Comp Techniques - rules of species counterpoint

perfect consonances

P1, P5, P8

imperfect consonances (mobile)

M3, m3, M6, m6

first species notes

semibreves only, no dissonance. Cantus firmus and counterpoint lines

Dorian mode

white with D tonic

Phrygian mode

E to E

Lydian mode

F to F

Mixolydian mode

G to G

Aeolian mode

A to A

Ionian mode

C to C

general rules for first species

• within the range of an octave

• diatonic

• NO DISSONANCE

• predominantly conjunct

• only consonant leaps

• avoid outlining an Aug4 or M7

• descending Dim5 or Dim4 outline is okay if the leading note resolves back up

• avoid repetition or sequences

• must be adjacent voices (SA, AT, TB). max interval between voices is a 10th or compound 2nd

• climax of counterpoint and cantus firmus happen at different times. lower counterpoint the climax can be the lowest note

• vertical interval rules: only donconances. P1, M/m3, P8, P10. NOT P4 or Dim5

• Upper counterpoint begins with perfect consonance, usually P5 or P8

• lower counterpoint always begins with the tonic (either octaves or unison)

• perfect consonances must be approached by contrary motion

• no exposed 5ths or octaves 

• avoid overlapping 

general rules for second species

• two minims in counterpoint part per semibreve of C.F

• conjunct, no sequences

• down beats = consonant.

• weak minim note = another consonance or a dissonant passing note

• leaps preferably within the bar, not across the bar line

• upper counterpoint = start on P8 or P5

• lower counterpoint = start on tonic (either unison or octave)

• counterpoint part can begin on the second minim of the first bar

• end with renaissance style cadence. either M6 - P8, or m3 - p1

• second minim of bar can be dissonant (2, 4, 7, Aug4, Dim5) if it connects 2 consonances by step in the same direction. THESE CANNOT BE ON THE DOWNBEAT.

• single dissonant passing note always fills in a skip of a 3rd

• avoid dissonant intervals between downbeat notes

• unison is okay on weak minim of bar, if you continue by contrary motion

• no parallel P5 or P8 across bar line

general rules for 3rd species

• counterpoint is now in crotchets (more options for dissonance)

• can start with a crotchet rest

• last bar is a semibreve

• no immediate repeated notes

• avoid broken chords

• unison is okay on weak beats

• no dissonance on downbeat

• neighbour note = resolves back to the same note as before

• double neighbour figure = beats 2 and 3, upper and lower neighbour notes (either or both dissonant) for example 4 then 2, followed by the note to which they both resolve, like 5

• nota cambiata = descending step by a 3rd, ascend by step. so 7-5-6. second note may be dissonant, resolution is postponed by a 3rd step