Publisher's Synopsis
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1841 edition. Excerpt: ...A Si Subject. After the pupil has sufficiently practised in this manner, placing the crotchets in each part alternately, he may mix with it the preceding species, or that of the two minims to each semibreve, as shewn in the following examples. In this case, the part which contains the minims must begin after that which is occupied by the crotchets. See the following examples. In this admixture of the two species, it is next to impossible but that one of the two parts must move by skips. We must therefore infringe upon the strictness of the rule which requires us to employ diatonic progressions in preference to the other. CHAPTER X. COUNTERPOINT IN THREE PARTS. FOURTH SPECIES--ON SYNCOPATION. In the species of which we are going to treat, the pupil must not forget what was said respecting the species analogous to it in two-part counterpoint. The same laws serve as a guide. There only remains for us to indicate here in what manner we must introduce a third part during the syncopation. RULE I. We have already said, and it is necessary to repeat it, that, according to the system of strict composition followed by the ancient composers, the syncopation or discord is merely a suspension of the concord. Setting out from this principle, it will follow that the syncopation does not destroy the nature of the chord in which it is placed, but that it only suspends a consonant member of that chord. Consequently, the discord must descend diatonically on the concord which it has suspended, after having been prepared by another concord, forming part of the preceding chord. The other parts ought therefore, at the moment of the syncopation taking place, to stand in the relation of concords to the subsequent resolution of the discord. From this latter...
