Species Counterpoint An introduction to the principles of voice leading

In this Unit... Write first, second, third, fourth, and fifth species counterpoint to a given cantus firmus Write a cantus firmus in a given mode Identify modes used in a given cantus firmus Learn the 7 modes and be able to write them out from a given pitch Be able to play/sing a cantus firmus with counter- point

Terminology... Voice Leading Species Counterpoint Cantus Firmus First Species Second Species Third Species Fourth Species Fifth Species Modal Scales Final Musica Ficta Nota Cambiata

Voice Leading Music can be looked at both horizontally and vertically. When analyzing chords and assigning roman numerals, we looked at music vertically. Voice Leading describes the linear, or horizontal, aspect of writing music

Lets Look at this excerpt both horizontally and vertically

Species Counterpoint, what is it?! Counterpoint is a second voice that accompanies a primary voice (melody). This voice is interesting and can stand on its own independently. (polyphony) Species Counterpoint is an approach to learning the principles of voice leading by adding a secondary voice to a cantus firmus. Five stages that get increasingly more complicated as we progress from the first to the fifth species.

Before we jump into writing counterpoint, let’s take a second to discuss the “cantus firmus” Cantus Firmus - a fixed melody, one phrase in length complete with a climax tone and cadence.

The Five Species...

First Species One note of counterpoint for every note of the cantus firmus

Second Species Two notes for every note of the cantus firmus

Third Species Four notes for every note of the cantus firmus

Fourth Species a.k.a. the syncopated species, utilizes tied notes against the cantus firmus

Fifth Species Uses elements from the first four species counterpoint

Some Music History... Principles were first written down by Johann Joseph Fux in “a simple method by which the novice can progress gradually, ascending step by step to attain mastery in this art” Haydn, Mozart, and Beethoven

Cantus Firmus YES YOU “CAN”

The Cantus Firmus Can be written in any of the seven modes. Always ends and begins on the starting pitch of the mode known as the “final”. Mostly step-wise motion. Do not use successive leaps unless they outline a triad. Augmented, diminished, and seventh intervals are not permitted melodically Use Bb to get rid of the tri-tone between F-B. Use at least three measures between F-B. Range should rarely be larger than an octave, fifth is typical, 11th is too big. Avoid repeated figures, sequences, and melodic segments that outline a tritone.

Write your own Cantus Firmus Follow the rules for writing a cantus firmus to write a melody that is 10 notes in length in the aeolian mode. Although modes can be in any key, we are only going to use the modes that share the C-Major key signature.

Motion and Consonance

The Four Types of Motion Contrary – Different Direction Parallel – Same Direction, Same interval Similar – Same Direction, Different interval Oblique – One note is tied in the counterpoint

Consonance Dissonance: 2nds, 4ths, 7ths Two Types: Perfect – P1, P5, P8 Imperfect – m3, M3, m6, M6,

Writing the Counterpoint Its not too bad…

Starting the Counterpoint... If the counterpoint is above the C.F. start with a P1, P5, or Octave. If the counterpoint is below the C.F. start with a P1 or Octave.

Ending the Counterpoint… Take a look at some cadences and make three observations:

Ending continued… The raised leading tone is known as the ‘musica ficta’ When using the musica ficta, do not use the natural form of the note within four notes of it.

Now the stuff in the middle… All the rest of the notes in the counterpoint must be one of the following intervals:

Easy, right?

There are just a few rules we have to follow…

Fux’s Four Basic Principles for Voice Leading in First Species 1. From one perfect consonance (P1, P5, P8) to another perfect consonance use contrary or oblique motion 2. From a perfect consonance to an imperfect consonance, use similar, contrary, or oblique motion 3. From an imperfect consonance to a perfect consonance, use contrary or oblique motion. 4. From an imperfect consonance to an imperfect consonance, use contrary, parallel, similar, or oblique motion.