Independence and integrity of melodic lines
-Distinctly two different lines of music
-They function on their own
-Static and parallel can hinder this
Harmonic intervals- verticle slice of music
Melodic intervals- horizontal slice of music
-these two determine our study of motion
Stepwise = movement by second, Skip = movement by third, Leap = larger movement
Rules of first species counterpoint:
Length
-8 to 14 pitches
Start and end pitches
-start on P8 of tonic
-end on P8 of tonic
-approach by stepwise contrary motion
-the two lines will always be re and ti
Repeated Pitches
-no
Acceptable Melodic Intervals
-stepwise motion
-more leaps than skips
Approaching and Leaving Leaps, Skips
-for leaps, approach and leave by stepwise direction in the opposite direction of the leap
Range
-very singable
-stay in the range of a human being
Climax
-only one
Acceptable Harmonic Intervals
-consonance only
-you see more imperfect consonances than perfect consonances, helps avoid parallel perfect intervals
Approaching the Final Pitch
-stepwise contrary motion
Number of Times that an Interval Size can be Used Consecutively
-imperfect consonances, two or three
-perfect consonances, zero
Acceptable Motion Between Lines
-no parallel perfect intervals, this makes the lines lose their independence
Acceptable Types of Motion
-parallel, contrary, similar
-do not see oblique and static, no repeated pitches!
A number of others are provided [here][CFs]. Performing these is a helpful practice to develop an internal sense of the sound and feel of a well formed cantus, and many of the characteristics of well formed cantus firmi carry over into other musical styles. (These model cantus firmi can also be used as the starting points for our two-voice exercises.)
From these cantus, notice how the general musical characteristics of smoothness, melodic integrity, variety, and motion towards a goal are worked out in specific characteristics. The following characteristics are typical of all well formed cantus firmi:
The characteristics listed above are fairly detailed, and some of them are specific to strict species counterpoint. However, taken together, they express in detail some general tendencies of melodies in a variety of styles.
David Huron identifies five general properties of melodies in Western music that connect to the basic principles of perception and cognition listed above, but play out in slightly different specific ways in musical styles. They are:
Counterpoint is the mediation of two or more musical lines into a meaningful and pleasing whole. In first-species counterpoint, we not only write a smooth melody that has its own integrity of shape, variety, and goal-directed motion, but we also write a second melody that contains these traits. Further, and most importantly, we combine these melodies to create a whole texture that is smooth, exhibits variety and goal-oriented motion, and in which these melodies both maintain their independence and fuse together into consonant simultaneities (the general term for two or more notes sounding at the same time).
In general, the counterpoint should follow the principles of writing a good cantus firmus. There are some minor differences, to be discussed below, but generally a first-species counterpoint should consist of two cantus-firmus-quality lines.
To exemplify goal-oriented motion, the first-species exercise should begin and end with the most stable of sonorities: perfect consonances. Thus, when writing a counterpoint above a cantus firmus, the first note of the counterpoint should be do or sol (a P1, P5, or P8 above the cantus).
When writing a counterpoint below a cantus firmus, the first note of the counterpoint must always be do (P1 or P8 below the cantus). (Beginning on sol would create a dissonant fourth; beginning on fa would create a P5 but confuse listeners about the tonal context, since fa–do at the beginning of a piece is easily misheard as do–sol.)
The final note of the counterpoint must always be do (P1 or P8 above/below the cantus).
To approach this ending smoothly, with variety, and with strong goal orientation, always approach the final interval by contrary stepwise motion. If the cantus ends re–do, the counterpoint’s final two pitches should be ti–do. If the cantus ends ti–do, the counterpoint’s final two pitches should be re–do. Thus the penultimate bar will either be a minor third or a major sixth between the two lines. This is the case for both major and minor keys.
Like the cantus firmus, the counterpoint should have a single climax. To maintain the independence of the lines and the smoothness of the entire passage (so no one moment is hyper-emphasized by a double climax), these climaxes should not coincide.
A single repeat/tie in the counterpoint is allowed, but try to avoid repeating at all. This promotes variety in the exercise, since there are so few notes to begin with.
Avoid voice crossing, where the upper voice is temporarily lower than the lower voice, and vice versa. Voice crossings diminish the independence of the lines and make them more difficult to distinguish by ear.
Avoid voice overlap, where one voice leaps past the previous note of the other voice. For example, if the upper part sings an E4, the lower part cannot sing an F4 in the following bar. This also helps maintain the independence of the lines.
The interval between the cantus and counterpoint at any moment should not exceed a perfect twelfth (octave plus fifth). In general, try to keep the two lines within an octave where possible, and only exceed a tenth in “emergencies,” and only briefly (one or two notes). When the voices are too far apart, tonal fusion is diminished. Further, it can diminish performability, which though not an essential principle of human cognition is an important consideration for composers, and it has a direct effect on the smoothness, melodic integrity, and tonal fusion of what listeners hear during a performance.
In general, all harmonic consonances are allowed. However, unisons should only be used for first and last intervals. Unisons are very stable, and serve best as goals rather than mid points. They also diminish the independence of the lines.
Imperfect consonances are preferable to perfect consonances for all intervals other than the first and last dyads, in order to heighten the sense of arrival at the end, and to promote a sense of motion towards that arrival. In all cases, aim for a variety of harmonic intervals over the course of the exercise.
Never, ever, ever use two perfect consonances of the same size in a row: P5–P5 or P8–P8. This includes both simple and compound intervals. For example, P5–P12 is considered the same as P5–P5. (Two different perfect consonances in a row, such as P8–P5, is allowed, however, but try to follow every perfect consonance with an imperfect consonance if possible.) These “parallel fifths and octaves” significantly promote tonal fusion over melodic independence at the same time that the consecutive stable sonorities arrest both the variety and the motion of the exercise. Thus, they are far from ideal, and to be avoided in species counterpoint.
Vary the types of motion between successive intervals (parallel, similar, contrary, oblique). Try to use all types of motion (except, perhaps, oblique motion), but prefer contrary motion where possible. It is best for preserving the independence of the lines, in addition to variety.
Because similar and parallel motion diminish variety and melodic independence, their use should be mediated by other factors:
In the following video, I illustrate the process of composing a first-species counterpoint. This video provides new information about the compositional process, as well as concrete examples of the above rules and principles.