Suggested Learning Resources
http://legacy.earlham.edu/~tobeyfo/musictheory/Book1/FFH1_CH2/2H_First_Species_Counterpoint.html
http://www.emusictheory.com/practice/counterpoint.html#.VKbgBNLF9Fp
- Review Objectives 10.1 through 11.4
- Use the rules and strength and weakness guidelines to write an acceptable
counterpoint.
- Sometimes it is helpful to write out all of the harmonic possibilities
above each given cantus note (intervals of 3, 5, 6 and octaves). Note: be sure not
to choose a diminished 5th
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- 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
Objective 11.5: Analyze and Notate counterpoint (in either the upper or lower voice)
given a cantus firmus, following first species rules