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--- bridges_counterpoint:counterpoint_in_five_or_more_parts [2017/07/26 17:45] – created brian
+++ bridges_counterpoint:counterpoint_in_five_or_more_parts [2018/01/17 18:05] (current) – minor typo brian
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 ==== General Rules ====
-Counterpoint may, of course, be written in five or more parts. The rules already given, and a consideration of the following examples, will sufficiently guide the student. He must remember that greater freedom is allowed as the parts increase in number; thus, consecutive ((parallel)) fifths and octaves by //contrary// motion may be used, and even (though rarely) consecutive fifths by similar motion if the second of the two be diminished (("unequal fifths")). Such progressions as these, however, should not occur between the //extreme//parts, and will seldom be necessary in counterpoint of less than seven or eight parts.
+Counterpoint may, of course, be written in five or more parts. The rules already given, and a consideration of the following examples, will sufficiently guide the student. He must remember that greater freedom is allowed as the parts increase in number; thus, consecutive ((parallel)) fifths and octaves by //contrary// motion may be used, and even (though rarely) consecutive fifths by similar motion if the second of the two be diminished (("unequal fifths")). Such progressions as these, however, should not occur between the //extreme// parts, and will seldom be necessary in counterpoint of less than seven or eight parts.
 The objectionable effect caused by the sounding of a note or its octave, on which a dissonance (in another part) is about to resolve, is not of course so apparent in seven or eight parts. This combination, so far as the octave is concerned, may be used in such cases as the following (Ex. 118).