Lesson 15 - Florid Melodies as canti firmi - free harmonization in two-parts

[MaestroX]

FLORID MELODIES AS CANTI FIRMI
FREE HARMONIZATION IN TWO-PART COUNTERPOINT

Fig.152.


Thus far, all notes in the measure foreign to the harmony on the first beat were treated as dissonances. Now, the cantus firmus may be harmonized at pleasure, the only restriction being that any tone foreign to the chord with which it enters must be treated as a dissonance. [Fig. 152.]

It is not necessary that each part be strictly florid, but that the effect of the parts as a whole should be so. This applies from this point to the end of these lessons.

The suspension may now be a quarter-note, or its rhythmic equivalent. It then comes on the first (a) or third (b) quarter of the measure, and the resolution on the quarter following. The preparation should be as long as, or longer than, the suspension. [Fig. 153.]

Fig.153.


The eighth-note as in Fig. 154a is good. It should be used only on the second half of a weak beat, and be preceded by a dotted quarter-note. Sixteenth-notes may be used in place of the eighth-note, but should be approached and left step-wise. [Fig. 154b.]

Fig.154.


The first species may be employed occasionally in the course of an exercise.
Make plentiful use of imitation.

When more than one line of a choral is used, it may be treated by having the other parts continue through the holds, as at a, or letting them rest, as at b. [Fig. 155.]

When, in place of the hold, the movement continues, it is necessary to interpolate a full measure in place of the hold. [Fig. 155 and Fig. 159.]

Fig.155.


The note under the hold may be continued the extra measure, or the part may rest and then reënter. All that is required is that it begin after the lapse of one measure, i.e., when the line ends on the accent the next line begins on the weak beat of the measure following, and if it ends on the weak beat then on the accent of the next measure.

The interval at any hold except the last of a choral may be either a perfect (a) or imperfect consonance (b). [Fig. 156.]

Fig.156.