C. H. Kitson · section 6 of 10
Chapter IV. Fourth Species Read and hear this section in the playable edition →
1. If, instead of writing the counterpoint in the First Species:
Fig. 195 · Play this example in the reader ▶
it moves one minim behind:
Fig. 196 · Play this example in the reader ▶
the result is Fourth Species or Syncopation. Let it not be imagined, however, that any First Species can thus be turned into Fourth Species. The example was merely designed to do so for the purpose of explaining the nature of Fourth Species, e.g. syncopation.
2. From an observance of example (b) note:
(a) After a minim rest, the counterpoint begins with a perfect concord. (b) Every second minim of the bar must be a concord. (c) If the syncopated minim be a concord on the first beat of the bar (1), it is free to move by leap (2), or by step (3), to another concord. (d) If, however, the syncopated minim on the first beat be a discord (4), it must resolve downwards one step into a concord (7). (e) The last two notes of the counterpoint must be Leading Note, Tonic.
3. Such syncopated discords as are seen in the above are called suspensions. (2) is the preparation of the suspended discord. (4) is the suspended discord, or suspension. (7) is its ‘resolution’.
4. The available suspensions are here given in three and four parts, so as to show their implied harmony:
Fig. 197 · Play this example in the reader ▶
(a) is the chord of C major in root position with the third suspended. 4/6 3/– is not used. (b) is the first inversion of the chord of A minor with the root suspended. (c) is the chord of C major in root position with the root suspended. (d) is the chord of A minor in the first inversion with the third suspended.
The suspension 2–1 is not to be used.
Fig. 198 · Play this example in the reader ▶
9 8 is good.
Fig. 199 · Play this example in the reader ▶
6 5 or 5 6 are examples of syncopated concords:
Fig. 200 · Play this example in the reader ▶
Suspensions in the Bass
Fig. 201 · Play this example in the reader ▶
(a) is the suspension of the root of the chord of C major.
(b) is the suspension of the third of the chord of A minor.
Again 6 5 or 5 6 are examples of syncopated concords:
Fig. 202 · Play this example in the reader ▶
5. Do not use the augmented fourth or diminished fifth as suspensions:
Fig. 203 · Play this example in the reader ▶
6. A suspension should only be sounded against its resolution if the latter be in the bass:
Fig. 204 · Play this example in the reader ▶
7. The 9 8 must not be prepared by the octave:
Fig. 205 · Play this example in the reader ▶
It should generally be approached by contrary motion:
Fig. 206 · Play this example in the reader ▶
But when the exposed octave, that would result if the syncopation were omitted, is good, the suspension can be approached in similar motion:
Fig. 207 · Play this example in the reader ▶
8. The following were not considered as consecutive fifths deferred:
Fig. 208 · Play this example in the reader ▶
(a) does not sound very satisfactory, as the ear is inclined to accept each bar as based on one chord, A minor, G major, F major.
(b) however is good, as each bar must have two harmonies.
The following is of course faulty, as the syncopated note is a discord:
Fig. 209 · Play this example in the reader ▶
5 6 repeated is open to no objection:
Fig. 210 · Play this example in the reader ▶
9. It is better for the beginner to avoid such progressions as:
Fig. 211 · Play this example in the reader ▶
10. The syncopation must be broken if its maintenance would produce faulty grammar or melodic repetition.
Fig. 212 · Play this example in the reader ▶
(a) Diminished fifth from bass is a discord.
(b) False relation of tritone.
11. The Unison may be used on the second minim of the bar, and the Leading Note may be doubled on the strong beat if syncopated.
Fig. 213 · Play this example in the reader ▶
12. Cadences
Fig. 214 · Play this example in the reader ▶
13. Two chords in a bar may be freely used.
14. Three parts
(a) The two upper parts may form a bare fourth if the bass be a syncopated concord or discord.
Fig. 215 · Play this example in the reader ▶
(1) is not strictly sixteenth-century technique, but it is indispensable in technical exercises in Fourth Species.
When the bass is a syncopated discord, the view was that the next part above it was for the time being the real bass.
(b) Do not sound the discord against its resolution in the middle part, except occasionally by contrary and conjunct movement.
Fig. 216 · Play this example in the reader ▶
(c) the third part need not necessarily complete the chord.
Fig. 217 · Play this example in the reader ▶
(d) Cadences. Examples.
Fig. 218 · Play this example in the reader ▶
Fig. 219 · Play this example in the reader ▶
Fig. 220 · Play this example in the reader ▶
Examples
(extra third part in black notes).
Fig. 221 · Play this example in the reader ▶
Fig. 222 · Play this example in the reader ▶
Fig. 223 · Play this example in the reader ▶
Fig. 224 · Play this example in the reader ▶
Exercises
1. To the following Canti Fermi add Soprano in Fourth Species, then add a middle part in First Species:
Fig. 225 · Play this example in the reader ▶
Fig. 226 · Play this example in the reader ▶
Fig. 227 · Play this example in the reader ▶
Fig. 228 · Play this example in the reader ▶
2. To the following Canti Fermi add Bass in Fourth Species, then add a middle part in First Species:
Fig. 229 · Play this example in the reader ▶
Fig. 230 · Play this example in the reader ▶
Fig. 231 · Play this example in the reader ▶
Fig. 232 · Play this example in the reader ▶
← Chapter III. Third Species All sections Chapter V. Fifth Species →
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