Grove's dictionary of music and musicians

724 STRICT COUNTEEPOINT STRICT COUNTERPOINT
that I'econimended in the Second Order
6 (k) ; Ex. 7 (m).
Ex. 6.
Canto fermo.
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Ex.
® (m)
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Canto f&rmo^
Fourth Order (With Syncopations). In
this Order one part must be written in syncopated
notes ; while the others accompany the
Canto fermo in semibreves.
The first bar must begin with a minim rest,
followed by a minim in Perfect Concord with
the Canto fermo ; which minim must be tied to
the iirst minim in the following bar, which
must always form «. Concord with the lowest
part Ex. 9 (?•).
The remaining bars (except the last) will each
contain two minims ; the first of which must be
tied to the second minim of the preceding bar ;
and the second to the first minim of the bar
which follows. The tied minims, now known as
Syncopations, were formerly called Ligatures.
The second or unaccented minim must always
form a Concord with the Canto fermo.
The tied or accented minim may form either
a Concord or a Discord with the Canto fermo.
In the first case—Ex. 8 (o) ; Ex. 9 (s)—it may
proceed upwards or downwards, either in conjunct
or disjunct movement. In the second
— Ex. 8 (m) ; Ex. 9 (?•)—it inust descend one
degree upon a Concord, which forms its natural
resolution, and may also serve to prepare a Discord
in the succeeding bar, as at (p) in Ex. 8.
In no case but that of the Ninth is it allowable
to let the note into which the Discord is about
to resolve be heard simultaneously with the
discord itself in any other part than the Bass.
Consecutive Fifths, Octaves, and Unisons
are strictly forbidden between the unaccented
minims of two successive bars, which must here
be guarded as strictly as the accented minims
of the Second Order. Indeed, the most severe
test that can be applied to this kind of
Counterpoint is the excision of the first minim
of every bar. If this operation should produce
good Counterpoint of the First Order, nothing
more can be desired.
All the diatonic discords may be used by
Syncopation. But a succession of Ninths, resolving
into Octaves, or of Sixths, followed by
Fifths, is forbidden ; because in these cases the
excision of the accented minims would produce
progressions of real Fifths and Octaves.
The Cadence, formed always by the Canto
fermo and the part containing the Syncopations,
will consist, either of a suspended Seventh,
resolving into a Major Sixth, and followed by
an Octave—Ex. 8 (y)
; Ex. 9 {t) ; or, should the
Canto fermo be placed above the Syncopations
of a suspended Second, resolving into a Minor
Third and followed by a Unison or Octave.
This Cadence was called b^ the old masters
the Diminished Cadence, and was used at the
close of almost every polyphonic composition.
^
Canto fermo.
Ex. 9.
(^) (,) (*)
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^f^i^r^i^^
Caitio fermo.
Fifth Ordee (Florid Counterpoint). In this
Order one part wiU contain a judicious mixture
of all the preceding Orders ; while the other
parts accompany the Canto fermo in consonant
semibreves.
Dotted notes, though forbidden in all other
Orders, may here be introduced into the Florid
part with excellent effect ; and Quavers also,
if used sparingly, and with discretion, as at
Ex. 10 (»). Tied notes are permitted, on condition
that the length of the second note does
not exceed that of the first.
In modern passages
it is sometimes convenient to use a, tied
note instead of a dotted one.
By a licence analogous to that mentioned
with regard to the Third Order, a syncopated
Discord, suspended by a tied crotchet, may
descend a Third or a Fifth, and afterwards reascend
to its lesolution, • as at (a;), in Ex. 11 ;
or it may ascend a Fourth or a Second, and
then redescend to the necessary Concord, as at
{v) in Ex. 10.
A minim, preceded in the same bar by two
crotchets, should always be tied to a minim,
or crotchet in the succeeding bar.^ Ex. 10 {u).
The Diminished Cadence— Ex. 10 (w)—is
used in this Order as well as in the Fourth
with many . graceful modifications, rendered
possible, as in Ex. 11 (a), by the employment
of dotted and tied notes.^ These modifications
form part of a long list of licences, peculiar to
the Fifth Order, and greatly conducing to its
beauty, as in Ex. 11 (y), though, unfortunately,
too numerous for detailed notice in our present
article.
Ex. 10. («) (d) (to)
WJiio ferino.
2 Ibid, p. I 3 Ibid, p. T6.