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Page 16
LESSON XV
THIRD SPECIES IN TWO OR MORE PARTS
[Illustration: Fig. 110.]
Previous suggestions when two or more parts have other than first species,
apply here.
In using the ninth of a chord it is well to keep it at least a seventh
distant from the third, as well as a ninth above the root, except in the
case of the dominant ninth in minor keys, where it may be separated by only
an augmented second ([b]). [Fig. 111.]
[Illustration: Fig. 111.]
In writing the third species in all parts, notes appearing simultaneously
should be harmonically related. Treat all tones foreign to the chord on the
first quarter as dissonances.
The cadences in Fig. 112 are good.
[Illustration: Fig. 112.]
EXERCISES
To cantus firmus _a_ write third species in one part, as previously
directed.
To cantus firmus _b_ write third species in two parts, as in Fig. 110_b_.
Write twice, changing the cantus firmus about.
Write one eight-measure phrase, mixing first and third species as in Fig.
110_a_.
CANTI FIRMI
[Illustration: Fig. 113.]
LESSON XVI
THIRD SPECIES (Continued)
EXERCISES
To the cantus firmus write third species in one part, as previously
directed.
Write one eight-measure phrase, mixing first and third species; also one
mixing first, second and third. [Fig. 114.]
Write one eight-measure phrase, using third species in all parts. [Fig.
110_c_.]
[Illustration: Fig. 114.]
CANTUS FIRMUS
[Illustration: Fig. 115.]
LESSON XVII
FOURTH SPECIES
[Illustration: Fig. 116.]
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