A Treatise on Simple Counterpoint in Forty Lessons

by Friedrich J. Lehmann

Fig. 22.

When the counterpoint is below the cantus firmus, the fifth of the chord needs special treatment. It is permitted on the weak beat when the lower is treated as an harmonic passing-tone.

An harmonic passing-tone is the second of three tones belonging to the same chord. [[Fig. 23a].] While the third tone should be a member of the chord containing the fifth as an harmonic passing-tone, the chord above it may change as in [Fig. 23b].

The fifth is permitted on the strong beat when it is only an implied fifth (six-four chord); that is, the third and fifth appear on the strong beat, and the root does not come in until the second half of the measure. [[Fig. 23c].]

Fig. 23.

The unison is permitted on the weak beat. [[Fig. 24.]]

Fig. 24.

Avoid broken-chord effects, that is, do not use more than three tones belonging to the same chord in succession. [[Fig. 25.]]

Fig. 25.

Avoid frequent skipping of parts. [[Fig. 26.]]