Page:A Dictionary of Music and Musicians vol 3.djvu/753

STRICT COUNTERPOINT. examples in the old Ecclesiastical Modes; but Albrechtsberger deals both with the Strict, and the Free Styles, while Cherubim accommodates the laws of the Strict Style to the tonality of the modern Scale, with such consummate skill, that they bear all the appearance of having been originally enacted in connection with it; thus solving, for the modern student, a very difficult problem, which Haydn, Mozart, and Beethoven, were left to work out for themselves.

In most important particulars, these three great teachers follow the same general plan. All write their examples on Canti fermi, consisting entirely of Semibreves: all make their Canti fermi close by descending one Degree upon the Tonic, or the Final of the Mode: and all agree in dividing their exercises into five distinct classes, now known as the Five Orders of Counterpoint, the Rules for which may be thus epitomised:—

. The early Contrapuntists insist strongly upon the observance of the four following 'Cardinal Rules' (Regulæ cardinales).

I. One Perfect Concord may proceed to another, in Contrary, or Oblique Motion; but not in Similar Motion.

II. A Perfect Concord may proceed to an Imperfect Concord in all the three kinds of Motion.

III. An Imperfect Concord may proceed to a Perfect Concord in Contrary, or Oblique Motion; but not in Similar Motion.

IV. One Imperfect Concord may proceed to another in all the three kinds of Motion.

The intention of these Rules is, to prevent the possibility of Consecutive or Hidden Fifths, Octaves, and Unisons.

(Note against note). One Semibreve must be written, in each Part, against each Semibreve in the Canto fermo. All progressions must be purely Diatonic; the employment of Chromatic Intervals being utterly prohibited, both in Harmony and in Melody, in this and all the succeeding Orders. No Discords of any kind are admissible. In two Parts, the only permitted Intervals are, the three Perfect, and the four Imperfect Concords: i.e. the Unison, Octave, and Perfect Fifth; and the Major and Minor Thirds and Sixths. In three or more Parts, the only Harmonies permitted are, the Major and Minor Common Chords, and the Chord of the Sixth. The Chord of the 6-4 and the Augmented and Diminished Triads are prohibited; but the First Inversion of the Diminished Triad is admissible, because none of its Intervals are in Dissonance with the Bass. In three Parts, each Chord should, if possible, consist of a Root, Third, and Fifth; or, a Bass-note, Third, and Sixth. In four Parts, the Octave should be added. But, in cases of necessity, any Interval may be doubled, or omitted. The separate Parts may proceed, either in Conjunct Movement, by Major or Minor Seconds; or, disjunctly, by leaps of a Major or Minor Third, a Perfect Fourth, a Perfect Fifth, a Minor Sixth, or an Octave. All other leaps, including that of the Major Sixth, are absolutely prohibited. The first Semibreve, in Two-Part Counterpoint, must be accompanied by a Perfect Concord: in three or more Parts, one Part at least must form a Perfect Concord with the Bass. In the remaining Semibreves, Imperfect Concords are to be preferred, in two Parts.

In this, and all other Orders of Counterpoint, the Parts may cross each other, to any extent.

Consecutive Fifths, Octaves, and Unisons, in Similar Motion, are forbidden, in any number of Parts. In four or more Parts, Consecutive Fifths are permitted, in Contrary Motion, but only as a last resource. This Licence, however, does not extend to Consecutive Octaves, which were far more carefully avoided, by the Great Masters, than Consecutive Fifths, even in Contrary Motion.

But Consecutive Fifths and Octaves are only forbidden when they occur between the same two Parts. When produced by different Parts, or, by making the Parts cross each other, they are perfectly lawful.

Hidden Fifths and Octaves are as strictly forbidden, in two Parts, as real Consecutives; but, in four or more Parts, as at (d), in Ex. 3, the Great Masters never troubled themselves to avoid them.

The False Relation of the Tritonus (Augmented Fourth) is strictly forbidden, in two Parts; but permitted, in three, or more. That of the Octave is forbidden, even in eight Parts.

In two Parts, the Unison is forbidden, except in the first and last notes. The Octave is permitted, in Oblique Motion; and, in Contrary Motion, also, provided it be approached by separation i.e. by the mutual divergence of the Parts which produce it; as at (c), in Ex. 2. Its employment by approximation—i.e. by the convergence of the Parts, as at (b) in Ex. 2—is only permitted in the final Cadence.

In Two-Part Counterpoint of this Order, it is forbidden to take more than three Thirds, or Sixths, in succession, unless the Parts be made to cross each other.

The final Cadence is formed, either by a Major Sixth followed by an Octave, as at (c), in Ex. 2; or, by a Minor Third, followed by an Octave, or an Unison, as at (a) in Ex. 1. In two Parts, these Intervals will complete the necessary formula. In more than two Parts, the same intervals must be given to the Canto fermo, and one