se mentioned.

If possible, each measure should contain a complete chord. When in the
first species it becomes necessary to double an interval, let it be
preferably the root. The third should be doubled only when a decidedly
smoother melodic progression is thereby obtained; and when both thirds are
in outer parts, each should be approached and left stepwise in one
direction (Fig. 87). The doubling of the fifth is, of course, impossible,
since it necessitates the omission of the third.

[Illustration: Fig. 87.]

All triads may be used in their first inversion.

Diminished and augmented triads, however, are best used in their first
inversion.

The six-four chord may be used at the close as the cadencing tonic six-four
chord. Do not approach the root and fifth in similar motion, as at _b_.
[Fig. 88.]

[Illustration: Fig. 88.]

The dominant seventh may be used in any but its second inversion, the
fifth being omitted.[2] The seventh requires no preparation. Other chords
of the seventh are better not used until second species and later.

If possible, let the chord in the first measure appear complete. The last
chord but one should be complete, unless some form of V or V_7 is used.
[Fig. 89.]

[2] In severely strict counterpoint all parts above the lowest must be
consonant with it. Dissonances, when entering simultaneously with it,
must be treated as suspensions, and when used in the progression of a
part from one chord to another, should be treated as passing-tones or
embellishments. This excludes the use of the unprepared seventh and
ninth; all diminished and augmented triads except in their first
inversion; and all six-four chords, except when the lowest part is
treated as a passing-tone.

[Illustration: Fig. 89.]

Consecutive major thirds may be used when three or more parts are employed.
[Fig. 90.]

[Illustration: Fig. 90.]

A note may now be repeated in the lowest part when it becomes the seventh
of a dominant seventh-chord. [Fig. 91.]

[Illustration: Fig. 91.]

In writing, use soprano, alto and tenor, or alto, tenor and bass; and do
not separate upper parts more than an octave. For a chord or two they may
(for the sake of better voice-leading) separate a tenth.

All hidden fifths and octaves are bad, except between I and V and V and I.
[Fig. 92_a, b_.]

The perfect fifth following the diminished fifth is good when taken in an
upward direction stepwise in the higher