107



204. In genuine counterpoint it is not the movements of the chords,
but the movements of the separate tones, that create the required impres-
sion. The influence of the chords is felt rather than heard. In the
above examples there are too many chord-changes, at regular intervals ; as a
rule, there is a different chord for each beat, and therefore the chord-
movements are too frequent and obtrusive. This is probably the most
obvious defect in such harmonic sentences ; under such conditions a
genuine contrapuntal effect cannot easily be gained, — not even when
copious inharmonic embellishing tones are added (as in Exs. 144, 145
and 146).
205. The most effectual method of diminishing such persistent chord-
impressions, and increasing the significance of the tone-lines as such, is
to dwell longer upon each single chord, or, at least, upon certain (strong)
chords ; and, in general, to vary the length of the chords. While the chord
is stationary (or passive), the separate parts are unhampered, and can
move about with greater freedom. (This is shown in Ex. 148.)

206. In these unrestrained melodic movements, the parts hold each
other in check, to some extent, not only by mutual agreement with the
underlying chord, but by harmony of movement among themselves. This
latter element is of extreme importance, especially in elementary coun-
terpoint, and manifests itself most frequently in the following two forms :

1. Parallel 3rds, or parallel 6ths, between any two of the parts.
2. Duplication of any 3-tone stepwise figure, in the opposite direc-

tion.
For example :

Parallel 3rds and 6ths.
1_e <CTp[Z:drZcrz|
— cZ3^eZZpc~dz:eZz|



io8



ELEMENTARY COUNTERPOINT.
Par. 207.
