On Double Counterpoint
First Section: Double Counterpoint in Two Parts
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