- There are some ‘rules’ of counterpoint that you should not break, and
there are other guidelines that have more leeway but result in stronger or weaker
counterpoint
- There is no PERFECT completed counterpoint exercise of all strengths.
- In first species counterpoint the following rules should not be broken
- o The first interval should be a unison or octave. It can also be perfect 5th,
but only if scale degree 5 is in the upper voice, and scale degree 1 is in the lower
voice.
- o The final interval should be a unison or an octave.
- o In the second to last measure, either top or bottom voice should contain a leading
tone 7th scale degree. In minor keys, the 7th scale degree must be raised to create
the leading tone.
- o In minor keys, if the leading tone is preceded by scale degree 6, 6 should also
be raised to the raised sub median form (the final three measures of that voice will
be la, ti, do)
- o In minor keys, if the final three measure of one voice are la, ti, do,… the ‘la’
should not be preceded by the minor scale degree 6 (le) in either of the two voices.
(resulting in chromatic half-step, or cross relation)
- o There should be no dissonant melodic intervals other than 2nds (steps)
- o There should be no dissonant harmonic intervals
- o There should be no parallel unisons, parallel 5ths, contrary 5ths, parallel octaves,
or contrary octaves.
- o There should be no hidden 5ths or hidden octaves
- o A perfect harmonic interval should not be followed by another perfect harmonic
interval
- In first species counterpoint, the following guidelines may be broken
in some cases, but the result is a weaker sense of counterpoint.
- o Lines should stay within the interval of a harmonic 10th
- o The lines should not cross or overlap (upper voice should not be lower than the
lower voice either at the same time or cross the upper range of the lower voice)
- o Two of the same note in a row is considered a weakness.
- o The line should have a pleasing shape with only one or two high or low points.
- o The line should be primarily steps and skips with no more than one leap.
- o Leaps should be preceded and followed by melodic stepwise motion in the opposite
direction
- o Leap motion in cantus should be offset with contrary step motion in counterpoint
- o Step motion in cantus should be offset with skip or leap motion in counterpoint
- o Skip motion in cantus should be offset with step or skip motion in counterpoint
(step is stronger)
- o The exercise should include a mixture of perfect harmonic intervals and imperfect
harmonic intervals (3rds, 6ths), with more imperfect than perfect
- o If the leading tone is present, it should resolve to the tonic in the next measure
- In first species counterpoint, the presence of the following strengthens
the counterpoint, but the absences of it is not considered a weakness.
- o A 3-8-6 voice exchange, or a 6-8-3 voice exchange
- NOTE: Why are we learning counterpoint? - Some Theory texts do not cover
counterpoint in the Theory 1 scope and sequence. Advanced counterpoint study is often
offered at University as an entire separate one or two semester following Theory
4. We are learning the topic because
- (1) Several texts now do introduce the concept early on
- (2) Studying the characteristics of counterpoint prepares for Soprano Alto Tenor
Bass voice leading, allowing study of several of the elements first with just two
voices instead of four.
- (3) Counterpoint is an important concept for all musicians to at least be aware,
but is often only a required course for composition and/or performance majors. If
not introduced now, it is possible for Music Ed, Music Therapy, and other Music students
to never be introduced to counterpoint.
- (4) The scope of counterpoint we study at this time should be thought of as an introduction
only. You will be able to define what it is, identify the different species, and
gain a glimpse of what is involved.
(Laitz's The Complete Musician covers 1st and 2nd species counterpoint, Francoli's
Harmony in Context covers 1st through 4th species, and Clendinning's The Musician's
Guide covers 1st through 5th. Kostka's Tonal Harmony does not formally introduce
counterpoint).
https://youtu.be/S_UjoKg5uag
Suggested Learning Resources
http://www.emusictheory.com/practice/counterpoint.html#.VKbgBNLF9Fp
Objective 11.4: Identify strengths and weaknesses of first species counterpoint