each other. Necessity, melody, imitation, or the strict subject can sometimes require permission for hidden fifths or octaves.", "115-1": "The fewer departures from the common rules, the more perfect the four-voice composition.", "115-2": "Joseph. Your explanation is still unclear to me. I need one or two examples to understand it better.", "115-3": "Aloysius. The following example will make it clear.", "115-4": "Compound intervals now have simple numbers, unlike our earlier practice. This makes the doubled consonances easier to see. Follow the model and state any remaining doubts. Otherwise, use this cantus firmus with the usual changes of position. Place it in each part in turn.", "115-5": "Joseph. Does it matter which consonance each part receives?", "115-6": "Aloysius. It matters greatly, as the three-voice exercises and explanations should have shown. Where possible, each consonance should occupy its natural position. More importantly, the first measure must permit correct progression to the second, third, and even fourth measures. If it cannot, change the arrangement of the first measure. Position its consonances to permit convenient, correct progression to the following measures.", "116-1": "Joseph. What is the proper position that each consonance requires?", "116-2": "Aloysius. Their order comes from the harmonic division of the octave. This first produces the fifth. Dividing the fifth produces the third. Keep this order unless progression to the following measures prevents it, as frequently happens. This example shows the natural order:", "116-3": "First is the fifth, produced by dividing the octave. Second is the octave itself. Third is the third, or tenth, produced by dividing the fifth.", "116-4": "Joseph. Our present keyboard suggests placing the third before the fifth. It therefore suggests this order for four voices:", "116-5": "Aloysius. That appearance is misleading. Division determines the order, not the keyboard arrangement. A low third close to the foundation produces an unclear sound. Also, larger numbers defining an interval give a higher sound, which requires a higher position.\n\nThe fifth uses 2 and 3, whose sum is 5. The third uses 4 and 5, whose sum is 9. Thus the fifth naturally belongs lower and the third higher.", "117-1": "If no doubt remains, continue the studies in this mode and the others. Check every measure boundary and compare every part with every other part. This requires great care to prevent rule violations. Each part must agree correctly with the bass, or foundation. The middle parts must also agree with each other according to the rules.", "117-2": "Joseph. The preceding four-voice example sometimes has a fourth between the middle parts. You called the fourth dissonant and prohibited it in composition using only semibreves. This concerns me.", "117-3": "Aloysius. That is a proper concern. But judge consonance and dissonance against the foundation, regardless of intervals between the middle parts. Still avoid other faults, such as consecutive fifths or octaves. Also, closer spacing of the parts gives more perfect harmony: united strength is stronger.\n\nDifficulties will inevitably arise. Excellence requires effort, just as Olympic athletes must face opponents. Continue with tireless study, perseverance, and patience.", "118-1": "Joseph. In the first two examples, I hesitantly placed the tenor close to the bass, against your advice. This often produces low thirds. I found no alternative because the cantus firmus must appear in all four parts. Please judge and correct them.", "118-2": "Aloysius. The cantus firmus restriction prevented another arrangement in these practice examples. Free invention will be different. In time, you will see how useful these exercises are. Complete two more modes with the usual four positions of the cantus firmus. Continue.", "121-1": "These examples are reasonably good. The fixed cantus firmus prevents exact compliance with the strict motion rules and other rules. Free composition can satisfy them more easily. Complete the remaining three modes in the same way, with the cantus firmus in all four positions.", "121-h1": "Exercise III.", "121-h2": "Second lesson.", "121-h3": "Minims against a semibreve.", "121-2": "Apply all the three-voice rules for this species to four voices. Previously, two minims had to agree with two semibreves. Here they must agree with three. Also apply the four-voice note-against-note rules as far as this species permits. Proceed to the exercises.", "123-1": "Joseph. This species is more difficult than any so far. I could not construct the penultimate measure under this rule.", "123-2": "Aloysius. The difficulty comes from requiring two minims against three semibreves. This teaches you to combine them and construct concordances carefully. Sometimes no solution is available.\n\nFree composition does not require such a long sequence under this rule. These lessons are exercises for learning, not models for practical use. A competent reader no longer practices spelling syllables. Similarly, students use counterpoint species to learn. Study the other modes at home.", "123-h1": "Exercise III.", "123-h2": "Third lesson.", "123-h3": "Semiminims against a semibreve.", "123-3": "Use the two-part and three-part rules for this species. Only the concordance requirement changes. In two voices, the semiminims agree with one semibreve. In three voices, they agree with two. Here four semiminims must agree with three semibreves, following the harmony rules you know. The examples clarify this.", "124-1": "Joseph. Master, why did you double the third in measure four? The tenor could replace one third with a unison, as follows:", "125-1": "Aloysius. That arrangement is possible. But a unison on the thesis reduces the fullness of the composition. Also, the soprano moves. Its third, or tenth, would be incomplete because it does not sound continuously. What does the second doubt sign, B, mean?", "125-2": "Joseph. The alto and tenor move between perfect consonances by similar motion. That progression seems faulty.", "125-3": "Aloysius. The required semibreves prevent another progression, so we must accept it. Dividing the tenor semibreve would easily correct it, as follows:", "125-4": "This also applies to the examples in the preceding species. Many details would be faulty without the semibreve requirement. Now complete the remaining examples, changing the position of the cantus firmus.", "126-1": "Aloysius. Joseph, this example shows excellent progress and recall of all the lessons. The first semiminim provides complete harmony. The remaining three move freely and lead smoothly into the next measure. You also observe the other harmony and species rules. This works when each thesis, the beginning of a measure, has complete harmony: a third and fifth. Continue.", "127-1": "Aloysius. What does A mean in the soprano of measure two?", "127-2": "Joseph. It marks a fifth moving to an octave by similar motion, between two perfect consonances. This concerns me especially because it occurs in the outer parts.", "127-3": "Aloysius. As stated earlier, the semibreve requirement sometimes excuses these progressions. Even free composition cannot always avoid them. They are more acceptable in the middle parts than the outer parts, as you correctly observed.", "128-1": "Joseph. A in the tenor marks a similar departure from the common rule. An imperfect consonance moves to a perfect consonance: a third to a fifth by similar motion. I think the same necessity makes this acceptable.", "128-2": "Aloysius. Correct. The strict species requirements prevent a better solution. The fault is also less audible in a middle part. Now complete E, la, mi in the same way with me. It lacks a fifth and is the most difficult mode. Study the others at home.", "131-1": "Joseph. Between the soprano and violin, the first-to-second-note progression moves from a third to a fifth against the common rule. For the reasons already given, I chose not to correct it. I also could not find a correction.", "131-2": "Aloysius. Necessity permits many things here that free composition should avoid, as I have often emphasized. At B, an octave moves to a fifth by similar motion against the lowest part. The difficulty of this species also excuses that progression. Complete the remaining modes at home. Now proceed to another species.", "131-h1": "Exercise III.", "131-h2": "Fourth lesson.", "131-3": "The two-voice and three-voice lessons placed ligatures after the semiminim species. Their nature should already be clear. Now consider their accompanying concordances in four voices.\n\nThe three-voice lesson explained that ligatures require the same concordances as the untied form. A ligature only delays the following note. It does not change the concordances. The examples make this clear.", "132-1": "The examples show the same concordances with tied and untied notes.", "132-2": "Joseph. Master, does this rule ever have an exception?", "132-3": "Aloysius. Some exceptions occur in this lesson, which requires ligatures against three semibreves lasting the full measure. First, this arrangement fails when a fifth accompanies a seventh in ligature. For example:", "132-4": "The resolution of the ligature creates a faulty dissonance with the tenor. You must avoid this.", "132-5": "Joseph. How can we correct this?", "132-6": "Aloysius. Divide the tenor semibreve as follows.", "133-1": "Joseph. But this species does not permit a divided semibreve.", "133-2": "Aloysius. That is true when possible. The next examples show several cases where division is necessary. Thus, this species cannot always strictly require three whole semibreves.", "133-3": "Joseph. An octave with a seventh would prevent the need to divide a semibreve. Your preceding example shows this possibility:", "133-4": "Aloysius. That is true here, because an octave can replace the fifth. But preceding and following notes often leave no room for an octave. Then a fifth is necessary, and the semibreve must be divided. The following examples show this and other circumstances that require division.", "134-1": "Joseph. My only doubt concerns the tenor and alto progression from the fourth measure to the fifth.", "134-2": "Aloysius. A fourth between middle parts is either insignificant or functions as an imperfect consonance. Treat this progression as similar motion from a perfect consonance to an imperfect consonance. Remember this carefully. Now examine the remaining examples.", "135-1": "These examples show that four-voice ligatures cannot always have three whole semibreves, as this species requires. Even where this is possible, the harmony cannot always be complete under all the rules.", "135-2": "Joseph. I see where semibreves were divided and why. But where is the harmony incomplete?", "135-3": "Aloysius. The fifth is missing on the thesis of measure six in the first example. Complete harmony requires it. In measure five of the last example, the second is doubled. The sixth needed for complete harmony is missing, as the following example shows.", "135-4": "Also, measure five of the same example doubles the fourth. Strictly, it should double the second instead.", "135-5": "Joseph. Why should we double the second instead of the fourth?", "135-6": "Aloysius. The main concern is complete harmony, rather than the second or fourth itself. Complete harmony requires a third, fifth, and octave. This example doubles the fifth instead of supplying the octave, so its harmony is incomplete.\n\nI mean the second part of the measure, where the octave is needed. In the first part, the second is present and cannot have an octave as its companion. For example:", "136-1": "Accept similar minor defects because this strict species gives students exceptional benefits. It teaches correct composition and shows how far necessity can justify departures from strict rules. Use this model to work through the remaining five modes with the same method and changes of position. Now proceed to the fifth species.", "136-h1": "Exercise III.", "136-h2": "Fifth lesson.", "136-2": "Joseph, this species uses florid counterpoint. The preceding examples and explanations taught its construction, especially the three-voice exercise. Here, add only a fourth part in semibreves. Integrate it according to the rules of four-voice composition. Examine the examples.", "138-1": "Joseph. Here too, as in the species of ligatures, some semibreves are divided.", "138-2": "Aloysius. My requirement for whole semibreves applies wherever possible. Observe that these examples follow it exactly whenever possible. Complete the remaining exercises in the five modes with equal care.", "138-3": "You have now practiced each of the five species separately. Practice them together next. Keep the same cantus firmus and combine minims, semiminims, and ligatures, for example. Each part then has its own motion, which adds considerable variety. See the example.", "139-1": "Complete this mode and the other five with equal care. Put the cantus firmus in each of the four parts. Apply together the instructions given separately for each species. Observe exactly how each part functions in relation to the others. You should now understand these relationships.\n\nThese exercises give students exceptional benefits when done correctly. After this practice, almost every difficulty will be familiar. To progress, devote substantial time to these five species. Continually choose new cantus firmi and practice for at least one or two years.\n\nDo not rush into freely invented composition. Its attractions can lead you to waste time on aimless experiments. Then you will never acquire a sound foundation.", "139-2": "Joseph. Master, you prescribe a rough and difficult path. It seems almost impossible to spend so long on this tiring work without boredom.", "139-3": "Aloysius. Joseph, I forgive your complaint and understand your difficulty. But the Muses are said to live on a mountain reached only by a steep path. Even the humblest manual craft requires an apprenticeship of at least three years. Music exceeds manual crafts in ingenuity, difficulty, and material, and ranks with the highest liberal arts.\n\nLet the future benefits of your work encourage you. Think of recognition, easier composition, and confidence that your writing is correct. After this practice, we will temporarily set aside the cantus firmus and study imitations and fugues.\n\nFirst, some dissonances permit different resolutions outside the restrictions of a cantus firmus. A ninth can resolve to a sixth, and a tenth to a third. A fourth can resolve to a sixth or a third. See the following examples:", "140-1": "Joseph. Why are these resolutions possible without a cantus firmus, but not with one?", "140-2": "Aloysius. Both parts move in these resolutions. That cannot happen with a cantus firmus, which remains fixed. Thus, these resolutions cannot be used where oblique motion is essential. Now return to two-voice composition without a cantus firmus.", "140-h1": "Exercise IV.", "140-h2": "Only lesson.", "140-h3": "Imitation.", "140-3": "In imitation, a following part enters after a rest and repeats the interval pattern of the preceding part. It need not preserve the mode or the exact whole tones and semitones. Imitation can occur at the unison, second, third, fourth, fifth, sixth, seventh, or octave. The examples will clarify this.", "141-1": "Joseph. This example suggests that the following part need not repeat every note of the preceding part.", "141-2": "Aloysius. Correct. Repeating every note is the task of a canon. Imitation needs to repeat only certain notes.", "141-3": "Joseph. The last example seems to start on C and end on G.", "141-4": "Aloysius. Remember that imitation has no restriction of mode or tonal placement. The imitating part only needs to follow the pattern of the preceding part. Imitation is more usual in the middle of a composition than at the beginning. The middle requires less strict attention to the mode.", "142-1": "Aloysius. Practice these examples for some time. Choose a few notes and copy them into the other part at any interval you choose. Build counterpoint above them with different note values. Follow the counterpoint rules and maintain graceful melody to create a two-voice composition.", "143-h1": "Exercise V.", "143-h2": "First lesson.", "143-h3": "Fugue in general.", "143-1": "Some respected authors derive fugue from fugere, meaning to flee, and fugare, meaning to put to flight. They describe the first part fleeing while the following part pursues it. But imitation also does this, so we need a more precise definition.\n\nFugue repeats certain notes of a preceding part in a following part. It respects the mode and usually preserves the whole tones and semitones. To understand this definition, you must know what a mode is.\n\nA mode is commonly called a tone. Say first mode, second mode, and so on to avoid confusion. The word tone also names intervals with the ratios 9:8 and 10:9. Modes are a complex subject for beginners. Here we will explain only what is necessary and leave the full explanation until the end of the work.\n\nA mode is a series of intervals within an octave, with semitones in different positions. The following saying of Horace applies:", "143-2": "Things have a measure and fixed limits.\nCorrectness cannot exist beyond or short of those limits.", "143-3": "The semitones have six different arrangements, so we establish six modes. The following octave systems show them: D, E, F, G, A, and C.", "144-1": "Count from the first note of each mode to see the six semitone arrangements. The blackened notes mark the differences. For now, number the modes in the order shown instead of discussing their formal numbering. A mode is also bounded by the fourth and fifth within its octave. Regulate fugue subjects by these limits. For example:", "144-2": "If the first part leaps a fifth, the following part must leap a fourth, and conversely. This keeps it within the mode or octave. For example:", "144-3": "Imitation has no such restriction. It only needs to follow the same steps and leaps. For example:", "145-1": "Fugue can be established only at the intervals that constitute the mode: unison, octave, and fifth. As explained, imitation can occur at any interval.", "145-2": "Joseph. I think I understand the explanations of modes, imitation, and fugue. Please explain how to choose subjects and how to establish and develop fugues. I often hear that even some practitioners do not understand fugue.", "145-3": "Aloysius. That is true. People discuss fugues more often than they understand them. I will explain what you ask. Each of the six different modes needs its own suitable subject. A subject for the first mode cannot suit the second, third, fourth, fifth, or sixth. Their whole tones and semitones occupy different positions, as the examples show.", "145-h1": "A subject for the first mode.", "145-4": "When the following part repeats this theme at the fifth, it preserves the whole tones and semitones. For example:", "145-5": "This subject cannot do the same in any other mode. Examine A, la, mi, re, which most closely resembles D, la, sol, re:", "145-6": "The following part has fa instead of mi on its penultimate note. This reverses the positions of the whole tone and semitone. A sharp before that note is necessary to preserve the arrangement of the original subject. For example:", "145-7": "The diatonic genus used here does not permit this alteration. Keep all sharps and flats out of subjects. Otherwise, we cannot learn the true nature of the modes.", "146-h1": "Exercise V.", "146-h2": "Second lesson.", "146-h3": "Fugue for two parts.", "146-1": "Use this simple method to compose a two-part fugue. Choose a short subject suitable for the mode and write it in the starting part. When it ends, give the same notes to the second part at the fourth or fifth, respecting the mode. Meanwhile, continue the first part with florid counterpoint in different note values. After some melodic continuation, make the first cadence on the fifth of the mode.\n\nNext, use a rest of one measure or half a measure. You can omit the rest if a large leap occurs. Repeat the theme, usually in the original starting part, at a different interval from its opening. After a rest, let the other part enter before the first part finishes the subject. Continue the melody and make the second cadence on the third of the mode.\n\nFinally, put the subject in either part. If possible, let the other part enter with the subject in its second measure. With the parts closely joined, end the fugue with a final cadence.", "146-2": "Joseph. I remember that you said earlier—", "146-3": "Aloysius. Keep your question until an example clarifies the matter. I will use the subject that demonstrated the mode earlier and make a fugue by the prescribed method. This model will make the method easier to follow. For example:", "147-1": "When the alto finishes the subject, the soprano takes it at the fifth of the mode. Meanwhile, the alto uses florid counterpoint until the soprano finishes the subject. Both parts continue briefly, then make a cadence on the fifth.\n\nThe alto repeats the subject a fifth of the mode lower. It needs no rest because it enters by leap. After a rest, the soprano enters at the octave of the mode. This entry comes earlier, in the third measure of the subject, while the alto continues melodically. After the soprano finishes, both parts continue briefly and make the second cadence on the third of the mode.\n\nFinally, the alto takes the subject, and the soprano joins in its second measure. A final cadence ends the fugue. Practice this simple method in the other modes to develop your knowledge of fugue.", "147-2": "Joseph. Some parts of this fugue contain sharps and flats. Does this contradict the rule against them in the diatonic genus?", "147-3": "Aloysius. The rule applies to subjects. Their semitones must occur naturally, without sharps or flats, to show the nature and differences of the modes. Melodic continuation is different. Sharps and flats are permitted and sometimes necessary to avoid the harsh relation of mi against fa. These circumstances usually arise from the following opposition:", "148-1": "Now state your earlier question.", "148-2": "Joseph. You distinguished fugue from imitation by permitting entries only at the fifth, octave, and unison. But your later instructions for composing a fugue also included the fourth.", "148-3": "Aloysius. The first statement referred to the fundamental note and this arrangement:", "148-4": "This arrangement contains no fourth. The second statement omitted the fundamental note and considered the upper part, as follows:", "148-5": "Even here, A can be called the fifth, because D is understood as the fundamental note. Thus, the second part of the following example enters at the fifth. For example:", "149-1": "Joseph. Why are the note values changed near the end of the fugue, even within the subject?", "149-2": "Aloysius. You can sometimes tie notes that were previously untied. This adds charm and can be necessary to bring subjects into close overlap. Now compose a fugue in the second mode, E, using the preceding example as a model. Choose a subject suitable for no other mode.\n\nIn this mode, the first cadence must be on the sixth. In the first mode and all the other modes, it is on the fifth. Adding a third part that requires a major third would make that course too foreign to mode E. The F immediately afterward would cause an unpleasant mi against fa. For example:", "149-3": "You now seem to understand everything necessary. Begin the exercise.", "149-4": "Joseph. Master, please be patient if my first attempt is unsuccessful.", "149-5": "Aloysius. Do not be afraid. You know my patience, and I understand the difficulty for beginners.", "149-h1": "Mode E.", "150-1": "Joseph. I am confident that the subject fits no other mode in the diatonic genus. Is its treatment equally suitable?", "150-2": "Aloysius. Be encouraged, Joseph. Your well-designed subject and its treatment almost exceed the level of a beginner. They promise considerable progress. Continue with mode F and the remaining modes.", "150-h1": "Mode F.", "151-h1": "Mode G.", "151-1": "Joseph. I was unsure whether to make the second cadence as written or as follows. For example:", "151-2": "Aloysius. That cadence needs two sharps, or three when a third part is added. It departs too far from this mode. It better suits a transposed mode, which we will discuss later. Your cadence through the seventh and sixth is valid. Now consider mode A, fifth in our order. It differs somewhat from the others, so I will provide an example:", "152-1": "Joseph. I understand the leap of a third between the first two notes in the second part. It is necessary to reproduce the fa on the second note in the first part. But why does the alto repeat the subject on B mi after the first cadence? That pitch does not suit the mode.", "152-2": "Aloysius. The foundational part is on E, which makes an entry on A dissonant against the note below. This makes the change necessary. In the middle of a fugue, this improves the composition. It makes the parts of the subject equal throughout. The beginning requires different treatment. There, carefully observe the mode and the proper entry pitch already explained.", "152-3": "Joseph. Bringing subjects into increasingly close overlap is difficult. It seems necessary to choose subjects specifically for this purpose.", "152-4": "Aloysius. Correct. First find and test subjects that permit close overlap. Think carefully before choosing. Someone may criticize these subjects as ordinary and meager, and I would agree. Our purpose is to demonstrate the modes in the diatonic genus, whose limits are narrow. It is not to show exceptional invention.\n\nThe mixed genus will allow greater freedom and richer subjects. We discussed it fully at the end of Book One. Now proceed to the last mode, C.", "153-1": "This outline gives you an introduction to fugues.", "153-2": "Painters need repeated drawing practice before they acquire their art. Similarly, a fuller knowledge of fugue requires extended practice with the prescribed model. Practice diligently and continually seek new material.", "153-3": "Joseph. This genus seems to offer little material and little scope for invention.", "153-4": "Aloysius. It is more restricted than the mixed genus. But it is particularly suitable for learning the nature and differences of the modes. It is also essential for a cappella compositions sung without an organ. It still permits many different subjects. Continue two-voice practice privately, and now proceed to three-part fugues.", "154-h1": "Exercise V.", "154-h2": "Third lesson.", "154-h3": "Fugues for three parts.", "154-1": "In three-voice composition, with or without a cantus firmus, give careful attention to the complete triad. To start a three-part fugue, follow the two-part rules until the third part enters. Both existing parts must first finish the subject. Then introduce the third part, either immediately or after melodic continuation, as the parts permit or require. Use balanced judgment.\n\nThe third part should add new harmony. Try to complete the harmonic triad at its entry. Alternatively, introduce it with a dissonance controlled by ligature, which is more elegant.", "154-2": "Joseph. Which existing part should the third part follow in its entry interval?", "154-3": "Aloysius. Usually, it should follow the part that first stated the subject. This supports variety, which is important. But if the arrangement favors another interval, adapt this guidance to your judgment.", "154-4": "Joseph. Does the cadence rule for two voices also apply here?", "154-5": "Aloysius. No. Do not make a formal or complete cadence ending with a major third unless the subject can enter. If the subject can enter, you can use a complete or deceptive cadence. It can occur on the fifth, third, or another interval sufficiently close to the mode.", "155-1": "Joseph. Master, what is a deceptive cadence?", "155-2": "Aloysius. A formal or complete cadence concludes with a major third and then proceeds to an octave. A deceptive cadence replaces that major third with a minor third. It avoids the expected formal cadence and deceives the listener. The Italians call it Inganno. Examine the examples.", "155-3": "You can also avoid a formal cadence while retaining the major third in the upper part. Let the foundational part avoid the octave and take another consonance. For example:", "155-4": "This is much more elegant in composition for several parts. For example:", "156-1": "Now examine how a subject entry permits a formal cadence even at an interval unusual for the mode. Use the following subject:", "156-2": "This example shows a formal cadence on the first note of the subject. It also shows the required arrangement of the other parts. Now examine a cadence on the second note of the subject:", "156-3": "These formal cadences are permitted and add considerable ornament. That completes the explanation of joining formal cadences to subjects. Next, examples will show how the foundational part avoids cadences within subjects, including cadences with a major third. Use the subject from the first two-voice fugue.", "157-1": "Joseph. Why did you allow so many cadences in two voices but restrict them in three?", "157-2": "Aloysius. Two-voice cadences use a seventh and sixth or a second and third, and give less repose than formal cadences. More precisely, they prepare formal cadences rather than fully deserve the name themselves. Adding a third part, with nothing else changed, makes them formal cadences. For example:", "157-3": "Joseph. Master, please do not be angry if my many small questions become tiring.", "157-4": "Aloysius. Ask freely. Many practitioners repeatedly misunderstand this matter, and I want to remove the difficulty completely.", "157-5": "Joseph. Why is a formal cadence permitted with an entering subject but not without one?", "157-6": "Aloysius. A formal cadence indicates repose. Use it at the end, or after completing a section before introducing a new subject. A subject entering within the formal cadence removes the impression of repose. It maintains the motion needed in this composition and shows that the end has not yet arrived.", "158-1": "Joseph. My question is resolved, and I understand the explanations so far. I think I can now attempt three-part fugues.", "158-2": "Aloysius. First, I must show how to fit the foundational part to two descending parts. These move through a seventh and sixth or a second and third. This will make melodic continuation much easier.", "158-3": "A fifth and sixth can occur together only with a particular resolution between the upper parts. These parts must resolve a seventh to a sixth or a second to a third. The same applies to a fourth and fifth together. Use this or a similar progression, within or outside the subject, to prepare a subject entry.\n\nNow develop the subjects from the preceding two-voice compositions in three parts. I will provide the first example. Follow its model in the other modes.", "159-h1": "Fugue for three voices in mode D.", "160-1": "This fugue matches the two-voice version until the third part enters. While that part states the subject, the upper parts build suitable melodic counterpoint. Then the alto repeats the subject at a different interval from its opening, while the foundational part continues melodically.\n\nMeanwhile, the soprano rests to prepare its next entry. It enters at a different interval from its opening, with a dissonance strong enough to make the subject perceptible. A minor sixth avoids the cadence.", "160-2": "After its subject ends, the alto rests for three measures. The upper and lower parts are too close to leave suitable space for the alto. Also, the alto must soon reenter with the subject. Its entry with a fifth and sixth gives great force to the composition. Observe the tenor entry immediately afterward and the melodic continuation above it.", "160-3": "Joseph. The tenor entry seems to depart from your instructions. It has neither a harmonic triad nor a dissonance, but only a sixth and octave.", "160-4": "Aloysius. I appreciate your careful attention. But that entry method was advice rather than a rule. The first note of the subject has little weight because it is a minim. The strong, clearly audible sixth above it makes the entry perceptible and compensates for the missing harmony. Does that resolve your question?", "160-5": "Joseph. Completely.", "161-1": "Aloysius. Now examine the melodic continuation above the subject. While the upper parts continue, a subject entry in the tenor after rests avoids a cadence on F. Then the note values change slightly so each part can enter with the subject in every measure. A final cadence ends the fugue.", "161-2": "Joseph. Does this mean that a subject must always follow a rest immediately?", "161-3": "Aloysius. Yes. After a rest, introduce the old subject or a new subject that the other parts will later repeat. Otherwise, recall the rebuke in Matthew 22 about entering without a wedding garment.\n\nNow compose a three-part fugue in mode E using this or a similar method. Use any cadence interval that permits an elegant subject entry. First, examine the final cadence of this mode, which differs from those of the other modes.", "161-h1": "Fugue for three voices in mode E.", "163-1": "Joseph. Master, I am concerned about this fugue. Perhaps I have used the cadence on A too often.", "163-2": "Aloysius. Do not be afraid, Joseph. Your skillful subject treatment and melodic continuation suit the mode remarkably well for a beginner. The subject itself led you to repeat the cadence on A. The changing accompanying notes maintain variety.\n\nAny lack of charm comes from the restrictions of the diatonic genus, especially the limited resources of this mode. The parts also have graceful melodies. Neither obstructs the other, and each moves freely. Continue with mode F and then the other modes.", "163-h1": "Fugue for three voices in mode F.", "164-1": "Joseph. I think this fugue is fairly successful. But is the melodic continuation within the subject a fault at the second alto entry?", "164-2": "Aloysius. That melodic continuation is skillfully designed. The strict diatonic genus and mode require familiar patterns. Melodic continuation therefore provides the means to add some novelty to the subject. Your subject entries are well timed, and the accompanying harmony follows the rules of counterpoint. Proceed to mode G.", "165-h1": "Fugue for three voices in mode G.", "166-h1": "Fugue for three voices in mode A.", "167-h1": "Fugue for three voices in mode C.", "168-1": "Aloysius. This short, simple method has brought you well beyond a basic acquaintance with fugue. Your parts move melodically, rest at appropriate times, and enter effectively. Continue practicing to acquire facility.\n\nUse frequent ligatures in different parts. They improve musical phrases and give the parts different motions, making almost every part easier to hear. Apply this advice to every kind of composition. Since perfection exists in three, give further private study to three-voice writing. It will greatly improve your facility in composition for more parts. Now proceed to four voices.", "168-h1": "Exercise V.", "168-h2": "Fourth lesson.", "168-h3": "Fugues for four parts.", "168-2": "Exercise III explained the function of the fourth part and its place in completing the harmony. Now consider which existing part it should follow in a fugue. The composer must judge how to add harmony, grace, and variety. Usually, the tenor follows the soprano, and the bass follows the alto.\n\nAs the number of parts increases, avoid placing them too close together. Each part needs room to move. Crowded parts obstruct one another like people trying to pass through a dense crowd. This prevents graceful singing. Arrange the parts carefully to avoid this obstruction.", "169-1": "Joseph. What should I do if this problem occurs unexpectedly?", "169-2": "Aloysius. Change the melodic continuation, or rest the part that has no suitable space. Let it reenter with the subject when space becomes available. Better still, plan the parts carefully beforehand to avoid regretting the arrangement. Preserving a sound position is easier than repairing damage afterward.\n\nWhen writing one part, remember the others. Do not give some parts so much space that another cannot move or sing gracefully. Study and imitate the following example. It retains the theme and material of the first three-voice fugue until the fourth part enters.", "170-1": "Joseph. This fugue seems similar to the three-part version. Except at the end, all four parts rarely sound together. When the fourth enters, another part soon stops.", "171-1": "Aloysius. The same subject explains the similarity. I treated it much as in the three-voice fugue to make four-voice writing easier. This is why I recommended three-voice practice.\n\nFour-voice composition does not require all four parts to sound continually. Remember the instruction against forcing parts into unsuitable places. While the other parts continue, a resting part can prepare to return with the subject. Add a few notes after the subject to prolong the full harmony. Treat the subjects in the other modes this way.", "172-h1": "Fugue for four voices in mode F.", "174-1": "Aloysius. Your successful examples show that you understand this simple method. Practice the other modes privately. To save time, we will now consider fugues with several subjects. First, we must study double counterpoint, which these fugues require.", "174-h1": "Exercise V.", "174-h2": "Fifth lesson.", "174-h3": "Double counterpoint.", "174-2": "Double counterpoint is composition arranged so its parts can exchange positions. Through inversion, the upper part becomes the lower part. I think its name refers to the two melodic arrangements, differing in height, with nothing else changed. It is useful in all composition, especially fugues with several subjects. Its value requires a fuller explanation.\n\nSome authors list double counterpoint at the third, fourth, fifth, sixth, octave, tenth, twelfth, and other intervals. We will omit kinds with little practical use because of narrow restrictions, and kinds that nearly duplicate others. We will study the more usual and important kinds: the octave, tenth, and twelfth. In each, avoiding particular consonances and dissonances permits either part to move to another interval.\n\nFirst, give the subjects different motions so they remain distinct. Use shorter note values in one and longer values in the other to prevent confusion. Second, do not start the subjects together. Use a rest to delay one entry. Third, stay within the limits given below for each kind. Begin with counterpoint at the octave, which is easiest and most useful.", "175-1": "In counterpoint at the octave, either part can move an octave upward or downward. The resulting harmony differs but still follows the rules. Joseph, observe three requirements. Avoid the fifth, do not leap to the octave, and stay within the octave. The paired numbers below show how inversion changes the consonances and dissonances.", "175-table": "1 2 3 4 5 6 7 8.\n8 7 6 5 4 3 2 1.", "175-2": "Inversion changes a unison to an octave, a second to a seventh, and a third to a sixth. It changes a fifth to a fourth, and the other intervals follow the same pattern. Thus, the fifth is forbidden because it becomes a dissonant fourth. For example:", "176-1": "However, a fifth can be used with a ligature. For example:", "176-2": "Joseph. I understand the explanation so far. Why is a leap to the octave forbidden, and why must we stay within the octave? Please explain soon, Master. I have heard great praise for this counterpoint and have long wanted to see examples.", "176-3": "Aloysius. I will explain now. The paired numbers show that an octave becomes a unison. As explained before, a leap to a unison is incorrect except in a cadence. See the example:", "176-4": "It is better to avoid the octave on the thesis altogether. It becomes a unison, which is less appropriate except through syncopation, as explained earlier. Double counterpoint should produce different harmony through inversion.\n\nBeyond the octave, inversion changes compound consonances into simple ones but retains the same type of harmony. The difference is mainly position. The following example demonstrates this:", "177-1": "The tenth is a compound third, and inversion makes it a simple third. The ninth is a compound second, and inversion makes it a simple second. The other intervals behave similarly. Compound and simple consonances differ only in position.", "177-2": "Joseph. I think I now understand everything. Please show the examples without further delay.", "177-3": "Aloysius. Here is the first example, using a cantus firmus:", "178-1": "The next example has no cantus firmus:", "178-2": "These examples show that observing the preceding instructions makes inversion reliable. The result necessarily follows the rules of correct composition.", "178-3": "The first example can also produce three voices if every thesis uses contrary or oblique motion. Add a third part by transposing the counterpoint a tenth downward. For example:", "179-1": "Every thesis, or measure beginning, in this example uses contrary or oblique motion. Thus, you can make three voices by copying the counterpoint note for note a tenth lower.", "179-2": "Joseph. I am delighted by this counterpoint and have long wanted to understand it. How can I use these examples in practice?", "179-3": "Aloysius. I intended to explain the remaining kinds first, but I will answer your request. I will use the subject of the first fugue in the first mode and add a countersubject. This will show its arrangement and development throughout the fugue.", "179-h1": "Fugue for four voices with a countersubject, based on double counterpoint with inversion at the octave.", "181-1": "Aloysius. Your request has produced this practical example of double counterpoint. The countersubject starts at the unison after a rest of half a measure. Inversion changes this to the octave, as numbers 1, 2, 3, 4, and 5 show.\n\nThe countersubject occurs in both outer and middle parts. It always answers the principal subject at the octave. These exchanges continually produce different harmony.", "181-2": "Joseph. At NB, the unison seems to become a fifteenth instead of an octave.", "181-3": "Aloysius. Compound intervals follow the same principles as simple intervals, as explained earlier. This transposition can skillfully provide room for the middle parts. At number 6, the parts leave the principal subject for variety. They use only the countersubject and bring it into close overlap.", "182-1": "Joseph. I admire this combination of parts. Could both subjects enter in this close overlap and then end with a final cadence?", "182-2": "Aloysius. Yes, by changing some note values as follows:", "182-3": "Aloysius. At NB, two semiminims replace two semibreves. This lets the tenor and bass enter in the third measure of the subject, which was otherwise impossible. Such changes are permitted and demonstrate ingenuity. Double counterpoint makes these subject exchanges possible. If the subjects are properly constructed, it becomes easy to build and extend a fugue.\n\nJoseph, treat the other fugues similarly, following the order of the modes. Vary the entry of the countersubject instead of always introducing it in the first measure. Depending on the principal subject, the countersubject can enter in the second or third measure. The following opening in the second mode demonstrates this. Complete this fugue yourself.", "183-1": "Bring this fugue and the others for correction. Invent your own countersubjects for the others.", "183-2": "Joseph. Are there any other special requirements for this kind of composition?", "183-3": "Aloysius. Use the earlier instructions for simple fugues and the general rules of counterpoint. Each mode has its own melodic continuation and development because of its semitone placement. This should be clear from the earlier explanations. Practice this counterpoint in the remaining modes at home. Now proceed to double counterpoint with transposition at the tenth.", "184-h1": "Exercise V.", "184-h2": "Sixth lesson.", "184-h3": "Double counterpoint with transposition at the tenth.", "184-1": "Double counterpoint is a genus containing several species. The species differ according to the transposition of the parts.", "184-2": "We have discussed the first species, counterpoint at the octave, sufficiently.", "184-3": "The second species is counterpoint at the tenth. By omitting certain consonances and dissonances, either part can move a tenth upward or downward without changing note values. The paired numbers below show which intervals to avoid.", "184-table": "1 2 3 4 5 6 7 8 9 10.\n10 9 8 7 6 5 4 3 2 1.", "184-4": "Do not use successive thirds or tenths in similar motion. Inversion makes the thirds into successive octaves and the tenths into successive unisons. Successive sixths are also forbidden because inversion at the tenth makes them successive fifths.\n\nAvoid a tied fourth in the upper part. It becomes a seventh that is not accepted in practice, as demonstrated earlier. Do not exceed the tenth. Examine the following example with the cantus firmus used previously.", "185-1": "Inversion at the tenth, with the cantus firmus unchanged in position.", "185-2": "The same result occurs if you raise the cantus firmus a third and lower the counterpoint an octave. Two tones added to an octave make a tenth.", "185-3": "To make three voices, keep both parts and copy the cantus firmus note for note a tenth lower.", "186-1": "The same applies to the first example of this counterpoint. Copy the counterpoint a tenth lower while the other parts remain in place.", "187-1": "Joseph. It is remarkable that copying can create a third part. Can every two-voice composition of this species become three voices?", "187-2": "Aloysius. Yes, if you follow this species' rules and use contrary or oblique motion on every thesis. The preceding examples do this.", "187-3": "I will add two examples without a cantus firmus to complete the explanation of this counterpoint.", "187-4": "Copy the soprano note for note a tenth lower. This produces a complete three-voice composition that follows all the rules.", "187-5": "In the following example, transpose the soprano an octave lower and a third higher. This produces a complete three-voice composition.", "188-1": "These are the requirements for this counterpoint, in my judgment. Practice until you can use it easily. State any remaining questions.", "188-2": "Joseph. Inversion seems to take the first cantus firmus example outside its mode at both the beginning and end.", "188-3": "Aloysius. Yes, but it moves into a mode compatible with the original one. These examples primarily demonstrate inversion rather than practical composition. You need not use inversion at the beginning or continue it to the end.\n\nStart with a subject suitable for the mode. Then introduce another subject invertible at the tenth, and invert it where you judge appropriate. A forthcoming fugue will demonstrate this.\n\nTo use inversion at the beginning, start on the third or unison of the mode. The inverted part will then remain within the mode. The preceding examples without a cantus firmus demonstrate this.", "188-4": "Joseph. What should the fourth part do when this counterpoint is used in four-part composition?", "188-5": "Aloysius. It can rest, fill the available space with extended melodic continuation, or enter with the subject. That entry can use contrary motion or another permitted method. The preceding example, converted to four voices, demonstrates this.", "189-1": "Now I will demonstrate this counterpoint in practical composition. I will use the first-mode subject from the simple fugues and other preceding examples.", "189-2": "Joseph. Master, please forgive my interruption.", "189-3": "Aloysius. Go ahead.", "189-4": "Joseph. This countersubject can invert at the octave. Thus, it seems to belong to counterpoint at the octave.", "189-5": "Aloysius. Its ability to invert at the octave does not exclude it from this species. The last octave example and the recent examples of this species show that both kinds can combine. Before we continue, examine this demonstration that the subject also inverts at the tenth.", "190-1": "The alto moves entirely in tenths with the bass countersubject, making a three-voice composition. The same result occurs if the countersubject rises an octave and falls a third. This follows the paradox given for this species. For example:", "190-2": "Joseph. Thank you, Master, for reminding me of the earlier explanation and resolving my doubt with clear examples. Please resume the fugue and continue with the same method.", "192-1": "This short fugue primarily demonstrates counterpoint at the tenth rather than every technique of fugue. Compose similar examples in the remaining five modes, using the subjects from their simple fugues. Examine every transposition in this fugue and identify anything you do not understand.", "192-2": "Joseph. Examples 1, 2, and 3 seem inconsistent with counterpoint at the tenth. Their countersubjects move in thirds and sixths instead of the required tenths.", "192-3": "Aloysius. Those examples still follow the correct principle. Arranged as follows, they would correspond exactly to this counterpoint:", "193-1": "The tenor at number 1 and the alto at number 2 cannot reach the tenth. Thus, those parts had to be given a third lower. At number 3, this arrangement better suited the close joining of the parts. The same applies to number 6. What questions do you have about numbers 4 and 5?", "193-2": "Joseph. You said that the subject must return after a rest. That does not seem to happen in those places.", "193-3": "Aloysius. Subjects can return in their original form or inverted. The countersubject there is inverted, or in contrary motion. This is permitted and adds variety.\n\nThis composition requires careful judgment. Follow the special requirements of the counterpoint. Also, keep the parts from moving too far beyond the staff or leaving the harmony incomplete.", "193-h1": "Exercise V.", "193-h2": "Seventh lesson.", "193-h3": "Double counterpoint at the twelfth.", "193-4": "In counterpoint at the twelfth, one of two or more parts can move a twelfth upward or downward. The following number table shows which intervals to use and which to avoid.", "193-table": "1 2 3 4 5 6 7 8 9 10 11 12.\n12 11 10 9 8 7 6 5 4 3 2 1.", "193-5": "All intervals are usable except the sixth and a seventh resolved to a sixth. Also, do not exceed the twelfth.", "194-1": "This counterpoint can be sung in two, three, or four parts, with several arrangements. Each requires specific instructions.", "194-h1": "Counterpoint at the twelfth for two parts.", "194-2": "No special requirements apply beyond those already given. Do not use a sixth or a seventh resolved to a sixth. Otherwise, similar, contrary, and oblique motion are all permitted. Examine an example with a cantus firmus.", "194-3": "Joseph. Why did you end the soprano on a fifth instead of an octave?", "194-4": "Aloysius. This gives the transposition at the twelfth a more suitable ending in its mode. However, a transposed part can leave the mode without harming double counterpoint. Keep the cantus firmus in place and transpose the soprano counterpoint a twelfth downward. Add a flat where necessary so the intervals correctly match the original counterpoint throughout.", "195-1": "This transposition is correct. Another method lowers the counterpoint an octave and raises the cantus firmus a fifth, as follows.", "195-2": "Joseph. This transposition seems to change the composition into a different mode.", "195-3": "Aloysius. This counterpoint permits that change, as explained earlier. Also, A is not foreign to mode D. In practical composition for several parts, you can make a formal cadence suitable for the mode. Add melodic continuation after the cantus firmus finishes and carry it to the end. For example:", "196-h1": "Example of counterpoint at the twelfth, convertible to three voices by adding counterpoint at the tenth.", "196-1": "Keep the cantus firmus in place and transpose the counterpoint a twelfth downward. Transfer that same counterpoint a tenth upward to make three voices. For example:", "197-1": "Joseph. What requirements let this two-part counterpoint become three voices?", "197-2": "Aloysius. Follow the other rules of this counterpoint. Begin and end on a fifth to keep the part transposed at the twelfth within the mode. Use contrary or oblique motion and avoid ligatures of dissonances. These requirements permit three voices.", "197-3": "Joseph. The melodic course in these examples seems somewhat harsh.", "197-4": "Aloysius. Correct. This often occurs in modes with a minor third. Transposition and the strict cantus firmus produce less agreeable melody because of the harsh relation of mi against fa. The nature of the cantus firmus and mode requires us to accept this. Free composition without a cantus firmus is different, as the following example shows.", "198-1": "Transpose the parts as demonstrated in the preceding example to convert this into three voices.", "198-2": "The initial rule excluded the sixth from this counterpoint. That restriction applies to an untied sixth. A syncopated sixth is permitted, as the following example shows:", "199-1": "We have studied the three species of double counterpoint separately. The next unusual example combines them to produce two, three, and four parts with highly varied harmony.", "199-h1": "First, at the twelfth, for two voices.", "199-h2": "The soprano part is transposed down a twelfth.", "199-h3": "The soprano part is transposed down a tenth.", "200-1": "The soprano part is transposed down a tenth. Move it up an octave to produce the same three-voice composition with somewhat different harmony.", "200-h1": "Another method.", "201-h1": "Another method.", "201-h2": "Another method.", "202-1": "Joseph. Respected Master, how far will you continue these many variations?", "202-2": "Aloysius. This shows the great usefulness of double counterpoint, which produces this remarkable variety. In counterpoint at the twelfth, use almost no consonances except fifths and octaves with contrary motion. Use thirds with oblique motion. Then counterpoint at the octave and tenth can come from counterpoint at the twelfth. This produces the variations shown here:", "202-3": "Make the first soprano move at a tenth with the tenor. Make the second soprano move at a tenth with the bass. This produces a complete four-voice composition. For example:", "203-h1": "Another method.", "204-1": "Joseph, these counterpoints are important because two correctly constructed parts can produce three- and four-voice compositions. If their excellence impresses you, recognize the value of studying them with great effort.", "204-2": "Joseph. I will use all my strength to learn this remarkable technique. Its usefulness, variety, and beauty encourage me.", "204-3": "Aloysius. Joseph, love alone can motivate you to undertake and overcome this work. I previously warned that a desire for honor or riches leads to exhaustion or disappointment with the labor.", "204-4": "A composition without ligatures of dissonances can also be inverted by contrary motion. There are two methods: simple contrary motion and reversed contrary motion. Simple contrary motion reverses note directions without considering semitones. Notes that previously ascended now descend. Examine the familiar subject:", "204-5": "Reversed contrary motion inverts notes so that mi always corresponds to fa. The following note diagram shows the arrangement.", "205-1": "Match the notes ascending from the left with those descending from the right. D remains D, E becomes C, F becomes B mi, and G becomes A. The same subject demonstrates these inversions.", "205-2": "Set aside simple contrary motion, which is less important and less difficult. To clarify reversed contrary motion, I will invert the earlier three-voice composition presented as the third example:", "205-h1": "Reversed contrary motion.", "206-1": "Joseph. This inversion is remarkable. Can every composition be inverted this way?", "206-2": "Aloysius. Only compositions without ligatures of dissonances qualify, as I said. Modes and subjects make some transpositions and inversions successful and others unsuccessful. Use caution and judgment so that complex technique does not reduce the expected musical pleasure. The following fugue illustrates this risk. It demonstrates counterpoint at the twelfth more than agreeable melodic writing.", "208-1": "The previous explanations and examples should make this fugue's part transpositions and subject exchanges clear. I consider further explanation unnecessary. This completes my teaching on this type of counterpoint, whose usefulness needs no further praise. How else can a composition contain several interchangeable subjects without double counterpoint? Without this combination, a composition becomes simple and loses its greatest ornament, especially in church music.", "208-2": "Joseph. I expected you to combine contrary and direct motion and demonstrate subject exchanges. I am disappointed.", "209-1": "Aloysius. I would have done this if the subject permitted it and the composition gained some grace. Do this when you can invent your own subject. Prepare that subject so its contrary form also sounds attractive. I will show an example shortly. First, I will demonstrate fugue or imitation combined with a cantus firmus throughout its course:", "211-1": "Joseph. By the immortal God, this skillfully combined harmony amazes me. The technique seems so great that I almost lose hope of matching it. How did you arrange entrances for the first subject throughout the cantus firmus?", "211-2": "Aloysius. Your amazement is reasonable, Joseph. The task is difficult, but less difficult than you think. Retain the earlier teaching and practice every lesson carefully. This will make similar work easier.\n\nBefore inventing a subject for a cantus firmus, examine every measure carefully. Test whether the direct or contrary subject fits every measure, or at least as many measures as possible. Observe counterpoint rules and preserve a pleasing melodic course. Alternatively, take the subject directly from the cantus firmus, note for note. You can also imitate it by changing or syncopating some note values, as shown next:", "211-3": "Use these methods, or other methods suited to the cantus firmus. First decide when, where, and in which portion a subject can enter appropriately. Until now, you worked within a cantus firmus, prescribed subjects, and the narrow limits of the diatonic genus. That difficult training was necessary for a complete understanding of the art.\n\nYou can now enter a more pleasant and varied field of study. Choose your own subjects, form ideas, and work within the less restricted mixed genus. You can use every type of time, including triple and quadruple time with a more relaxed beat. You can also use smaller note values, irregular subjects, and transposed modes.", "212-1": "Joseph. I am glad that I can now test my own abilities freely. But you promised to show a direct subject combined with its reversed contrary form. Please demonstrate this soon.", "212-2": "Aloysius. Your reminder is timely. I will also show another method of inversion outside the diatonic genus. I will explain how to combine three different subjects. I will also explain permitted departures from ordinary counterpoint rules through changed note values in the common style.\n\nIn the mixed genus, reversed contrary motion requires mi to correspond to fa everywhere, and fa to mi. The earlier rule for the diatonic genus does not apply. The examples will explain this.", "212-3": "The earlier rule for the diatonic genus would invert this theme into reversed contrary motion as follows:", "212-4": "The following inversion is much better suited to this subject's mode. For example:", "213-1": "The beginning and end of this reversed contrary form remain within the mode. Here is a fugue sketch following this model:", "215-1": "Alternate the direct and contrary subjects this way to give the composition the variety that harmony requires. Notice how shorter note values let both forms proceed together. Some composers use only the direct form almost to the middle, then introduce the contrary form. This choice is yours.", "215-2": "Joseph. This fugue does not seem to use double counterpoint as its foundation.", "215-3": "Aloysius. Correct. We have already covered double counterpoint fully. Here I only intended to combine the direct and contrary forms. However, combining several subjects with different characters and note values requires double counterpoint. See the following example:", "215-h1": "Fugue with three subjects.", "217-1": "This fugue has three subjects. The second uses counterpoint at the octave, and the third uses counterpoint at the twelfth. First, each subject has different note values, making its motion easier to recognize. Second, when the subject at the twelfth enters, the other parts must not form a sixth with each other. Otherwise, the transposition fails.\n\nThird, the complete subject does not always continue to its end. Another subject's entrance or a better melodic course can justify this exception. A composition with three subjects generally requires a fifth part. This makes alternation easier because some parts remain free and all parts have more opportunities to rest.", "217-2": "Joseph. I see and admire the technique. I need more time to perform it well, so I will practice at home. Master, you mentioned figures of variation, irregular fugues, and transposed modes. Please explain these now if the lesson sequence permits.", "217-3": "Aloysius. I will explain immediately. First:", "217-h1": "Figures of variation and anticipation.", "217-4": "Variation is irregular diminution. Regular diminution occurs only when notes move by a leap of a third. For example:", "218-1": "Variation occurs when notes move by step. For example:", "218-2": "This example shows that variation departs from the usual counterpoint rules. A leap goes from consonance to dissonance, then from dissonance to dissonance. Counterpoint does not permit this, but common composition allows it. Here are further examples:", "219-1": "These variations and similar ones are valid in common composition if they do not change the substance. The following examples belong to the same type:", "219-2": "Anticipation removes half the value of the preceding note and adds it to the following note. For example:", "220-1": "These examples are sufficient. Composers today hardly need to insert variations because performers already supply too many. Their excessive variations become unpleasant and resemble gargling more than singing.", "220-2": "Joseph. Where did these variations and departures from counterpoint rules originate?", "220-3": "Aloysius. Singers originated these variations, as the previous discussion shows. They wanted more than regular diminutions and sought to display their vocal flexibility. Moderate variation that preserved the substance would have benefited composers. Instead, excessive variation overturns carefully composed harmony until composers can hardly recognize their own work.\n\nPerformers without talent deserve even greater criticism when they imitate this excess. Their mouths make more shapes than the gestures of Roscius, and five vowels sound instead of one. They compete to roll notes until neither music nor text remains intelligible. Yet they take pride in this behavior. Who can resist such a widespread practice? The times and customs cause well-established practices to deteriorate.", "220-4": "Joseph. As an apprentice, I have little authority to judge. Nevertheless, I have never enjoyed this destruction of harmony. I now understand variations and their construction sufficiently. Transposed modes and irregular fugues remain to be discussed.", "220-5": "Aloysius. You must understand natural modes fully before studying transposed modes. I discussed them briefly with simple fugues. I will now explain them in sufficient detail.", "221-h1": "Modes.", "221-1": "Discussing modes is like bringing order to ancient chaos. Ancient and recent authors offer almost as many opinions as there are writers. I do not accept Greek authority without question. Plato's Timaeus confirms that early Greek music had few intervals. More tetrachord and octave species developed later, and the number of modes increased.\n\nGreek mode names and numbers mainly reflected different peoples, their character, and their musical styles. Dorian, Hypodorian, Phrygian, and Lydian described national practices, much as Italian, French, and English aria do today. Scarcely any Greek music survives. Applying these foreign names to modern modes makes an already difficult subject less clear.\n\nSet aside obsolete matters and musical history. We must examine newer authors, especially those who establish twelve modes. They identify six authentic or principal modes and six plagal or collateral modes.", "221-2": "Joseph. Do all modern musicians recognize twelve modes?", "221-3": "Aloysius. No. Some recognize eight, possibly because of chant. Others recognize more or fewer.", "221-4": "The following explanation and our own view will show how much value these opinions have.", "221-5": "Recall the discussion of simple fugues. Different semitone positions produce six octave species and therefore six principal modes: D, E, F, G, A, and C. The diagram appeared there, but repeating it supports this discussion.", "222-1": "The semitones occupy six different positions when counted from the first note of each system. These positions produce six octave species and exactly six principal modes. Every other possible octave system is a transposed form of one of these species.", "222-h1": "Transposed forms of the first mode, D.", "223-1": "These are transposed forms of the first mode, D. Their semitones retain exactly the same positions. They preserve the same solmization and differ in pitch position, but not in species.", "223-h1": "Transposed forms of the second mode, E.", "223-2": "There are some other forms of little use.", "223-h2": "Transposed forms of the third mode, F.", "224-1": "Other forms produced with a flat or sharp are rarely used.", "224-h1": "Transposed forms of the fourth mode, G.", "224-h2": "Transposed forms of the fifth mode, A.", "225-h1": "Transposed forms of the sixth mode, C.", "226-1": "Joseph. The explanation and examples suggest that there are only six natural modes.", "226-2": "Aloysius. Wait before deciding, Joseph. Book One explained two divisions of the octave: harmonic and arithmetic. Harmonic division places the fifth below and the fourth above. Arithmetic division places the fourth below and the fifth above. Book One explains the procedure, so I will not repeat it.", "226-3": "The two octave divisions produce two octave systems of different species, and therefore two different modes. Harmonic division produces the authentic mode. Arithmetic division produces the plagal mode. This suggests that twelve different octave systems require twelve modes.", "226-h1": "Harmonically divided octaves and their resulting modes.", "226-4": "These systems certainly result from harmonic division. Joseph Zarlino and many others present the following systems for plagal modes. Whether these result from arithmetic division is highly disputed.", "226-5": "Zarlino gives the following system from octave C in Part Four, Chapter Nine, on modes.", "227-1": "Here the lowest pitch remains, as arithmetic division requires. Since plagal modes arise from arithmetic division, the following systems must represent their formation.", "227-2": "Joseph. This would produce only five plagal modes.", "227-3": "Aloysius. Correct. The octave F–f cannot be divided arithmetically because it produces a tritone, as I explained elsewhere.", "227-4": "Joseph. What conclusion should we accept amid this uncertainty?", "227-5": "Aloysius. I will answer after we examine the use and distinction of authentic and plagal modes.", "227-6": "Zarlino gives both modes the same beginnings, endings, and cadences. The authentic melody occupies a higher range, and the plagal melody a lower range. His examples do not require authentic subjects always to ascend or plagal subjects always to descend.", "228-1": "These examples distinguish the plagal mode by its lower melody and subjects ending on collateral intervals: E and B natural. Giovanni Maria Bononcini also requires a lower melody and therefore different clefs. Additionally, he requires subjects to descend a fourth, following the plagal mode's nature.", "228-2": "Angelo Berardi is otherwise a respected author. However, he seems to distinguish authentic and plagal modes only by name. He disregards subject direction and melodic range. His examples even place the authentic melody below the plagal melody.", "228-3": "A musician familiar with other authors would question the plagal classification of the last example. Its subject and melodic course seem more appropriate to the authentic mode. The same author gives a more remarkable composition for the third mode, E–e. I will present it in full for examination.", "230-1": "Neither the entering tenor nor the final cadence matches the stated arrangement. The composition can therefore be assigned to its proper mode, A, or Hyperphrygian. Many examples from Aloysius of Palestrina also suggest that modes concerned even this excellent composer relatively little.\n\nTheir authority makes me hesitate to conclude that these distinguished authors lacked a definite view of modes. Perhaps they considered the authentic and plagal distinction too small to deserve attention. It may have mattered when listeners accepted narrower musical limits. Modern listeners scarcely accept reasonable limits. This suggests how little value a theory restricting musical range now has.", "230-2": "Joseph. What approach should we take amid this disagreement and uncertainty?", "230-3": "Aloysius. Joseph, this is advice rather than a rule. Set aside plagal modes and use D, E, F, G, A, C, with their transpositions. Follow the earlier teaching on simple fugues and the further teaching to come. Move widely through intervals appropriate to the chosen mode. A composition with correct harmony, freedom, and charm is sufficiently authentic. One without these qualities is all too plagal.", "231-1": "Joseph. Are plagal modes needed when composing on a chant melody?", "231-2": "Aloysius. No. Consider the intonations and ecclesiastical modes, which you should learn from chant specialists. For melodic writing, follow the previous advice without plagal restrictions. This will produce satisfactory work.", "231-3": "Joseph. You recognize only six modes for figured music. What order do you use for the first, second, third, and remaining modes?", "231-4": "Aloysius. Joseph Zarlino and most of his contemporaries placed C, or Dorian, first. Later, almost all newer musicians placed D first, formerly called Phrygian. We have demonstrated that only six distinct modal species exist. Their order matters little. Joseph, you may use the customary names if you prefer.", "231-h1": "Various fugue subjects.", "231-5": "Earlier I mentioned irregular fugues or subjects. This means irregular compared with diatonic subjects whose answers require no sharp or flat. Outside the strict diatonic genus, these subjects can still be regular if constructed according to their mode. Joseph, propose new subjects of your own invention, different from our previous examples.", "231-6": "Joseph. I will propose them as they occur to me, without selection.", "231-7": "Aloysius. How will you construct the answering part?", "231-8": "Joseph. I think there are two methods. End the answering part on a note appropriate to the mode, or follow solmization. For example:", "232-1": "Aloysius. Both methods are valid for different reasons. The first ends on an appropriate modal pitch. The second selects its final note according to solmization.", "232-2": "Joseph. Which method do you prefer?", "232-3": "Aloysius. The second method has two advantages. It gives more attention to melody and preserves the subject's course more closely. Avoid breaking a subject whenever possible, unless an important reason requires it. Melodic considerations take priority over modal considerations. The other part can compensate through its melody and by holding a modal note above the nonmodal note. For example:", "232-4": "Apply the same judgment to the following subject. For example:", "232-5": "These subjects are regular and irregular in different respects. They are irregular because they are outside their proper mode. Therefore, a flat must produce the upper part's semitone in both cases. They are regular within the mixed genus, which is most widely used today.", "233-1": "Joseph. What does it mean that the subjects are outside their proper mode?", "233-2": "Aloysius. Suppose I show a mode that produces this semitone without a flat. Would that not show that the subjects belong there?", "233-3": "Joseph. Yes, I think so. Which mode is it?", "233-4": "Aloysius. Mode A. For example:", "233-5": "Joseph. That is useful to observe.", "233-6": "Aloysius. A flat at the beginning, outside the melody, indicates a mode transposed up a fourth. In that case, the subjects are regular and appropriate to their mode. For example:", "233-7": "The mixed genus is now firmly established. These distinctions receive little attention, although they are necessary for a true understanding of modes. Propose more subjects now.", "233-8": "Joseph. The error mark at the third note confirms my uncertainty about the answer. What causes the error?", "234-1": "Aloysius. The first and third notes form a seventh. The intervening note does not sufficiently conceal this improper leap. When the first two notes form a fourth, examine the third note carefully. The answer must preserve the proposing part's interval between the first and third notes. Here that interval is a sixth, so the answer must also use a sixth. For example:", "234-2": "Joseph. The subject and melodic course now seem to exceed the mode's limits.", "234-3": "Aloysius. No. The proposing subject does not end on the mode's octave, so the answer cannot end on its fifth. All intervals of the subject and melody are naturally contained within the mode's octave. However, an initial sharp changes this into a transposed mode and requires a slightly different answer. For example:", "234-4": "The same subject sometimes requires a different answer because of the mode's nature. Please propose another subject.", "235-1": "Joseph. I spent much time looking for an answer to this subject, but found none.", "235-2": "Aloysius. There are two methods: follow the mode or follow solmization. To follow the mode, first change the subject from the chromatic to the diatonic genus:", "235-3": "The answer then becomes clear. For example:", "235-4": "Changed to the chromatic genus, the answer is as follows:", "235-5": "Joseph. Could the answer preserve the complete subject and all its semitones? For example:", "235-6": "Aloysius. No. E-flat is too foreign to mode D. The following construction would be different:", "235-7": "Here E-flat is a substantial part of the subject. The second answering method follows solmization, as shown here:", "236-1": "I prefer this method because it disrupts the subject less than the first method. Almost the same subject, answered upward, fits both the mode and the semitones throughout. For example:", "236-2": "Joseph. Master, with your permission, I will propose one or two themes for string instruments, which have a wider range. I will also try to construct their answers. For example:", "237-1": "Aloysius. These subjects suit the lack of restraint common today. Joseph, avoid subjects of such great length and range in four-voice composition. Such difficult subjects make it hard to prevent parts from obstructing each other. The answer is nevertheless appropriate within the subject's limits.\n\nWhere the mode required it, you replaced the first part's fifth with a fourth in the answer. You also replaced a step of a second with a third. Apply the previous teaching, and you should find answers to most subjects without much hesitation. However, not all subjects develop equally well. Evaluate them carefully before choosing.", "237-2": "Joseph, after completing the difficult lessons, you can use every type of time and proportion. I will now show how different note forms can have equal duration under different measures of the beat.", "238-1": "These three different note forms have equal duration because the measure of the beat differs. The examples show this:", "238-2": "Joseph. I clearly see that different note forms have equal duration. How is this useful?", "238-3": "Aloysius. It shows where to use ligatures of dissonances, including which quarter of the measure. In duple time with a stroke through the sign, use them only on the thesis, or measure beginning. Cut time is an example. The following case is an exception:", "239-1": "In Presto, use them in the first and third quarters of the measure. In Adagio, use them in every quarter. Examine the examples.", "239-2": "Do not sing ligatures arranged like the last example at a faster beat. They would not produce the intended effect.", "239-3": "You now have the instruction needed to put your ideas on paper according to the rules of the art. I believe nothing necessary has been omitted. Selection remains: choosing one idea over another to achieve good taste.", "239-h1": "Taste.", "239-4": "People frequently praise taste. Italians call it good, French speakers perfectly good, and Latin speakers exquisite. Defining taste is harder than praising it. Strictly, taste belongs to the palate, but the wider meaning includes a correct and suitable order.\n\nMusical taste has two forms. Active taste is exercised by performers when singing or playing, as discussed earlier. Passive taste is received by listeners from melody. But who can judge good or bad taste? Familiar sayings state that everyone prefers their own things, tastes cannot be disputed, and nobody should judge their own case. A rustic therefore prefers a simple familiar tune to an elaborate composition.\n\nMr. Bellegarde describes a well-born man who disliked nightingales but greatly enjoyed frogs. He built a house beside a remote, treeless pond to hear frogs day and night. Without trees, nightingales could not stay there and disturb him. Joseph, what do you think of this man's supposedly elevated taste?", "240-1": "Joseph. I think his taste can reasonably be questioned.", "240-2": "Aloysius. Consider two examples of rash judgment and punishment. The proud piper Marsyas challenged Apollo and was flayed. Midas, king of Phrygia, preferred Pan to Apollo and received donkey-shaped ears. Poets invented these stories. If corrupt judges today received certain punishment, many would lack skin or have donkey ears.\n\nEveryone may enjoy their own preferences, provided they do not assume authority to judge. Judgment requires knowledge of ordinary and higher qualities while preserving natural order. Cicero explains that some readers approve good speeches and poems without understanding the cause or construction of their pleasure.\n\nSome modern composers pursue novelty by overturning customary consonances, dissonances, and every rule of the art. They claim to create, although creation belongs only to almighty God. Human novelty consists of arranging the same consonances and dissonances differently according to sound reason. A composition with good taste follows precepts, avoids triviality and excess, and seeks higher qualities while proceeding naturally. It must also please those skilled in the art.", "241-1": "Joseph. Your definition requires many difficult qualities.", "241-2": "Aloysius. Joseph, beginners cannot easily achieve every part of this definition. They first struggle even to find ordinary ideas, which must become readily available before further progress. Your strong progress may make you ready. I will therefore explain each part of the definition earlier than usual.", "241-3": "First, the composition must follow precepts. A lawless work may contain an unusual idea and please untrained listeners. However, skilled listeners require correctness as well as an excellent idea. Avoid low, ordinary ideas whose triviality causes weariness. Seek novelty and elevated qualities.\n\nDo not pursue novelty beyond nature and order. Excessively difficult music satisfies neither performers nor listeners. Performers struggle to execute it. Listeners may hear compositions that exceed natural reason, but the music does not reach their minds.", "241-4": "Joseph. Master, you demand much: music must be elevated and unusual, yet natural, while avoiding the commonplace.", "241-5": "Aloysius. Yes. Music that sounds easy and natural without being commonplace is difficult to produce. This explains the saying that the easy is difficult. Good taste depends on achieving this difficult ease. Seeking novelty by overturning nature and order avoids that difficulty, but does not achieve good taste.\n\nMuch of good taste depends on the composer's genius and talent. However, these attractive impulses must remain within nature, order, and rules to deserve the name of sound taste.", "242-1": "Joseph. What if corrupt customs become too powerful to resist without harming a composer's reputation and livelihood?", "242-2": "Aloysius. A fortunate person who values substance over appearance has no reason to abandon sound judgment. In harder circumstances, rely on virtue and Seneca's teaching. His account of providence is his own, rather than Christian.\n\nSeneca compares a brave mind to the sea. Rivers, rain, and medicinal springs cannot change or weaken the sea's taste. Similarly, adversity does not change the brave person's mind. That person remains firm and incorporates events into their own character. Although this concerns moral life, preserving the arts and sciences also has its own virtue.", "242-3": "Different kinds and styles of composition require different taste. We must first discuss styles because they are the main aim of our work.", "242-h1": "Ecclesiastical style.", "242-4": "Sacred things have greater dignity than secular things. Music for divine worship, intended to endure eternally, therefore deserves the highest place and our main effort. God is supreme perfection. Music praising God should observe the rules fully, within human limitations, and use every suitable means to encourage devotion.\n\nEven cheerful texts require ecclesiastical gravity, modesty, and decorum. Do not distract listeners from devotion. Fit the text with appropriate, clear, expressive music that is comfortable to sing and easy to articulate. Avoid small note values on words. However, a prolonged vowel without a newly pronounced word can carry diminutions suited to the singer's ability.\n\nA skilled tailor measures every body part to make a closely fitting garment. Similarly, the composer must fit music to the text's meaning and feeling, making it sing and speak persuasively. Masses, motets, psalms, hymns, and other texts require different methods. These methods belong to two styles: a cappella, or full-choir style, and mixed style. We will begin with a cappella because of its greater antiquity.", "243-h1": "A cappella style.", "243-1": "The earliest divine offices used voices alone. Organs were introduced later, followed by instruments of almost every kind. Today, a cappella style has two forms: voices alone, and voices with organ and other instruments. Many cathedrals still use the first form. The imperial court also uses it during Lent because of the monarch's special devotion.\n\nFor unaccompanied composition, avoid the mixed genus and transposed modes with many sharps or flats. Use only the pure diatonic genus. Otherwise, as explained earlier, the music will not produce the intended effect.", "244-1": "Joseph. Why are the mixed genus and transposed modes forbidden?", "244-2": "Aloysius. I believe Book One gave the reason: voices without instrumental support have great difficulty with intonation. Make singing easy and natural. Subjects must also be easy and natural, but neither empty nor commonplace.\n\nShort texts such as Kyrie and Amen may require frequent repetition to extend the composition. Compensate for the resulting weariness with varied melodic writing or new subjects. Study examples by other composers. Since you learned the foundations with me, my work should be familiar. I will therefore show the Kyrie from my Mass Vicissitudinis.\n\nLater, examine the greater works of distinguished composers. Aloysius of Palestrina is the undisputed master of this style. I strongly recommend imitating him if you seek more than ordinary progress.", "244-h1": "Kyrie from the Mass Vicissitudinis.", "245-lyrics": "Lord, have mercy.", "246-1": "Joseph, examine this harmonic texture. Ask for clarification if anything is doubtful or unclear.", "246-2": "Joseph. I admire how closely the parts overlap with the subject. Almost every measure contains the subject in one or two parts, with natural melody and full harmony. The subject almost replaces melodic continuation. If I could perform as well as I understand, I could reasonably take pride in my progress.\n\nThe last soprano note marked NB in measure seven initially concerned me. A leap proceeds from a seventh there.", "246-3": "I now remember a similar case in the lessons. Diminution was omitted to preserve the complete subject, as shown here.", "246-4": "Aloysius. Your attention and judgment identified everything important in this composition. Be encouraged. Understanding brings you close to practical ability, and time with continuous practice will supply the rest.\n\nNot every subject can enter this closely in almost every measure. Test a subject before choosing it for closely joined parts. Alter it or choose another if necessary. Also notice how the parts remain together within the staff's limits. This gives the harmony great strength.\n\nUse this or a similar a cappella model for short texts such as Kyrie and Amen. Longer texts, such as Gloria or Credo, require a new subject for each new period. Each subject must be expressive and fit both the music and the text's meaning and feeling.", "247-1": "Joseph. What if a subject fits the music and text but cannot enter conveniently?", "247-2": "Aloysius. Correct preparation makes the entrance possible. Give the entering part a rest first. Arrange the other melodies to permit entrance during continuation, at a cadence, or, less often, after a cadence.\n\nA complete Mass would be too long here, so I will present an offertory. Except for Kyrie and Amen, its method largely applies to the other Mass texts. It shows how to fit a subject to the text and introduce it at the correct moment.", "247-lyrics1": "Lord, I have lifted my soul to you.", "248-lyrics2": "My God, I trust in you.", "249-lyrics3": "Do not let me be put to shame.", "250-lyrics4": "Do not let my enemies mock me.", "252-lyrics5": "All who wait for you will not be put to shame.", "254-1": "Joseph, this composition connects subjects continuously. First consider the text, To you, Lord, I have lifted up my soul. The continually rising subject resembles confident prayer and closely fits the words. The second part enters before the first finishes its subject. A short melodic continuation through a deceptive cadence then permits the third part, the tenor, to enter.\n\nThe soprano and alto next replace melodic continuation with an almost independent subject on my soul. This produces a graceful progression. To avoid excessive continuation and repeated words, the alto imitates the subject on levavi after a half-rest. The soprano also rests and imitates it shortly afterward. Following further continuation, the parts cadence on D with an almost independent subject on animam meam.\n\nAfter a rest, the soprano introduces a new subject and text period. Notice the expression of Deus meus. The parts introduce this subject in every measure, in extremely close succession. The bass then introduces in te confido with a subject appropriate to its meaning. Other parts take it up and combine it with Deus meus until the cadence on B fa.", "255-1": "Joseph. I see a progression absent from the lessons: a fifth to a fifth, although by contrary motion. For example:", "255-2": "Aloysius. Correct. The rule permits it, but successive perfect consonances of the same species provide little variety. Avoid this without an important reason, especially in four voices. Here the subject could not enter otherwise, which justifies the progression. Closely combined subjects often require small exceptions.\n\nThe following subject frequently uses a fourth instead of a third, or a third instead of a step. These changes permit earlier entrances. Next, the bass enters beneath that cadence with non erubescam. The other parts repeat it closely until the cadence on F. The bass then introduces neque irrideant me inimici mei with a subject suited to the words. This continues at length with closely joined parts.", "255-3": "Joseph. In the earlier subject's development, I noticed what seems to be two immediately successive fifths:", "256-1": "The tenor seems to replace the bass here.", "256-2": "Aloysius. Some authors think so. However, the quieter tenor lets the ear recognize that its second fifth follows a third, rather than the earlier fifth. This small issue should not damage the subject's development or grace. You can now examine the rest of the composition.\n\nAlso observe that words without independent meaning must never be repeated. I will next show this style with a required cantus firmus and text. This will demonstrate how subjects enter.", "256-lyrics1": "Hail Mary, full of grace.", "258-lyrics2": "The Lord is with you.", "258-lyrics3": "You are blessed among women.", "261-lyrics4": "The fruit of your womb is also blessed.", "262-1": "Joseph, this model uses a required cantus firmus, or Gregorian chant. Its subjects are less singable and expressive than the earlier examples because of the chant's restrictions. Only subjects that fit the chant can be chosen. They usually come from the chant itself or imitate it.\n\nThe chant's course and brevity cause the possibly excessive repetition of words. Nevertheless, the chant must last throughout the offertory. Such requirements reduce some of the composition's ornament. However, the cantus firmus adds exceptional sweetness and devotion, immediately attracting the listeners' attention.", "262-2": "Joseph. You advised introducing subjects during cadences and only rarely after them. This composition seems to do the opposite.", "262-3": "Aloysius. The cantus firmus also causes this exception. Subjects drawn from Gregorian chant cannot enter freely everywhere. However, the continuous motion required by the rule remains unbroken to the end. These examples sufficiently illustrate a cappella style without organ or instruments. Examine them carefully, then study more elaborate works by other distinguished composers.", "262-4": "Joseph. What must be observed when composing psalms and hymns in this style?", "262-5": "Aloysius. No special rule is needed, except to give the music some songlike character. This is especially appropriate for hymns because they are in verse. A separate discussion is unnecessary.\n\nNext, consider a cappella style with organ and other instruments. This permits greater freedom of melody, singing, and movement. The Kyrie from my Mass in Fletu solatium provides an example.", "263-h1": "All together, somewhat lively.", "265-1": "Joseph, first consider the natural, graceful melodies. The parts remain closely joined without obstructing each other. The melody avoids the commonplace and moves naturally into related modes. Suitable rests prevent excessive, useless complexity. The harmony nevertheless remains full.\n\nThis style also works in three voices, as I have often demonstrated successfully. Here is the three-voice Christe from the same Mass.", "266-h1": "For three voices. All together.", "266-lyrics": "Christ, have mercy.", "267-1": "This freer three-voice a cappella composition emphasizes melody and imitation rather than one required subject, except at the beginning. After a cadence and short rest, a new idea repeatedly appears and receives imitation from the other parts. The pleasing melody is especially clear because the parts generally follow by oblique motion. Do not sing music in this proportion too quickly.\n\nThis style closely approaches the ecclesiastical gravity of unaccompanied a cappella and is more common today. One further example is appropriate: the Amen from my Mass Credo in unum Deum.", "268-h1": "All together, moderately fast.", "268-lyrics": "Amen.", "271-1": "Joseph, examine the parts joined by the subject, the correct concordances, and the continuous chain of dissonances. The melody is natural and easy, but not ordinary. The close joining of parts gives the harmony its greatest strength. Motion continues without interruption to the end.", "271-2": "Joseph. I see and admire these qualities. But the dissonances seem to resolve upward, contrary to your prohibition.", "271-3": "Aloysius. Joseph, an excellent musician raised the same objection about this Amen. He missed that the ascending fusa after the dissonance is a figure of variation. It adds motion and improves the melody. Examine the underlying substance.", "271-4": "Joseph. I am annoyed that I overlooked this clear explanation. I will identify figures of variation more carefully before judging.", "272-1": "Master, with your permission, I have one more question.", "272-2": "Aloysius. Speak.", "272-3": "Joseph. You prohibited doubling sharps used as accidentals. But measure nine of this Amen doubles the alto's sharp in the tenor. For example:", "272-4": "Aloysius. Yes. A sharp has strength and some harshness, so doubling it can overpower other parts and disturb harmonic balance. The prohibition applies when the doubled sharp lasts a long time. Here the tenor's sharp is too short to cause a significant problem. That small problem does not justify interrupting the graceful texture required by the melody and subject.", "272-5": "Joseph. How should instruments participate in this style? I know that trombones usually double the alto and tenor in unison. What should the strings play?", "272-6": "Aloysius. In this a cappella style, both violin parts should play in unison with the soprano.", "272-7": "Joseph. But I often hear and see strings playing something different.", "272-8": "Aloysius. Yes, but they make disproportionate, ungraceful leaps without a singable character. Their unsuitable movement confuses the harmony that they should support. If a four-voice composition is complete under the rules, no space remains for a fifth part to introduce a subject. The same applies to three-voice composition. Other approaches produce a poor melodic manner.", "272-9": "Joseph. What if the first violin doubles the alto at the octave, as many composers do?", "272-10": "Aloysius. This is tolerable if doubled voices and an added trombone sufficiently conceal the successive octaves. With fewer voices, audible octaves sound rustic. I recommend the safer method: both violin parts double the soprano. Other Mass sections, offertories, psalms, and hymns must follow the text's variety, as explained earlier. They permit greater freedom than the style without organ.", "273-1": "Joseph. What must a composer observe when using several subjects?", "273-2": "Aloysius. The music requires double counterpoint, as demonstrated earlier. Subjects must differ in note value, fit the text, and express its meaning. Do not combine text periods with opposite meanings, such as Crucifixus and Resurrexit: was crucified and rose again. This confuses the meaning and requires careful judgment. We will now discuss:", "273-h1": "Mixed style.", "273-3": "Mixed style alternates concerted passages for one, two, three, or more voices with instruments and passages for full choir. It is now the main church style. Since it is common and frequently heard, a lengthy discussion and examples are unnecessary.\n\nJoseph, remember that ecclesiastical music must encourage devotion and serve divine worship. Do not confuse it with theatrical or dance styles, as many composers do. Equally, avoid empty ideas and tiresome severity under the name of sacred music. These cause weariness rather than devotion.\n\nMake the harmony pleasing to the ear and delightful to the listeners' minds. Apply all the advice from this course. Construct a composition worthy before God and deserving praise among people.", "274-h1": "Recitative style.", "274-1": "Recitative is speech expressed in musical phrases, like an orator's delivery. Speakers vary intensity and pitch according to the speech and its intended feeling. Composers must similarly follow the text. Recitative resembling ordinary speech needs a restrained voice. Conflict needs a sharp, sometimes shouting voice and frequent bass changes.\n\nDignified text needs grave music with infrequent bass changes. This is especially suitable for ecclesiastical style, where instruments often accompany it. For example:", "274-lyrics": "Lord, do not rebuke me in your wrath or punish me in your anger. Have mercy on me, Lord, because I am weak. Heal me, Lord, because my bones are troubled.", "276-1": "Joseph. The instrumental harmony seems to depart completely from counterpoint rules, especially where dissonances occur.", "276-2": "Aloysius. Recitative requires this exception. Its bass does not move in the usual way for resolving dissonances, so the customary treatment is impossible. Exact concordance matters less than expressing feelings, which is the purpose of this style.\n\nUse this general approach, or adjust it to the text, when expressing feelings to God in prayer. Secular chamber and theatrical music have different aims and therefore require different treatment.", "276-3": "Secular music refreshes listeners and leads them into different feelings. Recitative generally expresses anger, compassion, fear, force, distress, pleasure, and love.", "276-4": "Express anger with an excited voice that tends upward. Stronger anger uses an abrupt outcry. Use smaller note values, almost always ascending to a high register, and frequent bass changes. Consider the angry character's rank. A king must preserve royal dignity and gravity rather than use what the author calls womanly shouting. Consider social position when expressing every other feeling as well.", "277-1": "Compassion needs a plaintive voice, sometimes interrupted. Use longer note values, often dissonant, while the bass remains in one position for longer.", "277-2": "Fear requires a lowered, hesitant voice.", "277-3": "Force requires a vehement, intense voice strengthened by gravity.", "277-4": "Pleasure requires a flowing, gentle, relaxed voice.", "277-5": "Love requires a pleasing, tender, affectionate voice. Other feelings often accompany love and must also receive careful attention.", "277-6": "Observe these speech divisions carefully: comma, colon, semicolon, full stop, question mark, exclamation mark, and parenthesis. Almost every division needs its own ending.", "277-7": "If a comma requires an ending, use the following method. For example:", "277-8": "A semicolon uses almost the same music. Often, omit a break at a comma when the meaning requires a hurried delivery.", "277-9": "A colon generally ends as follows.", "278-1": "Use the same ending for a full stop when the sentence ends but discussion of the same matter continues. A completely different discourse requires a formal cadence, usually shortened. For example:", "278-2": "If the discourse ends completely, arrange it as follows.", "278-3": "Express a question mark differently according to the meaning of the discourse. For example:", "278-4": "A mark of wonder or exclamation is generally expressed as follows.", "278-5": "Deliver a parenthetical passage quietly. Such speech is usually directed only to the audience, without the other actors hearing it. Judgment, practice, and study of respected authors teach these matters better than rules alone.", "278-6": "Joseph. That completes recitative. What advice do you give for composing arias?", "278-7": "Aloysius. Freely invented music changes almost every five years, so a fixed rule is difficult to establish. I praise the pursuit of novelty. A middle-aged person wearing fashions from fifty or sixty years earlier would risk ridicule. Music must also suit its time.\n\nHowever, no tailor attaches sleeves to the thighs or knees, and no architect places a foundation on the roof. Comparable errors often occur in music, distressing experts and discrediting the art. Composers overturn natural and artistic rules, move the foundation upward, and lower the other parts without regard for it.\n\nJoseph, when ready, devote your strength to novelty and invention. Never overturn the rules of the art. Art imitates and perfects nature rather than destroying it.", "279-1": "Joseph, diligent practice must make these principles habitual and easy. Then I hope you will have everything needed to earn a reputation as an excellent composer.", "279-2": "Joseph. Respected Master, are you bringing this work to an end?", "279-3": "Aloysius. Yes. My numbness and weariness are the usual signs that gout is approaching. Age and almost continuous illness have weakened me greatly. If another severe attack lasts its usual six months, I reasonably fear that I may not survive it. This small work has other imperfections, but it must not also lack an ending. I therefore finish it here.", "279-4": "Joseph. Will you teach nothing about composition for more voices?", "279-5": "Aloysius. I intended to include a treatise on composition for more voices in this work. Illness interrupted me and now confines me to bed. If God grants me life and strength, I will publish a separate treatise later. It will teach the remaining material without a teacher's living voice.\n\nMeanwhile, anyone who can complete a four-voice composition already has access to composition for more parts. As the number of voices increases, some rules become less strict. Farewell, and pray to God for me.", "279-finis": "The end." }, "standard": { "reference": "https://www.asd-ste100.org/assets/files/ASD-STE100_ISSUE9.pdf", "claim": "Draft only. Full compliance is not verified.", "localChecks": "Maximum 20 words per prose sentence, six sentences per paragraph, no contractions or semicolons. These checks do not validate the full standard." }, "glossary": { "voice": "One musical line in the counterpoint. The adaptation uses voice consistently for a written part.", "cantus firmus": "The given melody. Cantus firmi is its plural.", "counterpoint": "Music formed from combined melodic voices.", "species": "A category of counterpoint exercise with specified note-value relationships.", "semibreve": "A historical note value usually represented as a whole note in modern notation.", "measure": "The numbered rhythmic position discussed in this lesson; not a modern quarter-note beat.", "harmonic triad": "A bass note with a third and a fifth above it. Triad refers to the same item.", "consonance": "An interval that the counterpoint rules accept as consonant.", "perfect consonance": "Here, a unison, perfect fifth, octave, or corresponding compound interval.", "imperfect consonance": "Here, a third or sixth, or a corresponding compound interval.", "third / fifth / sixth / seventh / octave / tenth": "Music interval names. These terms do not mean an ordinal item in a work sequence.", "major / minor / diminished": "Qualities of musical intervals, used as parts of technical interval names.", "bass / tenor / alto": "Names of the written voices in the examples.", "step / leap": "Melodic interval categories: adjacent scale positions, or a larger interval.", "contrary motion": "Two voices move in opposite pitch directions.", "similar motion": "Two voices move in the same pitch direction.", "downbeat / upbeat": "The rhythmic positions called thesis and arsis in this context.", "cadence / standard cadential formula": "A musical ending; the latter term renders clausula formalis.", "mode": "The tonal organization called tonus in this discussion.", "sharp": "The musical accidental that raises the specified pitch.", "mi / fa": "The source’s solfège syllables.", "compose / ascend / descend": "Project technical-verb candidates for making counterpoint and moving toward higher or lower pitches.", "thesis": "The downward part of the beat, marked by lowering the hand.", "arsis": "The upward part of the beat, marked by raising the hand.", "diminution": "Division of a longer note or interval into shorter moving notes.", "suspension": "A prepared note held into a new harmony and then resolved.", "ligature": "The historical term used here for tied-note or suspension counterpoint, according to context.", "subject": "The musical idea that enters successively in the voices of a fugue.", "answer": "A response to the subject in another voice.", "double counterpoint": "Counterpoint whose voices can exchange their positions at a specified interval.", "stretto": "Overlapping subject entries, with a new entry before the previous entry ends.", "countersubject": "A recurring counterpoint accompanying a fugue subject or answer.", "minim": "A historical note value usually represented as a half note in modern notation.", "semiminim": "A historical note value usually represented as a quarter note in modern notation." } }