See also:

• COUNTERPOINT (Lat. contrapunctus, " point counter point," " note against note ")

COUNTERPOINT (See also:

• LAT

Lat. contrapunctus, " point See also:

• COUNTER

counter point," " See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note against note ")  , in See also:

• MUSIC

music, the See also:

• ART

art happily defined by See also:

• SIR

Sir See also:

• FREDERICK
• FREDERICK (Mod. Ger. Friedrich; Ital. Federigo; Fr. Frederic and Federic; M.H.G. Friderich; O.H.G. Fridurih, " king or lord of peace," from O.H.G. fridu, A.S. frith, " peace," and rfh " rich," " a ruler," for derivation of which see HENRY)

Frederick See also:

• GORE
• GORE, CATHERINE GRACE FRANCES (1799-1861)
• GORE, CHARLES (1853– )

Gore See also:

• OUSELEY, SIR FREDERICK ARTHUR GORE (1825-1889)
• OUSELEY, SIR WILLIAM (1769—1842)

Ouseley as that " of combining " melodies: this should imply that See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• COUNTERPOINT (Lat. contrapunctus, " point counter point," " note against note ")

counterpoint is the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of beautiful See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony by a See also:

• COMBINATION (Lat. combinare, to combine)

combination of well-characterized melodies . The individual audibility of the melodies is a See also:

• MATTER

matter of which current See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism enormously overrates the importance . What is always important is the See also:

• PECULIAR

peculiar See also:

• LIFE

life breathed into harmony by contrapuntal organization . Both historically and aesthetically " counterpoint " and " harmony " are inextricably blended; for nearly every See also:

• HARMONIC

harmonic fact is in its origin a phenomenon of counterpoint . And if in later musical developments it becomes possible to treat chords as, so to speak, harmonic lumps with a meaning See also:

• INDEPENDENT

independent of counterpoint, this does not mean that they have really changed their nature; but it shows a difference between See also:

• MODERN

modern and earlier musicpreciselysimilarto that between modern See also:

• ENGLISH

English, in which metaphorical and abstract expressions are so constantly used that they have become a See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere shorthand for the literal and See also:

• CONCRETE
• CONCRETE (Lat. concretes, participle of concrescere, to grow together)

concrete expression, and classical See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek, where metaphors and abstractions can appear only as elaborate similes or explicit philosophical ideas . The See also:

• LAWS

laws of counterpoint are, then, laws of harmony with the addition of such laws of See also:

• MELODY (Gr. ,ueXw3ia, a choral song, from name, tune, and gi6i, song)

melody as are not already produced by the interaction of harmonic and melodic principles . In so far as the laws of counterpoint are derived from purely harmonic principles, that is to say, derived from the properties of See also:

• CONCORD
• CONCORD, BOOK OF (Liber Concordiae)

concord and discord, their origin and development are discussed in the See also:

• ARTICLE (from Lat. articulus, a joint)

article HARMONY . In so far as they depend entirely on melody they are too See also:

• MINUTE
• MINUTE (Lat. minutes, small; minuere, to make less)

minute and changeable to admit of See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general discussion; and in so far as they show the interaction of melodic and harmonic principles it is more convenient to discuss them under the See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head of harmony, because they appear in such momentary phenomena as are more easily regarded as successions of chords than as principles of See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design . All that remains, then, for the See also:

• PRESENT

present article is the explanation of certain technical terms . 1 . See also:

• CANTO (from the Lat. cantus, a song)

Canto See also:

• FERMO (anc. 1%irmum Picenum)

Fermo (i.e. See also:

• PLAIN (O. Fr. plain, from Lat. plenum)

plain See also:

• CHANT (derived through the Fr. from the Lat. cantare, to sing; an old form is " chaunt ")

chant) is a melody in See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long notes given to one See also:

• VOICE (Fr. voix, from Lat. vox)

voice while others accompany it with quicker counterpoints (the See also:

• TERM

term " counterpoint " in this connexion meaning accompanying melodies) . In the simplest cases the Canto Fermo has notes of equal length and is unbroken in flow .

When it is broken up and its See also:

• RHYTHM (Greek pvBµds, from bap, to flow)

rhythm diversified, the gradations between counterpoint on a Canto Fermo and See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary forms of polyphony, or indeed any See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of melody with an elaborate See also:

• ACCOMPANIMENT (i.e. that which " accompanies ")

accompaniment, are See also:

• INFINITE (from Lat. in, not, finis, end or limit; cf. findere, to deave)

infinite and insensible . 2 . See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

Double Counterpoint is a combination of melodies so designed that either can be taken above or below the other . When this • See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change of position is effected by merely altering the See also:

• OCTAVE (from Lat. octavus, eighth, octo, eight)

octave ofeither or both melodies (with or without transposition of the whole combination to another See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

key), the See also:

• ARTISTIC

artistic value of the See also:

• DEVICE

device is simply that of the raising of the See also:

• LOWER

lower melody to the See also:

• SURFACE

surface . The harmonic See also:

• SCHEME (Lat. schema, Gr. oxfjya, figure, form, from the root axe, seen in exeiv, to have, hold, to be of such shape, form, &c.)

scheme remains the same, except in so far as some of the chords are not in their fundamental position, while others, not originally fundamental, have become so . But double counterpoint may be in other intervals than the octave; that is to say, while one of the parts remains stationary, the other may be transposed above or below it by some See also:

• INTERVAL

interval other than an octave, thus producing an entirely different set of harmonies . Double Counterpoint in the 12th has thus been made a powerful means of expression and variety . The artistic value of this device depends not only on the beauty and novelty of the second scheme of harmony obtained, but also on the change of melodic expression produced by transferring one of the melodies to another position in the See also:

• SCALE
• SCALE (1) A

scale . Two of the most striking illustrations of this effect are to be found in the last See also:

• CHORUS (Gr. xopbs)Z

chorus of See also:

• BRAHMS, JOHANNES (1833–1897)

Brahms's Triumphlied and in the See also:

• FOURTH

fourth of his See also:

• VARIATIONS
• VARIATIONS, CALCULUS
• VARIATIONS, CALCULUS OF

variations on a theme by See also:

• HAYDN, FRANZ JOSEPH (1732–1809)

Haydn . Double Counterpoint in the loth has, in addition to this, the See also:

• PROPERTY

property that the inverted melody can be given in the new and in the See also:

• ORIGINAL

original positions simultaneously . Double counterpoint in other intervals than the octave, loth and 12th, is rare, but the general principle and motives for it remain the same under all conditions . The two subjects of the Confiteor in See also:

• BACH, JOHANN SEBASTIAN (1685–1750)
• BACH, KARL PHILIPP EMANUEL (1714-1788)

Bach's B See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

minor See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

Mass are in double counterpoint in the octave, 11th and 13th .

And See also:

• BEETHOVEN, LUDWIG VAN (1770-1827)

Beethoven's Mass in D is full of pieces of double counterpoint in the inversions of which a few notes are displaced so as to produce momentary double See also:

• COUNTER

counter-point in unusual intervals, obviously with the intention of, varying the harmony . Technical See also:

• TREATISES

treatises are silent as to this purpose, and leave the student in the belief that the classical composers used these devices, if at all, in a manner as meaningless as the examples in the treatises . 3 . Triple, Quadruple and Multiple Counterpoint.—When more than two melodies are designed so as to combine in interchange-able positions, it becomes increasingly difficult to avoid chords and progressions of which some inversions are incorrect . In triple counterpoint this difficulty is not so See also:

• GREAT

great; although a See also:

• COMPLETE

complete triad is dangerous, as it is See also:

• APT

apt to invert as a " " which requires careful handling . On the other See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, in triple counterpoint the See also:

• NECESSITY (Lat. necessitas)

necessity for strictness is at its greatest, because there are only six possible inversions, and in a long polyphonic See also:

• WORK

work most of these will be required . Moreover, the artistic value of the device is at its highest in three-See also:

• PART

part poly-phonic harmony, which, whether invertible or not, is always a See also:

• FINE

fine test of artistic See also:

• ECONOMY

economy, while the inversions are as evident to the See also:

• EAR (common Teut.; O.E. are, Ger. Ohr, Du. oor, akin to Lat. auris, Gr. ovs)

ear, especially where the See also:

• TOP (cf. Dan. top, Ger. Topf, also meaning pot)

top part is concerned, as those in double counterpoint . Triple counterpoint (and a fortiori multiple counterpoint) is normally possible only at the octave; for it will be found that if three parts are designed to invert in some other interval this will involve two of them inverting in a third interval which will give rise to incalculable difficulty . This makes the fourth of Brahms's variations on a theme of Haydn almost miraculous . The plaintive expression of the whole variation is largely due to the fact that the flowing semiquaver counterpoint below the See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main theme is on each repeat inverted in the 12th, with the result that its See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief emphasis falls upon the most plaintive parts of the scale . But in the first eight bars of the second part of the variation a third contrapuntal voice appears, and this too is afterwards inverted in the See also:

• LATH (0. Eng. laett, Mid. Eng. lappe, a form possibly due to the Welsh llath; the word appears in many Teutonic languages, cf. Dutch lat, Ger. Latte, and has passed into Romanic, cf. Ital. latta, Fr. latte)

lath, with perfectly natural and smooth effect . But this involves the See also:

• INVERSION (Lat. invertere, to turn about)

inversion of two of the counterpoints with each other in the 9th, a kind of double counterpoint which is almost impossible .

The See also:

• CASE
• CASE, JOHN (d. 1600)

case is unique, but it admirably illustrates the difference between artistic and merely See also:

• ACADEMIC

academic mastery of technical resource . Quadruple Counterpoint is not rare with Bach . It would be more difficult than triple, but for the fact that of its twenty-four possible inversions not more than four or five need be correct . Quintuple counterpoint is admirably illustrated in the See also:

• FINALE (Ital. for " end ")

finale of See also:

• MOZART, WOLFGANG AMADEUS1 (1756–1791)

Mozart's See also:

• JUPITER

Jupiter See also:

• SYMPHONY

Symphony, in which everything in the successive statement and See also:

• GRADUAL (Med. Lat. gradualis, of or belonging to steps or degrees; gradus, step)

gradual development of the five themes conspires to give the utmost effect to their combination in the See also:

• CODA (Ital. for " tail "; from the Lat. cauda)

coda . Of course Mozart has not See also:

• ROOM

room for more than five of the 1 20 possible combinations, and from these he selects such as bring fresh themes into the outside parts, which are the most clearly audible . Sextuple Counterpoint may be found in Bach's great double chorus, See also:

• NUN (O. Eng. nunne, from Lat. nonnus, nonna, familiar terms for an old man or woman)

Nun ist das %Heil, and in the finals of his See also:

• CONCERTO (Lat. concertus, from certare, to strive, also con-fused with concentus)

concerto for three claviers in C, and probaLly in other places . 4 . Added Thirds and Sixths.—An easy and effective See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation of triple and quadruple counterpoint, embodying much of the artistic value of inversion, is found in the numerous combinations of themes in thirds and sixths which arise from an See also:

• EXTENSION (Lat. ex, out ; tendere, to stretch)

extension of the principle which we mentioned in connexion with double counterpoint in the loth, namely, the possibility of performing it in its original and inverted positions simultaneously . The Pleni sunt coeli of Bach's B minor Mass is written in this kind of transformation of double into quadruple counterpoint; and the artistic value of the device is perhaps never so magnificently realized as in the See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place, at See also:

• BAR
• BAR (0. Fr. barre, Late Lat. barra, origin unknown)
• BAR, CONFEDERATION OF
• BAR, FRANCOIS DE (1538-1606)
• BAR, THE

bar 84, where the See also:

• TRUMPET (Fr. trompette, clairon; Ger. ,Trompete, Klarino, Trummet; Ital. tromba, trombetta, clarino)
• TRUMPET, SPEAKING AND HEARING

trumpet doubles the See also:

• BASS
• BASS (the same word as " base," and so pronounced, but influenced in spelling by the Ital. basso)

bass three octaves and a third above while the See also:

• ALTO (Ital. for " high ")

alto and second See also:

• TENOR (through Fr. and It. from Lat. tenor, holding on, course, sense of a law, tone)

tenor have the counter subjects in See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close thirds in the See also:

• MIDDLE

middle . Almost all other contrapuntal devices are derived from the principle of the See also:

• CANON

canon and are discussed in the article CONTRAPUNTAL FORMS . As a training in musical See also:

• GRAMMAR (from Lat. grammatica, sc. ars; Gr. ypaµ)

grammar and See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style, the rhythms of 16th-See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century polyphony were See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early codified into " the five See also:

• SPECIES

species of counterpoint " (with various other species now for-gotten) and practised by students of See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition . The classical See also:

• TREATISE

treatise on which Haydn and Beethoven were trained was See also:

• FUX, JOHANN JOSEPH (1660-174.1)

Fux's See also:

• GRADUS, or GRADUS AD PARNASSUM (a step to Parnassus)

Gradus ad Parnassum (1725) .

This was superseded in the 19th century by See also:

• CHERUBINI, MARIA LUIGI CARLO ZENOBIO SALVATORE (1760-1842)

Cherubini's, the first of a long See also:

• SERIES (a Latin word from serere, to join)

series of attempts to bring up to date as a dead See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language what should be studied in its original and living See also:

• FORM (Lat. forma)

form . (D . F .