.]

[Illustration: Fig. 153.]

The eighth-note as in Fig. 154_a_ 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. 154_b_.]

[Illustration: 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.]

[Illustration: Fig. 155.]

The note under the hold may be continued the extra measure, or the part may
rest and then reenter. 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.]

[Illustration: Fig. 156.]

Modulation often occurs at the holds. If so, make it clear.

In this and in succeeding lessons set the cantus firmus in any part, and
transpose if necessary.

EXERCISES

To cantus firmus _b_ write two counterpoints above and two below.

To cantus firmus _a_ write one above and one below, with both parts resting
at the hold. Also do the same _with the counterpoint continuing at the
hold_. [Fig. 155_a, b._]

CANTI FIRMI

[Illustration: Fig. 157.]

LESSON XXXIV

FREE HARMONIZATION IN THREE-PART COUNTERPOINT

When writing in three or more parts, it is well to let a part rest
occasionally, and, when it reenters, have it imitate one of the other
parts. [Fig. 158.]

[Illustration: Fig. 158.]

EXERCISES

To cantus firmus _a_ write two counterpoints above and two below in
two-part counterpoint.

Write two original eight-measure phrases in two-part counterpoint.

To cantus firmus _b_ write one example in three-part counterpoint with
continuous movement at the hold. [Fig. 159.]

[Illustration: Fig. 159.]

CANTI FIRMI

[Illustration: Fig. 160.]

LESSON XXXV

To canti firmi _a_ and _b_ write two parts. Write each