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--- bridges_counterpoint:second_species_in_three_parts [2017/07/22 21:38] – created brian
+++ bridges_counterpoint:second_species_in_three_parts [2017/07/27 17:36] (current) – brian
@@ Line 5: / Line 5: @@
 ==== Two Notes To One ====
-Two notes are here written throughout one of the counterpoints to every note of the //cantus firmus//, with the exception of the first and last measures. The additional part, in this and the other species of three-part counterpoint, commences with the //cantus firmus//.
+Two notes are here written throughout one of the counterpoints to every note of the //cantus firmus//, with the exception of the first and last bars. The additional part, in this and the other species of three-part counterpoint, commences with the //cantus firmus//.
-The unison and doubled major third should be avoided at the accented beat, but both, particularly the unison (between two of the parts only), may be used at the //unaccented// part of the measure in this and the remaining species of three-part counterpoint.
+The unison and doubled major third should be avoided at the accented beat, but both, particularly the unison (between two of the parts only), may be used at the //unaccented// part of the bar in this and the remaining species of three-part counterpoint.
-Consecutive fifths and octaves upon accented beats should be avoided. They may occasionally appear between the counterpoint moving in half notes and one of the other parts, when one of the two is an inner part. Even in this case, which is not recommended, we should endeavor to separate them by a skip of at least a fourth in the part containing the two notes in a measure (Ex. 73).
+Consecutive fifths and octaves upon accented beats should be avoided. They may occasionally appear between the counterpoint moving in half notes and one of the other parts, when one of the two is an inner part. Even in this case, which is not recommended, we should endeavor to separate them by a skip of at least a fourth in the part containing the two notes in a bar (Ex. 73).
 {{ :bridges_counterpoint:07-ex73.png?600 |}}
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 {{ :bridges_counterpoint:07-ex74.mp3 | :bridges_counterpoint:07-ex74.ogg |}}
+===== Musical Examples =====
 {{ :bridges_counterpoint:07-ex75.png?800 |}}
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 ===== Observations on Examples 75-80 =====
-**Ex. 75**: The fifths in measures 4 and 5 being on unaccented beats are unobjectionable, especially as the G in measure 4 is a passing note, and because of the contrary motion.
+**Ex. 75**: The fifths in bars 4 and 5 being on unaccented beats are unobjectionable, especially as the G in bar 4 is a passing note, and because of the contrary motion.
 **Ex. 76**: The lower part entering on the second beat causes the example to begin with a sixth. This is quite correct; the student must, however, be careful not to let an exercise begin with a fourth (as in Ex. 77), this interval being a discord between the //lowest// and an upper part (see [[bridges_counterpoint:definitions|Definitions]]). Some //canti firmi// begin upon the dominant (see Ex. 78); if placed in an inner part, with the second species in the bass, care must be taken not to commence with an implied 6/4 FIXME as in Ex. 78.