(a) The harmonic basis of Ex. 70 was discarded, to avoid too much repetition of the tonic chord.

(b) The harmonic basis of Ex. 70 was discarded, because imitations that were desirable would not allow of its being retained, and the new harmony is not inferior. (c) The use of the prepared seventh instead of a plain consonance makes it easier to introduce the point of imitation.

(d) See (a).

(e) A 6 on D was used instead of a 3 (as in Ex. 70) to allow of Bat (f).

CHAPTER V

MADRIGAL AND MOTET WRITING

I. BEFORE the student attempts to write Madrigals and Motets in sixteenth-century style, he should critically study a good deal of the music of the period. It should be analysed under the following heads:

(a) Technique.

(b) Characteristic idioms.

(c) Accentuation and rhythm.

(d) Form.

The Masses, Motets, and Madrigals of Palestrina should be studied, and in addition the church music of Byrd, Tallis, Gibbons, and a few others. The art of Counterpoint had reached its zenith, so that in all the work no novelty in the use of resource is to be looked for. Composers contented themselves with ordinary canons of Strict Counterpoint, and quite a number of idioms may be regarded as common property. 2. Technique.

(a) The parts are not to be in Florid Species, as it is understood in the scholastic work, that is, as regards idioms. All the species may be used indiscriminately, and for any length of time, the procedure being influenced largely by the words to be set. The student should carefully beware of over-elaboration. No composition of the period contains anything like the elaboration that some examiners require in a piece of eight-part florid work. In fact, if it were carefully recognized that the time was 2, fairly fast, no one would dream of producing such a monstrosity. Fancy an eight-part score with all the parts moving somewhat as follows: