Second, third, fourth and fifth species in three voices

The principle

In three voices Fux repeats the species this way: one voice works in the species being studied (two or four notes, syncopations or florid), the other two proceed in whole notes, one of which is the cantus. This teaches you to handle dissonance against two voices at once. At a later stage two voices can work in different species.

Second species in three voices

• Consonant downbeat with both voices stationary.
• Upbeat: consonance or passing dissonance; the dissonance must be a passing one with respect to both voices.
• A consonant upbeat can complete the triad: if the fifth is missing on the downbeat, the upbeat can supply it.
• Cadence (cantus in the bass in D Dorian): bass E3–D3, middle voice E4–F#4, upper voice B4–C#5 → D5. B4 forms a fifth with the bass and a fourth with E4; C#5 a sixth with both.

Third species in three voices

• First quarter note consonant with the two held voices.
• Passing notes, neighbor notes and nota cambiata as in two voices.
• Watch for fifths between the fourth quarter note and the first of the next bar with each of the two voices.
• Cadence: above E3 and E4 the upper voice sings G4 A4 B4 C#5 → D5. A4 is a passing fourth with both the bass and E4.

Fourth species in three voices

• The syncopated note must be prepared by a consonance with both voices on the upbeat.
• On the downbeat it may be dissonant with one or both voices; it resolves by descending step to a consonance with both.
• Consonant syncopations 6–5 and 5–6 become useful, allowing the chain to continue without dissonances when the third voice requires it; 4–3 and 7–6 remain the most-used suspensions.
• Model cadence in D Dorian: bass F3 E3 D3, middle voice D4 E4 F#4, upper voice D5 (prepared over F3 as a sixth) tied over E3 (seventh with the bass and with E4) → C#5 (sixth with both) → D5.

Fifth species in three voices

• One florid voice, two in whole notes; then, as an advanced exercise, two florid voices that alternate: when one moves, the other holds or syncopates.
• The golden rule is rhythmic complementarity: do not let two voices move in parallel quarter notes for more than a quarter note or two.
• Eighth notes remain in pairs and by step.

How to work

1. Write the three-voice first-species version first: it becomes the skeleton.
2. Choose which voice to animate and derive the species from that skeleton (passing notes between the skeleton notes, syncopations by shifting half a bar).
3. Check the dissonances against every voice, not just the cantus.
4. Check the fifths and octaves of every pair on consecutive strong beats.

Typical errors

• A dissonance that resolves correctly against the cantus but forms a new dissonance with the third voice.
• A syncopation prepared by a consonance with the cantus but by a fourth with the bass.
• A voice in whole notes that doubles the resolution note of the suspension (heard as an anticipated resolution).

Modern application

• String arranging: violin I in florid species, violin II and viola in long notes is the standard layout of an adagio; fourth species in three voices teaches you to write the violin's suspensions without clashes with the inner voices.
• Choirs: a soprano vocalizing above sustained alto and tenor is the typical configuration of pop and gospel choral finales.
• Synths: an arpeggiator line (third species) above two sustained pads follows the same rules: the passing notes of the arpeggio must be checked against both held notes.

Related topics

First species in three voices, modal fourth species, suspension chains, three-part counterpoint, four-voice species.