30.2: First Species Counterpoint
- Page ID
- 117573
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)30.2 First Species Counterpoint
In first species, we will write note-against-note counterpoint in whole notes. You will be given a melody, called the cantus firmus (abbreviated “c.f.”), against which you will write a counterpoint.
Fux enumerates several rules to follow to write in proper sixteenth-century style (the style of Palestrina). Since this is a brief introduction to writing in species counterpoint, the rules below are slightly modified and simplified. You would likely follow stricter rules in a semester-long course in counterpoint.
- Begin with an octave or unison.
- End on an octave or unison.
- Approach the ending octave or unison by contrary motion; one of the parts will end with 7^ –8^ while the other ends with 2^ –1^ .
- If the example is in G mixolydian, D dorian, or A aeolian, use a sharp to create the leading tone (F♯, C♯, and G♯ respectively).
- If the example is in G mixolydian, D dorian, or A aeolian, use a sharp to create the leading tone (F♯, C♯, and G♯ respectively).
- Create consonant harmonic intervals in each measure (unisons, 3rds, 5ths, 6ths, and their compound versions—10ths, 12ths, 13ths, etc.). Dissonances (2nds, 4ths, 7ths) are not allowed in first species counterpoint.
- “Imperfect” consonances (3rds and 6ths) can be approached in any manner
- Do not use more than three consecutive 3rds or 6ths
- “Perfect” consonances (unisons, 5ths, 8ves, 12ths) may only be approached in contrary motion in order to avoid direct 5ths and direct 8ves (you may wish to review the Types of Motion).
- When the cantus firmus is in the upper part, write consonant intervals of a unison, 3rd, 5th, or 6th below the cantus firmus.
- “Imperfect” consonances (3rds and 6ths) can be approached in any manner
- Only the following leaps are allowed: 3rds, 4ths, 5ths, ascending minor sixths, and 8ves (review the Rules of Melody with regard to direction changes after leaps).
- Avoid melodically outlining a tritone by changing directions at two turning points in a melody.
- Avoid repeating notes in order to create a flowing melody
Following these rules may seem dry and uninspired, but these rules come from observations of note-by-note details in Renaissance compositions by composers like Palestrina and can make any composer better and more aware of what they are writing.
Go to First Species Practice Exercises.