Note-to-Note Counterpoint in Strict Style

Question 1

what to use as the beginning or end

Answer 1

• unisons or octaves (maybe a P5 if the cantus firmus is in the bass)
• the last two notes used need to a 2-1, or 7-1 scale degree motion leading back to a PU or P8 for last pitch. intervals will be 6-8 or 3-U
• don’t forget to raise the leading tone in minor (and the sixth if it precedes the leading tone)

Question 2

counterpoint line

Answer 2

• choose the first interval carefully
• plan contrary motion, include a peak, and have a balances of steps, skips, and leaps
• remember balance is key
• look for an opportunity for use of a P8 or P5 in the middle of the line and if possible, use a voice exchange
• avoid parallel fifths and octaves
• including hidden fifths and octaves
• approach perfect intervals by contrary motion
• use more 3s and 6s more than 8s, Us, and 5s
• do not right write 3 parallel imperfect consonances in a row
• use leaps sparingly
• step down - leap up -step down
• or vice versa
• avoid voice crossing
• do not use dissonant harmonic intervals (including a P4) or accidentals except for cadence points
• avoid dissonant melodic interval leaps (m7, M7, d5, A4, A2, A4)

Question 3

if the cantus is in the bass, it’s possible to begin with a

Answer 3

• P5

Question 4

in the middle of the line, it’s ideal to use only one of these intervals

Answer 4

• P8

Question 5

avoid more than three parallel imperfect intervals in a row

Answer 5

• true

Question 6

ideally, it is best to use stepwise motion with, and no more than, two melodic skips or leaps in a row

Answer 6

• true