A. 1. The procedures are those of Species II/III and IV. There are certain new factors introduced by the combination of tied-over weak halves with the other Species. Mostly, there are durational considerations which are consistent with the move from long note values to short note values.
2. Two quarters on a strong half must either be preceded by two quarters at the end of the previous measure or be followed by a tied weak half. This rule insures that no measure contains an isolated rhythmic group which would impede the flow of melody.
3. Successions of longer note values (e.g. three halves, or two halves tied together, followed by a half) are used mostly at the begninnings and endings of phrases. Single half notes or halves tied to quarters may be used in mid phrase. A dotted half note may also be used at the beginning of a measure.
1. Strong half, tied from a weak half in the previous measure.
a. Suspensions (dissonance on strong half) are treated as in Species IV; that is, the resolution comes only at the time of the third quarter; if a second quarter is present, it must be part of an "ornamented resolution" (anticipation, or escape tone).
b. However, the resolution may be sounded on the third quarter alone and followed by a fourth quarter, used as a passing tone or consonant skip.
c. A tied strong half which is consonant may be treated as an ordinary strong half in Species II or II/III.
2. Weak half, tied to a strong half or first quarter of a subsequent measure.
a. A weak half tied in to the next measure must always be consonant when it is sounded. If the tied pitch is to be dissonant with the CF tone of the next measure, it must, of course, be a suspension (7-6 or 4-3 above, or 2-3 below the CF).
b. If the pitch of the weak half is to be consonant with the next CF tone, it may be tied in to the first quarter only, and that consonant first quarter is then treated as an ordinary first quarter in Species III or II/III.
c. Suspensions may resolve in the fourth quarter under the following conditions:
(1) Second quarter is consonant with the CF and fourth-quarter resolution tone of the CP.
(2) Third and fourth quarters are approached stepwise. E.G. in a 7-6 delayed suspension,
a half-note E is tied over to the first quarter, making a dissonant seventh with F in the CF below.
The second quarter of the CP steps up to F and hte third quarter steps back to E. The resolution on D then occurs on the fourth quarter. The second quarter is then an upper neighbor to the tone which forms the dissonant suspension, and the line continues downward to the resolution.
Note: there must never be any syncopation from a quarter-note position. That is, all tied notes begin with a weak half note. Always tie from a long to a short note value. One could tie a whole note to a half note also.