principles of species counterpoint

Principles of Species Counterpoint Species First

Ratio* 1:1 (NOT wholenotes)*

Dissonance** None

Second

2:1 (3:1) (NOT halfnotes)*

Passing Tones

Third

4:1 (NOT quarternotes)*

Nota Cambiata (& Double Passing Tones)

Fourth

1:1 Ligatures

Suspensions

Fifth

Any

Neighbour Tones

*Remember that the species are defined by the number of notes in the counterpoint compared to the cantus firmus, not the absolute value. ** The dissonances listed in each species are not only permitted, but strongly recommend – the are the whole point of each species; use them as often as possible.

Guiding Principles (from which the rules are derived): 1. Treat perfect consonances very carefully. a. Avoid drawing attention to them (except beginnings and endings). b. Use them sparingly, and preferably not two of them in a row (even of different kinds). c. As much as possible, approach them by oblique or contrary motion, preferably by step. 2. Maintain independence of voices. a. Identical types of intervals should not be used twice in a row (specifically, perfect intervals). b. Similar intervals (like thirds and sixths) in a row should be limited (max 3). c. Climax tones should not correspond. d. Voices should not cross or overlap. 3. All parts should be singable. a. Keep the range to a tenth (a) within parts and (b) between parts. b. Avoid dissonant leaps (and leaps of M6). c. Turn around after large leaps. d. Minimise consecutive leaps; larger intervals below smaller intervals. e. Do not outline the tritone. 4. Ending formula. a. Rule of closest approach: Converge to perfect intervals from minor intervals. Diverge to perfect intervals from major intervals.