Doubling

Any note except the leading tone may be doubled, although accidentals are rarely doubled. Two-
voice unisons are common, and three-voice unisons (or octaves) may occur on the final note. A
doubled root plus the third is a typical sonority. In any case, considerations of line usually take
precedence over doubling.

Dissonance Treatment
In general, the two upper voices may be dissonant against each other if each is treated correct-
ly with regard to the lowest voice. Similarly, two moving voices may be dissonant if both are
treated correctly in terms of a third, more stationary voice. In composing, to insure proper dis-
sonance treatment and the absence of forbidden parallels, each voice must be calculated and
checked against each voice. Every vertical interval and every dissonance must be analyzed and
understood. A number of characteristic dissonant idioms exist in three-voice counterpoint:
• Pairs of passing tones moving simultaneously are usually consonant with each other. They
may move in parallel or contrary motion.

Example 99

• Pairs of eighth-notes moving together in two voices will be consonant with each other,
although either may be dissonant against the remaining voice.

Example 100

• Double anticipations (portamenti), formed by the two upper voices, are always consonant
with each other.

Three-Voice Counterpoint 71
Example 101

• The single anticipation may be dissonant against the other voices in quarter notes. The
dissonant combination of an anticipation in one voice and a lower neighbor in another is
possible.

Example 102

• The only new suspension idiomatic to three-voice writing is the 9—8 (2—1). Note that the
suspension and its resolution are always a major second apart.

Example 103

Two voices may suspend simultaneously. With such double suspensions, a change of bass is
rare. Chains or series of suspensions are also rare in this music. Typical double suspension com-
binations are the 9—8 suspension with the 4—3 suspension, the 9—8 with the 7—6, and the 4—3 with
the 2—1. Such effects tend to sound homophonic and are therefore rare in Palestrina.

72 The Craft of Modal Counterpoint

Example 104

The combination of a 7—6 suspension with a 4—3 suspension is rare, as it produces ineffective
parallel fourths.

Example 105

The following example illustrates some typical suspension idioms. Notice that the 2—3 suspen-
sion at a cadence may resolve to a root position diminished triad, that the 7—6 suspension nor-
mally resolves into a first-inversion triad, and that the 4—3 suspension occurs more often at
cadences than elsewhere.

Example 106

As a rule, the note of resolution and the suspended note will not occur simultaneously, except
with the 9—8 (2—1) suspension. Recall that the suspended ninth is always major, never minor.

Three-Voice Counterpoint 73
Example 107

Moving voices are usually consonant with the following resolution.

Example 108

Cadential Idioms
The following are some of the standard cadential figurations used in three-voice counterpoint.
They should be studied and used as models in your writing. Analyze and memorize all vertical
intervals, scale-degree patterns, and dissonances.

Example 109

74 The Craft of Modal Counterpoint

Imitation
Sing and examine again the Benedictus from the Missa Gabriel Archangelus and the motets on
pages 109ff. of the Appendix. Discuss the imitation found in these motets. How far is it carried
out? At what pitch and time intervals? Is the imitation real or tonal? In what order do the voices
enter? Is there invertible counterpoint, and if so, at what intervals? Does the third voice enter in
the same time relationship to the second voice as the second voice did to the first?

COMMENTS ON IMITATION
Imitation in three-voice counterpoint is not greatly different from that in two. When writing in
this style, try to keep each entering voice out of the way of the other voices around it to ensure
that it will be heard. Excessive regularity in the order of entries is to be avoided. To achieve vari-
ety, a different order than the initial one might well be used in subsequent imitation points.
Similarly, the entries ought not to be mechanically spaced in time. Often, the third entry will be
farther from the second than the second was from the first (see the Appendix, pages 109ff., for
examples of this). If the first voice enters on beat one, the second voice often enters on beat
three. The third entry often creates a complete triad or a suspensive dissonance. The third entry
will normally start on the same pitch (though an octave away) as the first, and will be most effec-
tive if it enters on a pitch not sounding in either of the other voices.

Example 110

Triple invertible counterpoint (invertible counterpoint in three voices) is possible. This must
be calculated so that all of the six possible arrangements of the voices will be equally satisfac-
tory. The octave is the normal inversion interval. Parallel motion between voices must be han-
dled carefully, because of the potential problem of creating parallel and direct fifths and octaves.

Three-Voice Counterpoint 75