llustration: Fig. 142.]

LESSON XXVIII

[Illustration: Fig. 143.]

EXERCISES

To cantus firmus _a_ write the fourth species in one part, as usual.

To cantus firmus _b_ write first, second and fourth species in the other
three parts. [Fig. 143_a_.]

To cantus firmus _c_ write the first, third and fourth species in the other
three parts. [Fig. 143_b_.]

To cantus firmus _c_ write fourth species mixed in the other parts. [Fig.
143_c_.]

CANTI FIRMI

[Illustration: Fig. 144.]

LESSON XXIX

[Illustration: Fig. 145.]

EXERCISES

To canti firmi _a_ and _b_ write fifth species in one part, as before.

CANTI FIRMI

[Illustration: Fig. 146.]

LESSON XXX

[Illustration: Fig. 147.]

EXERCISES

To the cantus firmus write the fifth species in two parts. Write four
times, changing the cantus firmus into every part. [Fig. 147_a_.]

Write one eight-measure phrase mixing the second, third and fourth species
(_b_). Also write one exercise combining the first, second, third and
fourth species (_c_).

CANTUS FIRMUS

[Illustration: Fig. 148.]

LESSON XXXI

[Illustration: Fig. 149.]

EXERCISES

To the cantus firmus write the fifth species in all of the other parts.
[Fig. 149_a_.]

Write four eight-measure phrases with the fifth species in all parts. [Fig.
149_b_.]

CANTUS FIRMUS

[Illustration: Fig. 150.]

LESSON XXXII

[Illustration: Fig. 151.]

EXERCISES

Write six eight-measure phrases, using the fifth species in all the parts.
Let the parts begin one after the other in imitation. [Fig. 151.]

LESSON XXXIII

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

[Illustration: 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