© 2005 Ryan Vigil, Yale University

First Species: Two-Part Counterpoint 1

General

Two-part first species counterpoint involves the addition of a single line to an existing cantus firmus.The additional line, called the counterpoint, will be set in an adjacent voice above or below thecantus (the possible pairings, therefore, are: soprano-alto, alto-tenor, and tenor-bass). Like thecantus, the counterpoint will be constructed in whole notes, so that the rhythmic relationship is oneto one – for this reason, first species counterpoint is sometimes referred to as note against note.

The principles of melodic motion that pertain to the cantus firmus also apply to the counterpoint.However, because the counterpoint must be constructed with due attention to harmonic as well asmelodic principles, some new freedoms arise:

- It may sometimes be necessary to outline a dissonant interval;- It may not always be possible to change direction after a leap of a fifth or larger (although

the leap of an octave must still effect a change of direction);- It may sometimes be necessary to immediately repeat a tone.

Vertical Intervals: All intervals must be consonant – there is no dissonance in first species. NB: In two-part counterpoint the perfect fourth is considered a dissonance.

Types of Motion: Similar motion – the two voices move in the same direction but don’t maintain the same interval;

Parallel motion – the two voices move in the same direction, maintaining the same interval;

Contrary motion – the two voices move in opposite directions;

Oblique motion – one voice moves while the other remains stationary.

Perfect Consonances and Forbidden Types of Motion

- Parallel motion in unisons, fifths, and octaves.- Similar motion into a perfect fifth or octave (known as “hidden,” or “direct” fifths or octaves).- Antiparallel fifths or octaves – successive vertical fifths or octaves in contrary motion.- Ottava battuta and quinta battuta – contrary motion into a vertical octave or fifth where the

upper voice leaps by the interval of a fourth or greater, and the lower voice ascends by step.

Further Restrictions :

1. Unison: The unison can only be used at the very beginning and the very end; the appearanceof a unison in the middle of the exercise both destroys the impression of twoindependent voices, and acts as a false ending.

2. Parallel motion: No more than three successive parallel thirds or sixths.

1 Compiled with reference to: Fux, The Study of Counterpoint, trans. and ed. Alfred Mann (Norton, 1971); Felix Salzer

and Carl Schachter, Counterpoint in Composition (Columbia UP, 1989); Janet Schmalfeldt, Guidelines for Composing aTwo-Part Counterpoint in First Species; Arnold Schoenberg, Preliminary Exercises in Counterpoint (Faber & Faber, 1963).

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3. Oblique motion : A tie may be employed once in a short exercise, twice in a longer exercise.

4. Voice crossing : Never!

5. Spacing : The distance of a tenth between voices should only be exceeded for melodic(climax) reasons, and then the closer texture should return.

6. Climax : The climax of the counterpoint must not coincide with that of the cantusfirmus.

7. Perfect Fourths: The perfect fourth occupies a kind of middle ground in species counterpoint.It is always considered a consonance when employed melodically. However,in two-part counterpoint it is always considered a harmonic dissonance .

Additional Suggestions/Preferences :

- Avoid simultaneous leaps, especially leaps in the same direction.- Avoid overlapping parts: where the lower voice moves higher than the previous note in the

upper voice, or the upper voice moves below the previous note in the lower voice.- Favor contrary motion.- Favor imperfect consonances.

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Beginning and Ending

Beginning: When adding a counterpoint above the cantus firmus the counterpoint may begin onan octave, fifth or unison (the unison is only serviceable when the cantus immediatelydescends);

When adding a counterpoint below the cantus firmus the counterpoint may beginwith an octave or a unison.

Cadence: “The next-to-last measure must contain both the leading tone and the second degreeof the scale. The cantus will contain one of these tones; the counterpoint must bringthe other” (Salzer and Schachter, p. 20). Usually the cantus will end with the secondscale degree descending to the tonic, therefore, the counterpoint will usually end withthe leading tone ascending to the tonic.

Suggestions for Checking Your Work:

1. Label all vertical intervals.2. Pay special attention to the perfect consonances, and make sure that they have not been approached with any of the forbidden types of motion.3. Once you are satisfied that the counterpoint has not created any dissonances, and that the

perfect consonances have been treated with proper care:4. Make sure that the climax of the counterpoint does not occur in the same measure as the climax of the cantus firmus;5. Make sure that the counterpoint itself displays the properties of good melodic motion, including balance, variety, and continuity.