Counterpoint in Composering – Third Species

Six times through Third Species. I find it interesting how hard it is for me to NOT repeat a note in my 1:1 writing no matter where that 1:1 voice is.

4:1:CF (4:1 soprano, 1:1 middle, CF bass)

Assessment: I really used the “hit the downbeats and fill in from there” approach. Don’t know that it made for the most interesting line, I kind of think that the quarter notes lack an independent sense of motion.

1:4:CF (1:1 soprano, 4:1 middle, CF bass)Assessment: The 1:1 line is okay but my inner voice is rather noodly. No real peak, high or low, just a lot of nattering within the C-G fifth.

4:CF:1 (4:1 soprano, CF middle, 1:1 bass)Assessment: Hey look, no repeated notes in the 1:1! And look at that awful leap compensation from the high F in my 4:1!

1:CF:4 (1:1 soprano, CF middle, 4:1 bass)Assessment: Like parallel thirds? Obviously I do. I have to say that I really like the bass line even though it has a range that goes beyond the realm of good taste (11th).

CF:4:1 (CF soprano, 4:1 middle, 1:1 bass)Assessment: Yeah. I dig this one. I think it is my most successful 4:1 inner voice. It balances the wide range to narrow range issue well (which I did intentionally to see what I’d do) and I think the line has real direction.

CF:1:4 (CF soprano, 1:1 middle, 4:1 bass)Assessment: Ugh. Just noticed those downbeat 5ths in the first 2 bars. I also have direct octaves going into measure 7. Usually I like putting the 4:1 in the bass. This time, it was rougher than I wanted it to be. Not worth redoing at this stage, though. I have to dread 4th species now…

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