Species Counterpoint (part 6 – Fourth Species)

              Fourth species counterpoint is a style of polyphonic writing that consists of two notes of counterpoint against every one note of the cantus firmus (like second species).  However, in fourth species the counterpoint must always start on the upbeat, which is tied to the next downbeat as often as possible.  The primary rhythmic objective is syncopation between the counterpoint and the cantus firmus.  The repeated rhythmic syncopation due to ties across the bar line result in a constant state of suspension and resolution.

Since the upbeat of each measure acts as a resolution of the suspension, it must be consonant with the cantus firmus.  The suspended downbeat may be either consonant or dissonant with the cantus firmus.  If the suspended downbeat is dissonant with the cantus firmus, it must resolve down by a step. 

Above the Cantus Firmus:                            Below the Cantus Firmus:

-  2 to 1                                                     - 2 to 3

-  4 to 3                                                     - 4 to 5

-  7 to 6                                                     - 9 to 10

-  9 to 8

Below the cantus firmus, the 7th resolving to the 8th is avoided in the works of the great composers.

Works of fourth species will always resolve in a specific way.  If the counterpoint resolves to an octave, the penultimate measure will contain a 7th resolving to a 6th in relation to the cantus firmus.   If the counterpoint resolves to a unison, the penultimate measure will contain a 2nd resolving to a 3rd in relation to the cantus firmus.  The final pitch of the counterpoint must match the rhythm of the cantus firmus (in our case, it will be a whole note).                

In cases where continuing the sequence of ties would cause an undesirable compositional result, the sequence can be broken using regular half notes.  In such cases, the sequence of tied rhythms should be resumed as soon as possible.  Other than these differences that are specific to fourth species all of the past rules we have discussed still apply.

     

           Based on the rules and tips presented in this lesson, you should be prepared to compose your own third species counterpoint exercises.  For more guidance, please refer to the end of the accompanying video where I compose an example of first species counterpoint both above and below a cantus firmus.  Continued practice will grant you valuable insight into the nature of melodic motion and the way multiple melodies react harmonically.    

This Learning Music With Ray video discusses the topic of fourth species counterpoint.  In this video I discuss the rules that govern composing a work of fourth species counterpoint.  I also provide some helpful tips that will make your experience composing fourth species counterpoint easier.  Finally, I compose a line of fourth species counter point both above and below a cantus firmus in order to provide a live demonstration of the principles discussed in the video.   

    

Species Counterpoint (part 5 – Third Species)

Third species counterpoint is a style of polyphonic writing that consists of four notes of counterpoint against every one note of the cantus firmus.  This means that each measure consists of four equal parts.  This is usually depicted as four quarter notes of counterpoint set against each whole note of the cantus firmus.  Like second species, third species also allows for the existence of dissonance between the cantus firmus and the counterpoint.

The first quarter note exists on the downbeat of the measure.  Because of this, it must be consonant with the cantus firmus.  The second and fourth notes may be dissonant with the cantus firmus if we both approach and leave them by stepwise motion; and the first, third and fifth (1st of the next measure) notes in the sequence are consonant with the cantus firmus.  The third beat may be dissonant with the cantus firmus by way of diminution.  In this case the second and fourth notes are always consonant with the cantus firmus. 

Works of third species counterpoint will always resolve in a specific way.  If the counterpoint resolves to an octave, the penultimate measure will contain a 5th followed by a major 6th in relation to the cantus firmus in the third and fourth beats (except when the diatonic 5th is a tritone).  If the counterpoint resolves to a unison, the penultimate measure will contain a 5th, followed by a 4th and then a minor 3rd in relation to the cantus firmus in the second, third and fourth beats (except when the diatonic 5th is a tritone).  The final pitch of the counterpoint must match the rhythm of the cantus firmus (in our case, it will be a whole note).

There is one other exception to the normal rules of counterpoint that can occur in third species.  This exception is due to a type of musical phrase called a cambiata.  Cambiata is an Italian word meaning changed note.  In other types of musical composition, the specific parameters of a cambiata may vary.  In 3rd species counterpoint, this is specific type of melodic phrase containing a step, followed by a skip of a 3rd in the same direction and finally a step in the opposite direction (which fills in the skip).  In some cases, this type of phrase fits within the normal rules of counterpoint.  

In other cases, it breaks the rules.  This is allowed due to the melodic nature of the phrase.

The rules covered above reflect the differences between third species in comparison to everything else we have studied so far.  Other than these differences, all the other rules of first and second species counterpoint apply to third species counterpoint.  In addition, the same melodic rules for composing a good cantus firmus apply to composing a good work of second species counterpoint.  I would also recommend the same tips for composing that I gave in the lesson on first species.  For this reason, it is essential to study this topic in the proper sequence in order to gain a proper understanding.  If you have not done so already, please refer to the previous lessons on counterpoint (parts 1-4) to aid in your understand of this lesson.

Based on the rules and tips presented in this lesson, you should be prepared to compose your own third species counterpoint exercises.  For more guidance, please refer to the end of the accompanying video where I compose an example of first species counterpoint both above and below a cantus firmus.  Continued practice will grant you valuable insight into the nature of melodic motion and the way multiple melodies react harmonically.    

This Learning Music With Ray video discusses the topic of third species counterpoint.  In this video I discuss the rules that govern composing a work of third species counterpoint.  I also provide some helpful tips that will make your experience composing third species counterpoint easier.  Finally, I compose a line of third species counter point both above and below a cantus firmus in order to provide a live demonstration of the principles discussed in the video.      

Species Counterpoint (part 4 – Second Species)

Second species counterpoint can be composed in both binary and ternary meter.  In binary meter, second species counterpoint is a style of polyphonic writing that consists of two notes of counterpoint against every one note of the cantus firmus.  This means that each measure consists of two equal parts: the downbeat and the upbeat.  This is usually depicted as two half notes of counterpoint set against each whole note of the cantus firmus.  One of these half notes exists on the downbeat, and the other exists on the upbeat.  This allows for the existence of dissonance between the cantus firmus and the counterpoint in this species.

The first half note exists on the downbeat of the measure.  Because of this, it must be consonant with the cantus firmus.  The second half note exists on the upbeat.  Because of this, it may be dissonant with the cantus firmus if we both approach and leave it by stepwise motion.  If the upbeat is approached or left by a skip, the pitch must be consonant with the cantus firmus.  Thus, the only dissonance that can exist in this species is diminution.  Diminution is filling in the space between two notes that are a melodic third apart from each other.

Works of second species (binary meter) will always resolve in a specific way.  If the counterpoint resolves to an octave, the penultimate measure will contain a 5th followed by a major 6th in relation to the cantus firmus (except when the diatonic 5th is a tritone).  If the counterpoint resolves to a unison, the penultimate measure will contain a 5th followed by a minor 3rd in relation to the cantus firmus (except when the diatonic 5th is a tritone).  The final pitch of the counterpoint must match the rhythm of the cantus firmus (in our case, it will be a whole note).

         

There are several additional rules that must be observed when composing in second species.  One such rule is that successive strong beats may not contain parallel fifths or octaves unless the weak beat contains a leap of a 4th or greater.  Leaps of a third between successive strong beat parallelism are not substantial enough to erase the strong beat parallel motion from our tonal memory.  Another is that a half rest can be used in place of the first note.  In this case the upbeat pitch must be consonant with the cantus firmus.  Finally, a leap of a minor sixth or an octave may be used to avoid issues in a place where it is impossible to achieve contrary motion.

In ternary meter, second species counterpoint is a style of polyphonic writing that consists of three notes of counterpoint against every one note of the cantus firmus.  In this meter, the middle note may be dissonant if it is approached and left by stepwise motion.  Some music theorists also allow the third note to be dissonant if it is approached and left by stepwise motion.  However, Fux applied the strict approach of only allowing the middle note to be dissonant.  Other than these differences (due to the difference in meter), all the other rules of second species remain the same.

           

The rules covered above reflect the differences between second and first species counterpoint.  Other than these differences, all the other rules of first species counterpoint apply to second species counterpoint.  In addition, the same melodic rules for composing a good cantus firmus apply to composing a good work of second species counterpoint.  I would also recommend the same tips for composing that I gave in the lesson on first species.  For this reason, it is essential to study this topic in the proper sequence in order to gain a proper understanding.  If you have not done so already, please refer to the previous lessons on counterpoint (parts 1-3) to aid in your understand of this lesson.

Based on the rules and tips presented in this lesson, you should be prepared to compose your own second species counterpoint exercises.  For more guidance, please refer to the end of the accompanying video where I compose an example of second species counterpoint both in binary and ternary meter.  Continued practice will grant you valuable insight into the nature of melodic motion and the way multiple melodies react harmonically.    

This Learning Music With Ray video discusses the topic of second species counterpoint.  In this video I discuss the rules that govern composing a work of second species counterpoint.  I also provide some helpful tips that will make your experience composing second species counterpoint easier.  Finally, I compose a line of second species counter point both in binary and ternary meter in order to provide a live demonstration of the principles discussed in the video.      

Species Counterpoint (part 3 – First Species)

      First species counterpoint is a “note against note” style of polyphonic writing.  This means that each rhythmic value in the counterpoint matches the rhythmic values of the cantus firmus.  Since a cantus firms does not contain rhythmic variation, counterpoint in first species will also contain no rhythmic variation.  Since the rhythm of a work of first species counterpoint is identical to that of the cantus firmus, and neither melody contains rhythmic variation, this results in harmonic relationships that always arrive on strong beats.  Because of this, the harmonic relationship between each pitch of the cantus firmus and its corresponding pitch of counterpoint must be consonant.

                

      The same melodic rules for composing a good cantus firmus apply to composing a good work of counterpoint.  The two melodies should display melodic independence.  They should contain independent climaxes, independent melodic contours and no voice crossing.

Sequences should be avoided in first species counterpoint.  Although sequences and patterns play a large role in most forms of musical composition and improvisation, a primary part of their musical function is to flesh out an idea across a larger piece of music.  Counterpoint is a small and concentrated piece of music.  When composing such a piece of music, the entire piece should represent one independent melodic phrase. 

Some additional rules for first species counterpoint include the fact that the resolution should be reached by contrary stepwise motion.  The cantus firmus and counterpoint should be kept within a perfect 12th of each other.  Distances greater than this cause the harmonic connection between the two voices to become too weak.  Unisons should be avoided except for the first and last measures.  Unisons within the middle of the piece cause the second voice to seem to disappeared.    In addition to these rules, the basic rules of polyphonic motion that we discussed last week all apply.

When composing first species counterpoint, I suggest starting with the final cadence.  This interval must be either a unison or an octave.  Based on this choice, and the way the cantus firmus resolves, there will be only one solution for the pitch in the second to last measure of your counterpoint.  Now you have a target to aim for in your resolution. 

Next I would suggest considering which pitch you will start on, and where your climax will be.  Once these important points of the composition have been established, the rest of the measures can be filled in.  Try to use contrary and oblique motion as much as possible since direct motion requires more care to avoid issues.  Also, try to use a majority of imperfect consonances, so that your counterpoint contains an abundance of rich harmony. 

Try to maintain a smooth melodic line.  Use mostly stepwise motion.  Fill in skips (especially ones larger than a 4^th) with stepwise motion in the opposite direction.  Avoid repetitive sequences.  Remember, you are composing a concise melodic phrase.  Also, avoid crossing over the cantus firmus.  If you are writing above the cantus, remain above for the entire melody (and if below, remain below). 

Voice exchange is a beautiful effect that can occurs when the pitches of two melodies move in contrary stepwise motion in a fashion that causes the original pitches to exchange parts at the end.  This occurs most often in first species counterpoint between imperfect consonances.  Remember, imperfect consonances are the most desirable harmonic intervals in counterpoint.  Plus, voice exchange between imperfect consonances occurs after only two steps of contrary. 

Based on the rules and tips presented in this lesson, you should be prepared to compose your own first species counterpoint exercises.  For more guidance, please refer to the end of the accompanying video where I compose an example of first species counterpoint both above and below a cantus firmus.  Continued practice will grant you valuable insight into the nature of melodic motion and the way multiple melodies react harmonically.    

This Learning Music With Ray video discusses the topic of first species counterpoint.  In this video I discuss the rules that govern composing a work of first species counterpoint.  I also provide some helpful tips that will make your experience composing first species counterpoint easier.  Finally, I compose a line of first species counter point both above and below a cantus firmus in order to provide a live demonstration of the principles discussed in the video.