Species Counterpoint: Three Voices
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1music theory for musicians and normal people by toby w. rush
Species Counterpoint: Three Voices
relax...
Let’s head back to species I
it actually helps us see
uh... do we have to?
again, but add a third voice!
how this all relates to the
woo!
four-voice chorale style
of our man Bach...
...and even with adding a whole new set of intervals to look at, it’s really not that bad!
in general, the rules for
we still need to use
but the interval
melodies and counterpoint
only consonant
between the upper
are the same for species I
intervals between
two voices can be
in two voices.
w
each upper voice
dissonant... it can
C
w w
w w
&
w w
w
and the bass...
even be a tritone!
w w
w
w
a4
?
w
C
w
w
10
12
w
w
w
6
6
6
C
(d)
C
a
b°
(C)
THe chords created should be triads.
You can form incomplete triads
occasionally by having a doubled root
ooh!
and a third, but avoid having open fifths
because
except on the first or last chord .
second-
inversion
triads and
technically, the triads must be
but if you follow the rules above
root-position
major and minor in root position
about consonant and dissonant
diminished
and first inversion, and diminished
intervals, it prevents you from
triads all
triads in first inversion only .
using the wrong inversion!
have fourths
C
above the
w
&
w
As with two-voice
bass!
w
counterpoint,
w
Parallel perfect
intervals are forbidden
5
However, in three voices,
between any voices!
perfect intervals can also
w
?
w
be approached with both
C
voices moving in the same
and perfect intervals
direction if the top voice
still need to be
moves by step, and if the
approached with care:
third voice moves in
you still can’t go wrong
contrary motion with
with contrary,
the others.
stepwise motion!
use them, Bach!
avoiding parallel perfect intervals
use them
and second inversion triads?
like the wind!
keeping diminished triads in first inversion?
these are all fantastic ideas!
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