Unit 5: Introduction to Counterpoint

This study guide summarizes the Unit 5 concepts from the provided photos. It is a paraphrased review, not a transcription of the textbook.

Core Idea

Counterpoint is the art of combining independent melodic lines. The goal is not merely to place notes together vertically, but to make each line coherent while also controlling the consonances and dissonances that arise between the lines. Species counterpoint provides a focused way to practice these melodic and contrapuntal skills.

Cantus Firmus

A cantus firmus is a given melody used as the basis for counterpoint. A good cantus firmus is clear, singable, and balanced.

Useful traits include:

• Mostly stepwise motion
• Occasional leaps, usually balanced by stepwise motion in the opposite direction
• A clear beginning and ending on tonic
• A single high point, or climax
• Avoidance of aimless repetition
• Avoidance of awkward melodic outlines, excessive leaps, and unresolved tendency tones

The cantus firmus should have enough shape to support a counterpoint above or below it without already sounding overly complex.

Types of Motion

When two voices move together, their relationship can be described by motion type:

• Contrary motion: the voices move in opposite directions.
• Similar motion: the voices move in the same direction by different intervals.
• Parallel motion: the voices move in the same direction by the same interval.
• Oblique motion: one voice stays in place while the other moves.

Contrary and oblique motion are especially useful for preserving independence. Parallel perfect consonances weaken independence and are generally avoided.

First Species

First species places one note of counterpoint against each note of the cantus firmus. Because each sonority is exposed, only consonances are used.

Typical guidelines:

• Begin and end with a perfect consonance.
• Use imperfect consonances freely in the middle.
• Avoid parallel fifths and octaves.
• Avoid direct or hidden perfect consonances when the upper voice leaps into them.
• Maintain good melodic shape in the added line.
• Approach the final by step, often with scale degree 2 moving to 1 in the upper voice or scale degree 7 moving to 1 when appropriate.

First species trains the basic relationship between melodic independence and vertical consonance.

Second Species

Second species places two notes of counterpoint against each note of the cantus firmus. The first half of the bar is metrically stronger; the second half is weaker.

The strong part of the bar normally requires consonance. The weak part may contain a dissonant passing tone if it is approached and left by step in the same direction. This makes passing motion the central dissonance type of second species.

Other points:

• Begin with a rest if needed so the counterpoint enters after the cantus.
• Avoid treating the weak beat as if it were structurally stronger than the downbeat.
• Keep the line smooth and avoid too many leaps.
• The penultimate bar often uses conventional cadential motion into the final.

Third Species

Third species places four notes of counterpoint against each note of the cantus firmus. Because the faster line has more motion, it can include more passing and neighboring activity.

Useful features include:

• Stepwise motion as the norm
• Passing tones on weak positions
• Neighboring tones, including complete and incomplete neighbors
• Occasional leaps, usually recovered by step in the opposite direction
• Careful control of accented dissonance

Third species increases melodic fluency while keeping dissonance under control.

Fourth Species

Fourth species focuses on syncopation and suspension. A note is prepared as a consonance, tied or held into the next strong position where it becomes a dissonance, then resolved by step.

The classic suspension pattern is:

preparation -> suspension -> resolution

Common suspensions include 4-3, 7-6, 9-8, and 2-3, depending on voice position and context. Suspensions are powerful because they create accented dissonance that is directed toward a consonant resolution.

Important cautions:

• The preparation must be consonant.
• The suspended dissonance must resolve correctly, usually downward by step.
• A long chain of suspensions must still make a coherent melodic line.
• If strict suspension writing becomes impossible, the species may be broken briefly with tied consonances or other permitted patterns.

Fifth Species

Fifth species, or florid counterpoint, combines the techniques of the previous species. It may include note-against-note writing, passing motion, neighboring motion, suspensions, and varied rhythms.

The challenge is balance: the line should sound natural and flexible while still respecting the controls learned in the earlier species.

Cadences

Cadences in species counterpoint normally aim for a clear arrival on a perfect consonance. The final approach should clarify the mode and tonic. In two-part writing, the final sonority is often an octave or unison, with one voice moving by step into the final.

Memory Targets

• Define counterpoint and cantus firmus.
• Recognize contrary, similar, parallel, and oblique motion.
• Know why parallel perfect fifths and octaves are avoided.
• Understand the rhythmic setup of first, second, third, fourth, and fifth species.
• Know that first species uses consonances only.
• Know how second species uses weak-beat passing dissonances.
• Know how third species expands passing and neighboring motion.
• Know the preparation, suspension, and resolution pattern in fourth species.
• Understand fifth species as a controlled mixture of the earlier species.
• Keep melodic shape, independence, and cadential clarity in mind in every species.