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Okay, I've gotten to part two of the book (three voice counterpoint), but I'm still a bit uncertain about things. On page 35, it is explained why mi (F or B) against fa (G or C) is not allowed to use. That's fair enough, because these are small seconds that weren't percieved as good sounding. However, it is also explained how you can use sharps or flats to avoid this. But wouldn't this just move the problem? If you look at the example I included, it's true, mi and fa is not used against each other, but you still have a minor second in there, this time between A and Bb. Is there any specific reason why it is these exact minor seconds that aren't allowed, while others are fine?
Secondly, I've just started out on the second part, where you use the first species of counterpoint in three voices It is explained how the standard triad is considered the ideal, and why other combinations may have to be used (perfect intervals != direct motion). The book suggests that 1 3 6, 1 3 8 and 1 6 8 are accepted substitutes. However, I would presume that when writing in three parts, you have to look at the relationship between each of the voices. In this case then, 1 3 6 would contain a third and a fourth, a dissonant interval not to be used. How come it is accepted here? And why wouldn't 1 5 8, containing a fifth and a fourth be accepted then?
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