3-part counterpoint
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MUTH 204: Tonal Counterpoint I N. Biamonte Fall 2012 THREE-PART COUNTERPOINT In three-voice counterpoint, all of the voices usually do not have the same rhythm: one or two voices usually move faster than the other one or two. The outer voices are generally more prominent than the middle voice. Handel, Fugue in A minor for Harpsichord Pachelbel, Fugue #5 on the Magnificat primi toni Each pair of voices follows the normal rules for two-voice counterpoint, except as noted below. To check for parallel perfect intervals, you can look at each pair of voices (upper two, lower two, outer), or check each pair of vertical sonorities: if two voices move in the same direction, check whether they move by the same interval (parallel rather than similar motion). If they move in parallel, make sure they are not a unison, P5 or P8 apart. Rules specific to three-part counterpoint: A perfect fourth between the two upper voices may be treated as a consonance. Fourths against the bass voice are still dissonant. Direct perfect 5ths and 8ves are only prohibited between the outer voices. A diminished 5th between the upper two voices may move to a perfect 5th instead of resolving inward to a 3rd, as long as the other note of resolution is in the bass:
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Handout on the rules of 3-part counterpoint from the first semester of a one-year tonal counterpoint course sequence
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MUTH 204: Tonal Counterpoint I N. Biamonte Fall 2012 THREE-PART COUNTERPOINT In three-voice counterpoint, all of the voices usually do not have the same rhythm:one or two voices usually move faster than the other one or two.The outer voices are generally more prominent than the middle voice. Handel, Fugue in A minor for Harpsichord Pachelbel, Fugue #5 on the Magnificat primi toni Each pair of voices follows the normal rules for two-voice counterpoint, except as noted below. To check for parallel perfect intervals, you can look at each pair of voices (upper two, lower two, outer), or check each pair of vertical sonorities: if two voices move in the same direction, check whether they move by the same interval (parallel rather than similar motion). If they move in parallel, make sure they are not a unison, P5 or P8 apart. Rules specific to three-part counterpoint: A perfect fourth between the two upper voices may be treated as a consonance. Fourths against the bass voice are still dissonant. Direct perfect 5ths and 8ves are only prohibited between the outer voices. A diminished 5th between the upper two voices may move to a perfect 5th instead of resolving inward to a 3rd, as long as the other note of resolution is in the bass:
