Three- and four-voice counterpoint

Counterpoint in three and four voices after Fux: chords heard from the bass, full triads, parallels between every pair of voices, and the cadence.

3–4 voices

Three and four voices

After the five species in two voices, Fux adds voices. The cantus may sit in the bass, the middle or on top; the other voices move note against note, or one of them in a higher species. Every rule still holds between every pair of voices, and each chord is now heard from the bass.

Practise three voices

Three voices on a Dorian cantus in the bass. Read the figures from the bass up: 5 3, 6 3, 8 6, and the cadence C♯ to D.

Hear every chord from the bass

A 4th above the bass is a dissonance. Between two upper voices it is fine: in C–G–C the G and C make a 4th, but each is consonant with the bass.

Left: the 4th sits between the upper voices, so the chord is consonant. Right: C is a 4th above the bass G, a dissonance.

Full chords

In the middle of the exercise, give each chord a 3rd (or a 6th) above the bass. Don't double the raised leading tone. A tritone between upper voices is allowed but tense.

Left: D F A has its 3rd. Right: D A D is hollow, weak in the middle of an exercise.

Parallels between every pair

No parallel 5ths or octaves between any two voices. Direct 5ths and octaves matter most between the outer voices, when the top voice leaps.

The middle voice and the bass fall together in 5ths, A–D to G–C, even though the outer voices are fine.

First and last chords

The bass stands on the final. Above it: the octave, the 5th, or the 3rd. The last chord may close with a major 3rd.

Open on the final with an octave and a 5th; close on it, here with a major 3rd, F♯.

The cadence

One voice rises from the raised leading tone to the final, as in two voices; when the bass is free, it often leaps from the 5th to the final.

The bass leaps from the 5th, A, to the final; above it C♯ rises to D.

A little more freedom

With more voices, a repeated note, a unison or a brief crossing is sometimes the best way through. Use them sparingly; Parnasso marks them as suggestions, not errors.

The middle voice holds A while the others move: a repeated note, fine with more voices when it helps.

One voice in a higher species

When one voice moves in halves, quarters, ties or florid rhythm, it follows that species' rules against every other voice; the rest move note against note.

The top voice moves in halves: G passes from A to F against both lower voices.

Practise it now

Write three- and four-voice counterpoint exercises in your browser. Every rule is checked as you write, and you can hear your lines.

Open in Parnasso