MUSC3600 week 1, p.

1
MUSC3600 Counterpoint

Week 1

Topics
 Course introduction
 First and second species counterpoint
 Representative examples

Readings
Owen, chapters 1-4
Schubert, chapters 2-4
Gauldin, chapter 1

Introduction
Examine the example below of two-part counterpoint, called Oculus non vidit, by Orlando di Lasso (1532-
1594) and discuss the following questions:

1. Describe the melodic motion: How much is in similar, parallel or contrary motion?

2. How frequent are leaps in each part and how big are they? What intervals are not found?

3. Describe the rhythmic characteristics of individual melodic lines. Where do relatively large rhythmic
values occur? Do two or more large values regularly occur one after the other?

4. Where are the cadences? How can you tell? What are the intervals?

5. Where are the chromatically altered notes (musica ficta)?

6. How is variety and diversity achieved in this piece?

7. Can you assign a scale to this piece?

8. What sort of consonant and dissonant intervals appear and where?

9. What are the demands made upon the singers/performers?

10. How is the piece given its unity and cohesion?

 MUSC3600 week 1, p. 2

Available to hear online:

https://uq-naxosmusiclibrary-com.ezproxy.library.uq.edu.au/catalogue/item.asp?cid=ALC1177 OR at
http://search.alexanderstreet.com.ezproxy.library.uq.edu.au/view/work/379430
(Library login and password required)
 MUSC3600 week 1, p. 3
Introduction to species counterpoint
The five species of counterpoint were devised as pedagogical aids for the beginning music student. Normally,
the teacher provided a melody, known as the cantus firmus, upon which the student was expected to write
another melody involving different rhythms and intervals, starting with simple scenarios and gradually moving
to more complex writing.
When the student was given a cantus firmus (hereafter CF) in semibreves, first species counterpoint involved
writing a melody against the CF in semibreves using only consonant intervals. Second species counterpoint
involved writing minims against the CF semibreves, while third species introduced four notes (i.e., crotchets)
against each CF note. Fourth species counterpoint introduced suspensions, i.e., the use of strictly controlled
dissonance. Finally, fifth species counterpoint was an amalgamation of the previous four species and more
closely approached actual compositional practice.
Summary of interval classification:
 Perfect consonant intervals comprise the unison, 5th and octave.
 Imperfect consonant intervals: major and minor 3rds and 6ths.
 The perfect fourth is considered a dissonant interval in two-part writing and when it occurs between the
lowest two parts in textures for three or more parts; otherwise it is consonant.
 Dissonant intervals: major and minor 2nds, 7ths, aug 4th and dim 5th.
 This classification also holds for compound equivalent intervals.

Types of motion:
 Parallel.
 Similar.
 Oblique.
 Contrary.

EXAMPLE: Zarlino, example using fifth species. Study the melodic motion to identify the various uses of the
first four methods of species counterpoint.
(in Schubert, p. 20.)

The following are derived from Schubert, pp. 21–22:

 MUSC3600 week 1, p. 4
Hard Rules of Species Counterpoint
1. Use only the white notes of the gamut (G an 11th below Middle C to E a 10th above) plus occasional use of
Bb. We use Bb as an upper auxiliary to A or as a means to avoid a melodic or vertical tritone interval. If Bb
is in the key signature, then we may use Eb in the same way as Bb is used in the natural system (i.e., no key
signature). Cross relations may occasionally occur (not considered a problem in Renaissance music).
2. The melodic motion must not contain augmented or diminished intervals. Do not leap upward by more than
a 6th (but an octave leap up or down is okay). The melody should not outline an augmented 4th. An outline
of a diminished 5th is permitted provided that it is completely filled in and followed by a step in the opposite
direction.
3. Begin and end with perfect consonances between the two parts.

Soft Rules of Species Counterpoint

1. Melodic motion shows a preference for stepwise motion rather than leaps.
2. Leaps should not be more than a minor 6th ascending and perfect 5th descending. Leap of an octave up or
down is fine.
3. Leaps are very often followed by at least one stepwise progression in the opposite direction (i.e., the leap is
at least partially filled in).
4. Generally, no more than two leaps occur in the same direction.
5. If they do occur, then they will most likely be small leaps.
6. Avoid a large leap immediately following a small leap in the same direction.
7. Avoid leaping to or from a temporary high or low point.
8. Accidental Bbs should be followed by descending intervals.

Compare these two versions of the same example (first taken from Owen, p. 35):

What strategies are employed in “breaking up” the original version?

 MUSC3600 week 1, p. 5
First Species Counterpoint
This is often called “note-against-note” counterpoint.

Hard Rules
1. Consonant intervals only.
2. Begin and end on a perfect consonant interval.
3. No parallel fifths or octaves.
4. No repeated notes in the counterpoint when there are repeated notes in the cantus firmus.
5. Perfect consonant intervals are best approached in oblique or contrary motion, not in similar or parallel
motion.
6. Use mostly stepwise motion.
7. Do not use repeated or sequential patterns beyond two repetitions even if the CF does.

Soft Rules
1. Use a mixture of perfect and imperfect consonant intervals. Try to avoid two perfect consonant intervals
in a row.
2. Only use unisons at the beginnings or ends of phrases; use elsewhere only if you have to.
3. Avoid skipping together in both parts as much as you can.
4. Keep the parts close together – usually within a twelfth.
5. After a large skip (5th or greater), change direction and use stepwise motion.
6. Try to develop nice melodic contours. Don’t get stuck in the same small range and don’t hop about at
random.

Find the errors in the following piece:

Now rewrite the piece correctly using the (modified) lower part as cantus firmus:

Second Species Counterpoint

Two notes are heard against one note in the CF. In other words, for every semibreve in the CF melody, the
counter-melody will have two minims. In second species counterpoint, all down beats (i.e., each first minim
occurring against the CF semibreve) must be consonant. Remember also (as in first species) that perfect
intervals should be approached by contrary or oblique motion, and that skips should normally make up less than
half of the melodic progressions. If the CF repeats a note, then the counter-melody should not repeat its note
also. Two sequential repetitions only are allowed.
 MUSC3600 week 1, p. 6
Hard Rules of Second Species Counterpoint
1. Upbeats (second minims) may be either consonant or dissonant. Stepwise dissonances are allowed only,
and the vast majority of these are passing tones – upper or lower neighbour note dissonances are rare.
Parallel perfect 5ths between successive downbeats may be “broken” by contrary motion upbeats (not
every Renaissance musician allowed this but most did).
2. All skips are to and from consonant intervals. Remember that the only dissonances allowed in second
species are those formed by passing or neighbour notes.
3. Avoid repeating notes in the added voice (but skips of octaves up or down are permitted).
4. Remember that the piece should begin and end on perfect consonant intervals, even if the piece begins
with a minim rest.

Soft Rules for Second Species

1. First species rules about skips, widely separated voices and the prevalence of stepwise motion still
apply.
2. Avoid unisons on downbeats and use them sparingly on upbeats.
3. Regardless of whether it falls on the upbeat or downbeat, you should avoid the same vertical interval
occurring against more than four successive CF notes.
4. Avoid more than two perfect intervals in a row (i.e., between two minims).
5. Usually the modal octave is covered between every four to eight CF notes.

Study this example. Label all consonant intervals and identify the dissonances. Is there a sequence? Why is the
melodic line unobjectionable?

Identify all of the errors in the following example:

Now rewrite appropriately: