A treatise on strict counterpoint . In such a contingency the lesser evil must be chosen. Inexample a there are Hidden Octaves between the ExtremeParts. In example b there are Hidden Unisons between theBass and the Middle Part. The student should choose theformer without a moments hesitation ; for the progression bySimilar Motion to the Unison is always objectionable, even inmore Parts than Three. The Diminished Fifth. In Two-part Counterpoint the Diminished Fifth comes intouse only as a Passing Note. In Three-part Counterpoint that interval is frequently anessential portion of the Harmony. A

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A treatise on strict counterpoint . In such a contingency the lesser evil must be chosen. Inexample a there are Hidden Octaves between the ExtremeParts. In example b there are Hidden Unisons between theBass and the Middle Part. The student should choose theformer without a moments hesitation ; for the progression bySimilar Motion to the Unison is always objectionable, even inmore Parts than Three. The Diminished Fifth. In Two-part Counterpoint the Diminished Fifth comes intouse only as a Passing Note. In Three-part Counterpoint that interval is frequently anessential portion of the Harmony. A Diminished Fifth must never be immediately preceded orfollowed by a Perfect Fifth ; but Similar Motion to it, from someinterval other than a Fifth, is not at all bad, even when theHighest Part leaps, provided that the Lowest Part proceeds inContrary Motion, :—

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