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organ or pianoforte, we shall be freed in a great measure from our limitations. The range of the instruments is far wider than that of voices. In writing for instruments the parts do not have to be grouped so closely for mutual support as in vocal compositions; hence more room for 'melodic movement. Lastly, we may avail ourselves freely of the advantages of crossing the inner and upper parts. This is especially effective in trios for strings, where the viola and the first violin constantly cross (vid. the following examples from Dvorak's Trio for strings, Op. 74):

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as well as upon the organ, where the two manuals allow free crossing without any inconvenience to the performer (vid. Bach's six Trio Sonatas for organ, with some of which the earnest student should make himself familiar); for example,

1st Trio Sonata. 1st Movement

Ped.

etc.

In writing for the pianoforte, crossing of the voices is obviously not so effective. At first in three-part writing the student had better not try to make the inner part too elaborate. As we have said, it is characteristic of inner voices to be more quiet and sustained than the more prominent outer voices. Hence repeated notes may often be used in an inner part although they would be intolerable in an outer. Indeed, a quiet inner part is often the very

thing to be sought. Suppose the chief melody to be in the bass, and the secondary contrapuntal part in the soprano. In this case, a too elaborate inner part detracts attention from the balance of the two other parts; it may often be quite subordinate. In two-part counterpoint it is best to avoid concealed fifths and octaves altogether, save where one part moves by a semitone. Tn three parts, however, they are less objectionable, and may often be used, when the parts can thereby be made more melodious. The considerations stated in $39, Chapter II, still remain in force. The best cadences for the second order in three parts are the following forms:

Sa

8

s b

d

k

A few of the most useful positions are now worked out for analysis:

S

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At (a) in Nos. 2 and 3 we employ two harmonies in the measure; this device is occasionally useful. The student, however, should not resort to it too frequently. In No. 4 at (a) note the minor seventh between tonic and submediant in both ascending and descending progression. In this exercise let the student ask himself why it would have been unmelodic for the last note of the counterpoint to be the third-c.

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Counterpoint in soprano

3.1

Counterpoint in inner part

4.

Work two versions; counterpcint in inner part, and also in soprano

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$97. The exercises in the second order have purposely been made short and few, for not only are the third and fifth orders in three parts much easier, but they are also much more interesting and useful. If the detailed explanations, already given, of the third order in two parts have been fully understood, we may begin at once with the rhythm of four notes against one in three-part writing.

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At (a) in No. 2 is an example of a repeated note in an inner part, and at (b) a passing modulation to the dominant is introduced.

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In regard to No. 3, note that, though in general a counterpoint of four notes to one should be flowing and cantabile in character, at times skips are necessary for harmonic reasons as at (a); also that they secure a wider range and often give a vigor and life to a passage, as at (b), which otherwise would be rather monotonous. The same subject is now treated in the inner voice; a few chromatics have been introduced in the counterpoint to show the possibilities of free treatment:

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