Among the supplications for the departed is a chant three times repeated, each of the two parts ending with a choral "Amen" that bears a tender echo of the mediaeval "Cantus fictus.
As the hands were found to be living when the stomachs were cut open, so, when the Alps had been broken through, the might of Rome was to be discovered unimpaired.
Wouldest thou search out the truth, the beast as messenger of Mars foretold that the foe would fall before the emperor’s eyes.
The third task was a fuga reale, a perfect fugue, according to the rules of the church mode of the Cantus firmus, in which one phrase is carried through as a theme, the other parts serving as intermediate phrases.
The motifs were often taken from the Cantus firmus itself, in a rhythmical, diminished form.
An elaboration in his boyish handwriting of the Cantus firmus "Cibavit eos in adipe" (44 K.
One voice retained the Cantus firmus, the others were to be set to it in canonic or imitative mode.
In the present work it recurs again and again as Cantus firmus, or in imitation, always the bond and support of the detached articles of faith.
The choral tunes which serve as Cantus firmus are taken from Fux's Gradus ad Pamassum, which was no doubt employed as a textbook.
Cantus firmus; while the remaining parts, treated contrapuntally, give due emphasis to each change of mood, until the whole concludes with a grand Amen in unison.
Footnote 41: Whether any special Masonic wisdom lurks in the choice of this song I cannot say; it is worthy of remark that even in the Masonic funeral music a figured Cantus firmus is made use of (Vol.
He learnt the melody no doubt from Kirnberger, who often made use of it as an example, and twice worked it into a Cantus firmus.
The melodies which compose the Cantus firmus may have been, in part at least, borrowed from church tones.
All the devices of counterpoint, with their two, three and four tones of the moving voice against one of the cantus fermus, were so many incitations in the direction of melodic cleverness.
By descant in the foregoing account, reference is made to the practice of extemporaneous singing of an ornamental part to the plain song or a secular cantus fermus.
The introduction of popular tunes as a cantus fermus in masses and other such compositions is due to him; there are a large number of such works still in the library of the Vatican.
Chaucer the "Cantus Troili": If no love is, O God, what fele I so?
The Cantus Evangelii and Epistolarum admitted likewise of a great and wearisome licence of inflection.
Applied to the Gospel in the old rubrics, it would simply express that the Gospel was to be here "recited," according to the accustomed "Cantus Evangelii.
That he introduced the "Cantus Gregorianus" can also probably be no longer maintained; v.
The theory that Gregory the Great was the founder of Gregorian music, which superseded the old "Cantus Ambrosianus" everywhere in the West except at Milan, must in all probability be abandoned.
The "Cantus Romanus," brought to England by the Roman mission; i.
Hence alongside of the Cantus firmus there gradually grew up a Discantus or Cantus figuratus, and instead of singing in unison, singing in harmony was introduced.
The Gregorian Cantus firmus soon fell into disfavour and disuetude.
But it was a very great defect that the Gregorian music was assigned exclusively to well equipped choirs of clerical singers, hence Cantus choralis, for the training of which Gregory founded a school of music in Rome.
The congregation sang the cantus firmus or melody in unison, the singers in the choir gave it the accompaniment of a harmony.
Ambrose of Milan was the author of a new kind of church music full of melodious flow, with rhythmical accent and rich modulation, nobly popular and grandly simple (Cantus Ambrosianus).
He deserves special credit for his contributions to the liturgical services (Officium Ambrosianum, Cantus Ambr.
It is his way of carrying on together a cantus firmus in two's and a counterpoint in three's.
The manner of writing practised by Hucbald prescribed what is called parallel motion; that is, the melody of the cantus firmus and that of the descant always rose or fell together.
From this peculiarity the chant obtained the name ofcantus firmus, or fixed chant.
Bach treated the chorale melodies in many of his works, such as his organ chorales and his motets, as the medieval composers treated the cantus firmus, the liturgical chant.
It seems that after learning to add a second part to the cantus firmus, or chant, the singers, who were acquiring considerable dexterity in their art, began to ornament the additional part.
As long as the voices had moved in parallel fourths or fifths it was not difficult for them to keep together, but with the descanter singing two or more notes to every one of the cantus firmus it was quite impossible for them to do so.
To cantus firmus a write one above and one below, with both parts resting at the hold.
When writing second species in both parts no cantus firmus is used, both parts being original.
Unless otherwise mentioned, put the cantus firmus in any part, but avoid its continued use in the same part.
To cantusfirmus b write two above and two below in the second species.
Write three times, changingcantus firmus and counterpoint about so that they will appear in each part in turn.
A Cantus Firmus with First, Second, and Third Species in the Other Three Parts.
