statement will be modified when we come to speak of the ornamental resolution of suspensions. The same subject is now treated with the counterpoint below.

b

b

The syncopation is broken at (a), (b) and (c). This is sometimes advisable on account of the range of the melody, and also to secure as many real suspensions as possible. It is often necessary at the cadence when the counterpoint is in the lower voice. The counterpoint at (a) might have been arranged as follows:

but the weak effect at (*) will be readily noticed.

$76. Example (a) brings up the question of how far the effect of consecutive fifths and octaves is neutralized by syncopation. At first sight it looks as if there were consecutive fifths between the first notes of the third, fourth and fifth measures. But as the harmony is outlined by the subject and the second note of the counterpoint in each measure, the fifths are only apparent and have no harmonic import whatsoever. The perfectly clear harmony of the passage will be seen if we suppress the syncopation.

$77. The student must constantly bear in mind, however, that syncopations do not justify ungrammatical harmonic progressions.

If the above passage, for instance, be reduced to its simple harmonic foundation, by the omission of the syncopations, it is evident that we have three consecutive octaves followed by three fifths.*

$78. As in the former varieties of counterpoint, more than three consecutive thirds or sixths should usually be avoided. When a subject moving by steps would naturally call for a harmonization by chords of the sixth, it is better to break the syncopation for a measure. ple (b) is far preferable to (a).

Exam

better

A

$79. In regard to fifths and octaves not separated by a foreign chord, an infallible test of correctness is to eliminate the syncopations. For example, the following phrase,

*Cases often arise in which a practised judgment is necessary. In the following phrase, however, it is better in general to avoid the effect of consecutive fifths, which are merely delayed by the sixths:

Although in Haydn's Symphony in D Major we find the following:

perfectly good as it stands, is so no longer if the syncopation be broken:

b

COTT & Tele

for if we suppress the syncopations the harmonic basis of example (a) is

good

questionable

8

while example (b) gives

$80. The only satisfactory form of cadence in this order is the suspension of the leading tone by the tonic. (both above and below); for example,

S

尸

When the subject is such that the syncopation cannot be properly prepared, a cadence from the second order must be substituted. For instance, if the subject has the following ending,

though syncopation can be used in a counterpoint above, - for example,

S

when the counterpoint is below, some other form is preferable; for in the following arrangement

c and f (c the fifth and f the original root) imply a questionable six-four chord. The best cadence in this case will be

If the subject move from the sixth degree to the second, a syncopation is possible both above and below; for example,

while if the subject moves from the seventh degree to the second a syncopation either above or below is impossible:

Let the student work out for himself satisfactory cadences to the measures above, with counterpoint both above and below.

$81. Very few exercises will be given to work out in this order, for on account of its restrictions it is not only the most difficult but the most unattractive of all the orders. In fact, in actual composition, syncopation is seldom continued unbroken even for as many measures as in our exercises. In these, however, the student is expected to use syncopation wherever possible in order to acquire proper facilitv. But syncopation finds its real value in the next order that we shall study, — florid or mixed counterpoint, where it is of the greatest practical assistance in securing variety of rhythm. In vocal music but few syncopations are used at a time, to offer contrasts

in rhythm between the voices, to emphasize some important word, or to produce some striking harmony. In instrumental music syncopation is often useful for varying a melody at its second appearance and to give animation to the rhythm:

"
HAYDN. Kaiser Quartet "

etc

BACH. Organ Fugue in C major

etc.

Good examples of vocal syncopations and suspensions may be found in the "Messiah" Choruses, Nos. 22, 23, 31 and 52. The following passage from an "a capella chorus in Parker's "St. Christopher" has a very beautiful effect of syncopation:

In the Rondo of Beethoven's Pianoforte Sonata, Op. 13, at the beginning of the episode in Ab major, may be found a good instance of syncopation used freely to vary a melody, also in the Allegretto of Op. 27, No. 2. The middle portion of the Adagio of Schumann's Second Symphony furnishes numerous examples of syncopation.

§ 82. This is a good occasion for urging the student, as his musical development progresses, to lay more and more stress upon the study of actual music. The true place to learn musical grammar and to cultivate an artistic style is found in the living masterpieces of the great composers. The student should gradually become more and more familiar with the standard compositions of Bach, Bee