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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1904 Excerpt: ...exercises in two parts, written two notes against one (p. 26), we may add a third voice written, as far as possible, in quarter notes by syncopation: Problem 31: To write a third voice-part by syncopation to the exercises belonging to problem 5. 112. A. At NB. c can take the place of & in the first counterpoint, because e is somewhat of a false-relation against e of the second counterpoint. The following is a practical inversion: 114. 1. Cpt. Also our second exercise (p. 27) may be made three-voiced: A.-In the first counterpoint we have altered two notes: in the fourth measure a' in place of a'", in order to gain more naturalness, while in the next to the last measure, a more effective cadence is obtained by having e' instead of c'. A practical inversion would be: 115. In similar manner, we write a third contrapuntal voice-part to the exercise (No. 49) three notes against one: Problem 32: To write a third voice by syncopation as a counterpoint to the exercises under problem 6. 116. B. 2. Cpt. To the exercise (No. 51.) written with four notes against one, we add a third voice-part having two notes against one: Problem 33: To write a third voice-part as a counterpoint to the exercises belonging to problem 7, two notes against one and four: The exercise (from No. 52), written with 6 notes against one, grants a third voice as its associate, written four notes against one. Problem 34: To write a third voice-part with 4 notes against 1 and 6, to the exercises belonging to problem 8: 120. B. We now add a floridly written third voice-part, that is, a counterpoint with enlivened, unrestricted rhythm, admitting rests also, and similar to the relationships we found in our two-part combinations. In this way we are able not only to bestow an increased interest ...
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