Search results for: “species counterpoint”

Second species counterpoint uses two notes in the counterpoint line for every one note in the cantus firmus. When writing second species counterpoint you need to make sure that the counterpoint line maintains shape and direction, rather than continually circling around the same few notes. The meter for second species is cut time (2/2), with…

Since species counterpoint always starts with a given melody, a cantus firmus, you will only be composing one line. Your first steps in composing a counterpoint line involve analyzing the cantus firmus (CF). Identify the mode of the CF. Note the cadence of the CF (does it end ^2 – ^1, or ^7 – ^1).…

First species counterpoint adds a contrapuntal line (a second voice) to an existing melody, or cantus firmus. For every note in the cantus firmus there will be a note in the second voice. Before diving into the rules, it is useful to go over some general principles of first species counterpoint. Know the four types…

Before one can compose multiple musical lines in combination, one must study what makes for good melodic writing. Melodic writing is technically considered “pre-species.” This post outlines rules for proper melodic writing, and then provides some positive (“how-to”) guidelines for constructing good melodies. Make sure to read the whole post. Rules The rules that govern…

I’m going to break up my counterpoint p0sts to make it easier to find the information you need to understand and complete the exercises. Counterpoint literally refers to note against note, and is used to describe musical textures with two or more independent lines sounding together. Although we generally refer to two historical periods as…

To harmonize a melody, follow the steps below. Analyze the melody determine the key label the scale degrees of the melody Pick Harmonies It is very helpful to write out all the possible harmonies for each melody note (following the given harmonic rhythm) Remember that once you pick a harmony, it affects future possible choices,…

Scale Degree Tendencies in the Dominant Harmony It is important to think about the scale degrees present in any harmony. For the dominant triad you have scale degrees 5, 7, and 2. The leading tone (7) strongly wants to resolve to tonic (1). The supertonic (2) also wants to resolve to either tonic (1) or…

Voice leading refers to the way you move from one chord to another in four-part writing. My outline will basically cover two lists from the textbook – on pp. 142 – 145, and p. 147. The textbook refers to the first list as the “nine basic rules of voice leading,” but the first is really…