Counterpoint (Bridge): Chapter 8

The rules laid down in the corresponding species in two parts with regard to hidden consecutives 1) and the use of the changing note must be borne in mind. As in the other species of three-part counterpoint, more freedom is allowed as to hidden consecutives 2) when one of the counterpoints between which they occur is an inner part.

Each bar (except, of course, the first) should if possible commence with a complete chord, but if this cannot be done an effort should be made to bring it in on the first crotchet 3). Some authors say on the second, but this often causes the part containing crotchets to move awkwardly.

The cadences are those given for this species in two parts, with the addition of course of a third part.

Students must beware of confusing concords 4) and discords 5) in this species, bearing in mind what was said in the note above Ex. 30 6) in Chapter 3.

Avoid moving conjunctly and obliquely to the unison (Ex. 81, a, b), except when the parts are crossing, the unison being then merely passed through (Ex. 81, c).

Six or eight notes are sometimes written against one 7) (see Ex. 86).

This species may be combined with the preceding, and, as it will be difficult to avoid disjunct movement in one of the parts, the rigour of the rule against it may be relaxed, particularly as regards the second species.

A complete chord (i.e. 5/3/1 or 6/3/1 FIXME) is used at the beginning of every bar as often as possible.

Ex. 82 and 83: The cadences are formed by the aid of changing notes.

Ex. 86: An example in triple meter.

Ex. 87: Combines the second and third species.

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1) , 2)
quarter note
It is necessary to warn the student that a note may be consonant with the cantus firmus, and yet, by reason of the implied harmony, must be treated as a discord, i.e. “approached and quitted by conjunct degrees.”
as is the case in triple meter
  • bridges_counterpoint/third_species_in_three_parts.txt
  • Last modified: 2017/07/27 17:37
  • by brian