On Double Counterpoint

Inversion at the Fourteenth

It remains, finally, to speak of double counterpoint at the fourteenth or seventh. Here are two series of figures which give the inversions:

Counterpoint 1 2 3 4 5 6 7 8 9 10 11 12 13 14
Inversion 14 13 12 11 10 9 8 7 6 5 4 3 2 1

According to the above combinations, two thirds in succession must be avoided, particularly by similar movement; since, in transposition, they produce two fifths. Every concord, as well as the octave and the sixth, which become discords when inverted, should be prepared and resolved either by the third, or by the fifth.

The range of the fourteenth serves as the limit of this counterpoint.

Extended example of counterpoint at the fourteenth

2nd manner of inverting: Transpose the theme a seventh above, and the counterpoint an octave below

3rd manner of inverting: Transpose the theme, and the counterpoint, a seventh below

  • cherubini_counterpoint_and_fugue/on_double_counterpoint/inversion_at_the_fourteenth.txt
  • Last modified: 2018/08/10 20:15
  • by brian