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--- bridges_counterpoint:third_species_in_two_parts [2017/07/15 02:22] – image resolution changes brian
+++ bridges_counterpoint:third_species_in_two_parts [2017/07/27 17:32] (current) – brian
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 Four notes are here written in the counterpoint to every one of the //cantus firmus// with the exception of the first and last. The first bar of the counterpoint usually commences with a crotchet ((quarter)) rest; the last bar must contain a note of equal value with the //cantus firmus//.
-As in the second species, the first note of the counterpoint must be a perfect concord ((consonance)), and the first note of every following bar (with the license allowed in par. 30 FIXME) either a perfect or imperfect concord, the latter being preferred. The remaining notes may be either consonant or dissonant, the latter being approached and quitted by conjunct degrees. When consistent with good flowing counterpoint, the third note in each bar should be a concord. This rule may, however, be freely disregarded for the sake of a melodious progression.
+As in the second species, the first note of the counterpoint must be a perfect concord ((consonance)), and the first note of every following bar (with the license allowed in par. 30 ((Occasionally in the carrying out of a sequence, or to secure a flowing counterpoint, a discord may appear at the first part of a bar. In such a case (which should be rare) the notes immediately preceding and following the said discord should be consonant. ~ from [[bridges_counterpoint:second_species_in_two_parts|Chapter 2]]))) either a perfect or imperfect concord, the latter being preferred. The remaining notes may be either consonant or dissonant, the latter being approached and quitted by conjunct degrees. When consistent with good flowing counterpoint, the third note in each bar should be a concord. This rule may, however, be freely disregarded for the sake of a melodious progression.
 > 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." Thus in Ex. 30, bar 1, the implied harmony is a 5/3 FIXME on C. The last crotchet ((quarter note)), A, being therefore dissonant, is wrongly quitted. Two different chords //may// of course be taken in every bar in this species; but when this is the case the second chord must appear upon the second or third crotchet, and //not// (as is the case in Ex. 30) upon the fourth.
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-It will be observed in the above examples that the skip is not always made to a concord (//b//, //c//, //d//); and, in fact, to speak correctly, the third note in every bar of Ex. 32 is dissonant, the implied harmony at a being a sixth on D. (See note to par. 39. FIXME)
+It will be observed in the above examples that the skip is not always made to a concord (//b//, //c//, //d//); and, in fact, to speak correctly, the third note in every bar of Ex. 32 is dissonant, the implied harmony at a being a sixth on D. (See note just above Ex. 30.)
 There are numerous cadences, depending of course upon the position and conclusion of the //cantus firmus//. The following are some of the best:
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 Six or eight notes are sometimes written against one. The rules given above should be observed in attempting this counterpoint, which is merely a development of the one we have just been considering.
+===== Musical Examples =====
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 **Ex. 34**: Imperfect concords are used at the beginning of every bar except the first and last.
-**Ex. 35**: The implied harmony in bar 13 being a 5/3 FIXME on D, the first note of the counterpoint in that bar is of course dissonant. Paragraph 30 FIXME will explain its appearance here.
+**Ex. 35**: The implied harmony in bar 13 being a 5/3 FIXME on D, the first note of the counterpoint in that bar is of course dissonant. Paragraph 30 ((Occasionally in the carrying out of a sequence, or to secure a flowing counterpoint, a discord may appear at the first part of a bar. In such a case (which should be rare) the notes immediately preceding and following the said discord should be consonant. ~ from [[bridges_counterpoint:second_species_in_two_parts|Chapter 2]])) will explain its appearance here.
 **Ex. 36**: The first four bars are answered effectively by bars 5 to 8. The key is well marked at the earlier part of the example, and a modulation to the relative major is made at bar 4. The cadence is formed by the aid of the changing note.