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In triple counterpoint this difficulty is not so great; although a complete triad is dangerous, as it is apt to invert as a “6/46⁄4” which requires careful handling.

On the other hand, in triple counterpoint the necessity for strictness is at its greatest, because there are only six possible inversions, and in a long polyphonic work most of these will be required.

On the other hand, the less complicated stretto-fugues and the fugues in double and triple counterpoint are perfect works of art and as beautiful as any that Bach wrote without didactic purpose.