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| | 2c03ass |
 | | Select tenor or sopano as the other voice, determine the appropriate hexachord for the new voice, and sketch in the cadences. |
 | | Alternately, the third part, if the text warrants it, can be constructed either in the form of alternating paired points of imitation (soprano-alto, candencing and overlapping with tenor-bass repating the same music in the lower octave, and so on), or in a four-voice homophonic setting, preferably in triple time. |
 | | For example, if the beginning of part two were based on a rising pattern, F-G-A, in the alto, it is necessary to create a cadence for the end of part 1 in three parts, for soprano, tenor, and bass, that will accomodate F as a consonance at the point of overlap. |
| www.humanities.mcmaster.ca /~renwick/2c03ass.htm (6517 words) |
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