Further Aspects of Species Counterpoint
There are three six-five chord suspensions (mm. 3, 4, and 10). Because of species mixture the third voice to these suspensions-the bass-moves at the moment the suspension resolves. This means that the sixfive chord suspension is not required to resolve to a Con4 as would happen if the bass were in whole-notes. Measures 7 and 8 have what would have been 9-8 suspensions if the bass were in whole-notes. At the moment of resolution the accompanying voice (the bass) in half-notes is free to move to another consonance. Measure 7, then, has a 9-10 suspension, while m. 8 has a 9-5. Other situations might produce a 7-3 instead of a 7-6. Instead of a 2-3 lower-voice suspension, we might find a 2-6. There are many possibilities. What matters in species counterpoint is that the resolution be a consonance. We speak of this type of configuration as a suspension with moving accompanying voice, or, in the case of the six-five chord, suspension with moving third voice. Study the illustrations in Example 13-2.