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Counterpoint PDF

This document provides general rules for counterpoint composition. It outlines the five species of counterpoint - note against note, two or three notes against one, four or six notes against one, syncopation and suspensions, and florid or free counterpoint. It then lists rules for scales, voice leading, repetitions, lines, and harmony that should be followed when writing counterpoint, such as resolving active tones in the direction of their inflection, avoiding parallel octaves and fifths, and implying a good harmonic progression.

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Mehran Yazdani
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254 views

Counterpoint PDF

This document provides general rules for counterpoint composition. It outlines the five species of counterpoint - note against note, two or three notes against one, four or six notes against one, syncopation and suspensions, and florid or free counterpoint. It then lists rules for scales, voice leading, repetitions, lines, and harmony that should be followed when writing counterpoint, such as resolving active tones in the direction of their inflection, avoiding parallel octaves and fifths, and implying a good harmonic progression.

Uploaded by

Mehran Yazdani
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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Dr.

Barbara Murphy
University of Tennessee
School of Music

COUNTERPOINT
GENERAL RULES

In counterpoint, one voice is usually given. This voice is known as the cantus firmus (C.F.), or
the "fixed voice."

There are five species:

first species: 1:1 -- note against note


second species: 2:1, 3:1
third species: 4:1, 6:1
fourth species: syncopation / suspensions
fifth species: florid / free counterpoint

SOME GENERAL RULES:


Scales:
• Use only diatonic (natural) tones of the major and minor scales.

Voices and voice-leading:


• The vertical interval should not exceed a twelfth (12th).
• Each voice should have the range of an octave (ideally), or at most a tenth (10th).
• Active tones should resolve in the direction of their inflection:
notes sharped --> resolve up
notes flatted --> resolve down
FA --> MI (4-3)
LA --> SOL (6-5)
TI --> DO (7-8)
RE --> DO or MI (2-1 or 2-3)
• Notes may go in the opposite direction if they are in a passing motion.
• Avoid crossing / overlapping voices.
• Avoid exposing the tritone between voices. When it does appear, make sure it
resolves correctly.

Repetitions:
• Avoid repetitions and sequences.
• Don't use repeated notes.
• Don't use more than 4 (ideally 3) vertical 3rds or 6ths in a row.
Lines:
• Each line must be a good melody by itself. It should have a definite direction, an
interesting curve and a climax.
• Each line should be independent in regards to rhythm and direction. In both lines you
should maintain a balance between stepwsie motion and skips.
• Motion needs to be distributed evenly between the lines.
• Contrary motion should predominate.
• Avoid parallel P1, P5, P8.
• Avoid moving from a d5 to a P5 since the tritone (dissonance) does not resolve.
• Avoid hidden / direct fifths and octaves.
• The lines should have enough in common in regards to rhythm and direction to make
them sound convincing together.
• Maintain a steady pulse.
• Corroborate melodic elements by using similar patterns in both lines.

Harmony:
• Counterpoint above a given line may begin on a 1, 3, 5, 8, 10 and end on the 1, 3, 8,
10.
• Counterpoint below should begin and end only on 1, 8.
• The counterpoint should imply a good harmonic progression.
• Change chords from weak to strong beats.
• Consider the bottom note the bass note.
• Intervals used should be primarily consonant. Dissonances may appear but should be
in small quantities.
• Use consonances most often on accented beats or portions of the beat, and
dissonances on unaccented beats or portions of the beat.
• Don't double the leading tone.

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