For reference, Fux's rules for 3-voice first species (semibreve against semibreve)
1. Three-part writing is the "most perfect," because "one can have the complete harmonic triad without adding another voice." The ideal form of a chord is the full triad in closed voicing.
2. Use the complete triad whenever possible, and in root position whenever possible.
3.
6 |
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are all usable. If 6/3/1 is used,. it's best to have bass movement by step; if the bass moves by leap,. it's best to use 5/3 (because voice leading is smoother).
4. Seek as much variety as possible (try to avoid repeating pitches too often in the course of any one voice).
5. Avoid similar motion in all three parts (this usually creates beaten octaves or fifths, although ^2-^1 in the upper voice with a V-I-style bass leap is okay.
Gauldin, chs. 8-10
1. Most common: p.77
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2. Beginning: p. 78
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3. In cadences: p. 78
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4. Diminished triad only in "first inversion" positions. No augmented triads. 77-78
5. Keep voice spacing fairly close. Total distance (lowest to highest voice) never over a 12th. 79
6. Voice crossing is okay. 79
7. Try to use complete triads as much as possible. 79
8. Unisons okay between two voices on any beat. 79
9. Don't approach a perfect consonance by leap in two voices (one voice moves by step). 80
10. Avoid parallel or similar motion in all three voices at once. 80
11. Minim dissonances: PT and S only. PT on weak beats only (requires a semibreve in one of the other voices). Third voice may leap against PT if it is consonant with the held note AND the PT. Double passing tones ok in 3rds or 6ths or in contrary motion. p. 82 S requires minim preparation. Use 7-6 or 4-3; or 2-3 with dissonance below ("bass suspension") . See tables of chord figures on pp. 83-85.
12. Cadence formulas: pp. 88-91.
13. Use 6/5 on strong beat only. "Resolve" 5 as if it were a suspension and move the bass. Not used in cadences. 93
14. Consonant fourth: used in cadences. Fourth on a weak beat allowed to serve as preparation for suspension. Approach by step. 93-94.
15. For black notes, observe same rules as in 2-part writing. Gauldin shows a few new cases resulting from simultaneous dissonances in 2 of the three voices. 96-97