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First Species Counterpoint
- The counterpoint must begin and end on an interval of either unison, octave, or fifth, and usually only unison or octave.
- You cannot use unison intervals (the same note in both melodies at the same time) except at the beginning or end.
- Do not move both parts in parallel 4ths, 5ths, or octaves.
- What are the rules of First species counterpoint?
- What is a first species counterpoint?
- What are the 4 kinds of motion in 1st species counterpoint?
- What intervals can you use in first species counterpoint?
What are the rules of First species counterpoint?
In first species counterpoint, we begin with a cantus firmus (new or existing) and compose a single new line—called the counterpoint—above or below the cantus firmus. That new line contains one note for every note in the cantus: both the cantus firmus and the counterpoint will be all whole notes.
What is a first species counterpoint?
In first species counterpoint, each note in every added part (parts being also referred to as lines or voices) sounds against one note in the cantus firmus. Notes in all parts are sounded simultaneously, and move against each other simultaneously.
What are the 4 kinds of motion in 1st species counterpoint?
We distinguish in species counterpoint between: 'Perfect' Consonances (perfect unisons, fifths, and octave) 'Imperfect' Consonances (major and minor thirds and sixths) Dissonances (all seconds, sevenths, diminished and augmented intervals)
What intervals can you use in first species counterpoint?
Counterpoint Rules
- The interval between the given note and the note in your counter-melody should be consonant (major/minor 3rd or 6th, perfect unison, 5th, or octave, or a compound form).
- If the counter-melody is above the given melody, then the last note of the counter-melody should be in the tonic chord.
