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Four-Part Counterpoint
First Order: Note Against Note
If the rules of three-part counterpoint are not so severe as those of two-part counterpoint, there is yet greater reason why they are still less rigid with respect to the counterpoint now in question; and relative to which, there will be found, even among the most-classical composers (particularly in Palestrina), such instances as might seem at first sight, monumental faults, or at least too great licenses; but the different difficult positions in which these passages occur, and the frequent use these masters have made of them, prove that these passages are only thus arranged, under favor of an abatement of severity in the rules; which abatement, as has been observed, accrues in proportion with the increased number of parts: thus, these examples, which at first sight appear faulty, eventually pass into authorities.
Rule 56
The chords of TO BE CONTINUED
Examples of different aspects of the common chord, and of the chord of the sixth complete; or incomplete by doubling one of their members
