CANTUS FIRMUS

Purpose of species counterpoint

Species counterpoint serves as a method for teaching the writing of melodies and is used to combine them according to established harmonic and melodic guidelines.

Number of species of counterpoint

There are five distinct species of counterpoint, each with its own rules and characteristics.

Characteristics of first species counterpoint

First species counterpoint is characterized by the arrangement of one note in the counterpoint for every note in the cantus firmus, with both voices moving at the same rate and lacking any rhythmic variation.

Allowed intervals in first species counterpoint

In first species counterpoint, all intervals must be consonant, specifically intervals of a unison (1), third (3), fifth (5), sixth (6), and octave (8).

Prohibitions in first species counterpoint

In first species counterpoint, parallel perfect consonances, such as perfect fifths and octaves, are forbidden, along with melodic leaps of a tritone or seventh.

Types of motion in counterpoint

The types of motion in counterpoint include contrary motion (voices moving in opposite directions), parallel motion (voices moving together), similar motion (voices moving in the same direction but differing in distance), oblique motion (one voice remains the same while the other moves), and static motion (no movement in either voice).

Starting second species counterpoint with lower cantus firmus

When beginning second species counterpoint where the cantus firmus is in the lower voice, one may start on either a perfect octave (P8) or a perfect fifth (P5).

Definition of passing tone

A passing tone is a non-chord note that connects two chord tones by step, approached and resolved in the same direction.

Components of a suspension in fourth species counterpoint

In fourth species counterpoint, a suspension consists of three parts: preparation, where the dissonant tone is established, the suspension itself, where the dissonant tone is held over into the next chord, and the resolution, where it resolves to a consonance.

Introduction of embellishments in fifth species counterpoint

Fifth species counterpoint distinguishes itself by introducing embellishments, which include notes of anticipation and integrates eighth note rhythms.

Counterpoint line and cantus firmus movement in fourth species

In fourth species, both the counterpoint line and the cantus firmus progress once per bar, but they are rhythmically offset by a half note, creating a unique rhythmic interplay.

Regulations on beginning intervals in counterpoint

In counterpoint, it is mandated that no two consecutive measures can start with the same perfect interval, and there should be no more than three measures in a row using the same imperfect consonance.

The necessity of consonance on strong beats in counterpoint

Strong beats within counterpoint compositions must always feature consonant intervals and ideally should utilize imperfect consonances.

Preferred suspension and resolution in fourth species

The 7-6 suspension is the most favored type of suspension in fourth species counterpoint, as it resolves to imperfect consonances, enhancing harmonic movement.

Permitted structure in second species counterpoint

In second species counterpoint, each measure incorporates both strong and weak beats, ensuring consonant tones are placed on strong beats while dissonant tones may appear on weak beats.