First Species Counterpoint

Question 1

What is first species counterpoint?

Answer 1

One note against one note.

Question 2

What does Cantus Firmus mean?

Answer 2

Fixed Song

Question 3

What types of intervals should we favour on the first and last chords? What chord will this be?

Answer 3

We should favour Perfect Consonances (PC) over Imperfect Consonances (IC).

We can use the 3rd in these instances, it’s just not as strong.

The chord will be the tonic.

Question 4

For the initial tonic chord, which notes can we use in the lower part?

Answer 4

We can use the 1st and the 3rd. Avoid using the 5th

Question 5

In the middle of our counterpoint, which intervals should we favour?

Answer 5

Imperfect consonances (IC)

Then Perfect Consonances (PC) approached correctly.

Then maybe the 4th (so long as it cannot be interpreted as a dissonant suspension)

Question 6

What are the imperfect consonances?

Answer 6

3rds and 6ths

Question 7

What are the perfect consonances?

Answer 7

Unison, 5ths and Octaves

Question 8

Should the Cantus Firmus have lots of leaps?

Answer 8

No, it should move mostly by step, with some leaps.

Question 9

What is the Old Rule in regards to consecutive parallel consonances?

What is the effect of breaking the rule?

Answer 9

No more than 3 in a row.

Breaking the rule will result in reduced independence, which may be intended.

Question 10

What is the effect of using a variety of motion types in your counterpoint?

Answer 10

This gives a natural, organic feel and sound.

Question 11

When writing your counterpoint, what can you do to take stock of your note options?

Answer 11

Lightly write in all the nearby available notes.

Question 12

What is a good way to keep track of the intervals being used in your counterpoint?

Answer 12

Write the interval between the two notes.

Question 13

What is the old rule in relation to the distance between the CF and the CP?

What is the point of this rule, and when might we not follow it?

Answer 13

Keep it within a 12th.

The closer the notes are the more rich they will be, but the less independent.

The further away they are, the less rich they will be, and the more independent.

Question 14

What is voice crossing and when should it be avoided?

Answer 14

Voice crossing is when the lower voice goes higher than the current note of the upper voice.

It should be avoided when there is a similar timbre, as we will hear the top note as the line.

Question 15

What is voice overlapping and what is the effect?

Answer 15

Voice overlapping is when (for example) the current note of the lower voice is higher than the previous note of the upper voice.

This can be used to create a tight, locked in effect. It obviously reduces independence.

Tchaikovsky used it a lot, so it’s more than fine!

Question 16

What is the Old Rule in relation to repeated notes?

Do we need to follow it?

Answer 16

Avoid in the lower voice. No more than 3 in the upper voice.

Not really, leave it to taste.

Question 17

What are the 4 old rules in relation to melody?

Do we need to follow these?

Answer 17

1. No leaps of greater than a 5th (besides an 8ve and an ascending minor 6th)
2. Avoid these forbidden intervals: tritone, sevenths, intervals greater than an octave
3. If you make a large leap, change direction melodically.
4. Augmented and diminished melodic intervals are forbidden.

Don’t need to follow these

Question 18

What is the effect of having lots of the same note in a line?

Answer 18

It can make the line feel static.

Not necessarily a bad thing.

Question 19

What’s the only difference when working with a minor Cantus Firmus?

Answer 19

Watch out for the leading tone. Raise it when approaching the tonic.

Question 20

How should we approach Perfect Consonances (PC)?

Answer 20

By contrary or oblique motion.

Or using horn 5ths

Avoid approaching PCs with similar or parallel motion.

Question 21

What can happen when we approach Perfect Consonances (PC) by similar or parallel motion?

Answer 21

Exposed/apparent 5ths/8ves, and Parallel 5ths/8ves

Question 22

What is the effect of exposed/apparent 5ths?

Answer 22

It makes the chord stand out (hence it’s name, exposed or more apparent).

Question 23

What type of 5th do you need to look out for and use with deliberate care?

Answer 23

The diminished 5th

Question 24

What is voice exchange?

Answer 24

Eg. the upper voice does 3 2 1, and the lower voice does 1 2 3.

Question 25

How do the Perfect Consonances (PC) sound when used in 2-part counterpoint?

Answer 25

For me, they sound a bit thin, hollow and empty, compared to the ICs.

Be aware of this when using them.

Question 26

What are the dissonant intervals?

Answer 26

2nds, 7ths and 4ths.

Question 27

Why is the 4th a unique dissonance?

Answer 27

It is a contextual dissonance, as it is not inherently dissonant, but becomes so due to the context of our tonal system.

It sounds like a suspension, which is dissonant and requires resolution down.

This is why the 6/4 chords are an unstable, dissonant inversion.

Question 28

When is it ok to use the dissonant interval of the 4th in 2-part counterpoint?

Answer 28

When it does not create the feeling of a suspension.

E.g. arpeggiation

Question 29

What are horn 5ths?

Answer 29

When the first 3 notes of the scale (1, 2, 3) are harmonised by the ascending first inversion tonic chord (3, 5, 1)(from the harmonic series).

Question 30

What is the thing that we normally avoid in 2-part counterpoint which is allowed to occur when using horn 5ths?

Answer 30

Approaching a PC (specifically a 5th) with similar motion.

Question 31

What is the goal for each of the individual lines?

How can I make sure I’m achieving this?

Answer 31

Each line should be melodically sound in its own right.

To make sure of this, play or sing each line back individually, and make changes to smooth out the melody when necessary.

Question 32

Can you only use horn 5ths when you see the first 3 notes of the scale ascending (1, 2, 3)?

Answer 32

No, you can use them in reverse (3/1, 2/5, 1/3), or you can use fragments of it (E.g. 2/5, 1/3).

I think using them out of order also works well.

It really seems to be more about linking each note with eachother (1 on 3, 2 on 5, 3 on 1)