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.]

[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.