Three-part voice leading with the 6/5 and the consonant fourth.
There is more rhythmic interest when three parts are used, and the practice of moving one or two parts with shorter note values against a part with longer note values is usually observed. This leads to independence between the parts, and more varied rhythms.
Compared to the sacred music in the Renaissance, the secular three-part music utilized shorter phrases in a more syllabic style, and more tonal cadences. Texturally, the music is florid counterpoint except for sections that may be homorhythmic in texture, like a chorale. These sections are referred to as the “familiar style,” and provide relief from the constant polyphony.
The instrumental music in three parts compared to the vocal music had a few different features. Pieces for instruments were usually sectional, with points of imitation, but more motivic and freer in the use of dissonance than vocal music. The fantasia, ricercar, and canzona all showed constant developmental treatment of thematic ideas.
Examine the compositions in three parts among the Materials, looking for the features mentioned above.