bridges_counterpoint:third_species_in_three_parts

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bridges_counterpoint:third_species_in_three_parts [2017/07/23 22:24] – created brianbridges_counterpoint:third_species_in_three_parts [2017/07/27 17:37] (current) – brian
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 The rules laid down in the corresponding species in two parts with regard to hidden consecutives ((parallels)) 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 ((parallels)) when one of the counterpoints between which they occur is an inner part. The rules laid down in the corresponding species in two parts with regard to hidden consecutives ((parallels)) 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 ((parallels)) when one of the counterpoints between which they occur is an inner part.
  
-Each measure (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 ((quarter note)). Some authors say on the //second//, but this often causes the part containing crotchets to move awkwardly.+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 ((quarter note)). 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. The cadences are those given for this species in two parts, with the addition of course of a third part.
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 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. 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.
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 +===== Musical Examples =====
  
 {{ :bridges_counterpoint:08-ex82.png?800 |}} {{ :bridges_counterpoint:08-ex82.png?800 |}}
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 ===== Observations on Examples 82-87 ===== ===== Observations on Examples 82-87 =====
  
-**A complete chord** (//i.e.// 5/3/1 or 6/3/1 FIXME) is used at the beginning of every measure as often as possible.+**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. 82 and 83**: The cadences are formed by the aid of changing notes.
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