A Treatise on Simple Counterpoint in Forty Lessons

by Friedrich J. Lehmann

The fifth may be used in the lower part if it becomes the preparation of a suspension ([Fig. 65a]). It may also be used in the lower part, as in [Fig. 65b], provided it resolves by skipping to the third of the chord.

In skipping from the fifth to the root, or the reverse, in the lower part, do so in an upward direction. The fifth, when treated as an harmonic passing-tone, may, however, be approached either ascending or descending.

Fig. 65.

The retardation should be used only when prepared by the leading-tone. It rises a semitone in resolving. [[Fig. 66.]]

Fig. 66.

The following dissonant intervals may be used on the first half of the measure:—When the counterpoint is above, the fourth and seventh in suspension, and second and fifth in retardation; and when below, the second in suspension, and the fourth and seventh in retardation. [[Fig. 67.]]

Fig. 67.

Consecutive fifths on consecutive strong beats of the measure are good when one of the tones of the second fifth is prepared, as in [Fig. 68.]

Fig. 68.

The following cadences are good: