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Music Theory for the 21st-Century Classroom

Robert Hutchinson

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Section 30.2 First Species Counterpoint

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In first species, we will write note-against-note counterpoint in whole notes. You will be given a melody, called the cantus firmus (abbreviated “c.f.”), against which you will write a counterpoint.
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Figure 30.2.1.
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Fux enumerates several rules to follow to write in proper sixteenth-century style (the style of Palestrina). Since this is a brief introduction to writing in species counterpoint, the rules below are slightly modified and simplified. You would likely follow stricter rules in a semester-long course in counterpoint.
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    Begin with an octave or unison.
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    End on an octave or unison.
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    Approach the ending octave or unison by contrary motion; one of the parts will end with 7^–8^ while the other ends with 2^–1^.
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      If the example is in G mixolydian, D dorian, or A aeolian, use a sharp to create the leading tone (F♯, C♯, and G♯ respectively).
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    Create consonant harmonic intervals in each measure (unisons, 3rds, 5ths, 6ths, and their compound versions—10ths, 12ths, 13ths, etc.). Dissonances (2nds, 4ths, 7ths) are not allowed in first species counterpoint.
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      “Imperfect” consonances (3rds and 6ths) can be approached in any manner
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        Do not use more than three consecutive 3rds or 6ths
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      “Perfect” consonances (unisons, 5ths, 8ves, 12ths) may only be approached in contrary motion in order to avoid direct 5ths and direct 8ves (you may wish to review the Types of Motion).
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      When the cantus firmus is in the upper part, write consonant intervals of a unison, 3rd, 5th, or 6th below the cantus firmus.
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    Only the following leaps are allowed: 3rds, 4ths, 5ths, ascending minor sixths, and 8ves (review the Rules of Melody with regard to direction changes after leaps).
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    Avoid melodically outlining a tritone by changing directions at two turning points in a melody.
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    Avoid repeating notes in order to create a flowing melody
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Following these rules may seem dry and uninspired, but these rules come from observations of note-by-note details in Renaissance compositions by composers like Palestrina and can make any composer better and more aware of what they are writing.
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