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 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.]

[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