The suspension, instead of being sustained as a half-note, may be repeated on the second quarter, as at c.  In this case it is best to continue stepwise through the tone of resolution.

At d the resolution, instead of coming on the second half, appears on the quarters on either side.  This is good.

[Illustration:  Fig. 82.]

The ornamental resolution may be used in either part.

Use the suspension freely.

The solutions should be musical, and are to be written over and over again until such are secured.

All cadences of the second, third and fourth species, or any combination of these, may be used.

EXERCISES

To canti firmi a and b write two counterpoints above and two below, in the fifth species

CANTI FIRMI

[Illustration:  Fig. 83.]

LESSON X

FLORID COUNTERPOINT (Continued)

When florid counterpoint is combined with other than first species, the dotted half followed by a quarter-note (a), or two eighth-notes (b), is good.  Also, a rhythmic figure, as at c, where a half-note occupies the second and third quarters, may be used. [Fig. 84.]

[Illustration:  Fig. 84.]

EXERCISES

Write one eight-measure phrase, each, of the following combinations:  The fifth species with the second; the fifth with the third; and the fifth with the fourth.  Write also two eight-measure phrases with fifth species in both parts. [Fig. 85.]

[Illustration:  Fig. 85.]

SIMPLE COUNTERPOINT IN THREE PARTS

LESSON XI

FIRST SPECIES

[Illustration:  Fig. 86.]

Regard all rules for two-part counterpoint, unless otherwise mentioned.

If possible, each measure should contain a complete chord.  When in the first species it becomes necessary to double an interval, let it be preferably the root.  The third should be doubled only when a decidedly smoother melodic progression is thereby obtained; and when both thirds are in outer parts, each should be approached and left stepwise in one direction (Fig. 87).  The doubling of the fifth is, of course, impossible, since it necessitates the omission of the third.

[Illustration:  Fig. 87.]

All triads may be used in their first inversion.

Diminished and augmented triads, however, are best used in their first inversion.

The six-four chord may be used at the close as the cadencing tonic six-four chord.  Do not approach the root and fifth in similar motion, as at b. [Fig. 88.]

[Illustration:  Fig. 88.]