Cantus'Firmus'Checklist'

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GENERAL'CHARACTERISTICS:'8"16%whole%notes.%No%other%rhythmic%value%is%permitted.%Possible%Modes:%D%Dorian,%E%Phrygian,%G%Mixolydian,%A%Aeolian,%and%C%Ionian.%%All%of%the%modes%may%also%be%transposed%up%a%fourth,%resulting%in%a%Bb%in%the%key%signature.%%%Lydian%is%rarely%used.%%Avoid%Locrian%altogether.%%Scale%degree%7%is%raised%at%the%cadence%in%Dorian,%Mixolydian,%and%Aeolian.%Tessitura%should%be%that%of%an%alto%or%tenor.%%Alto%maximum%range:%F3"D5.%%Tenor%maximum%range:%C3"A4.%%Use%the%alto%clef%to%write%your%cantus%firmus.%INTERVALS'(linear):'Avoid%the%following%leaps%in%the%melody:%7ths,%augmented%and%diminished%intervals,%and%leaps%large%than%an%octave.%%Most%texts%exclude%the%leap%of%a%major%sixth%(minor%sixth%ok%if%ascending).%%%Larger%leaps%require%more%careful%treatment%than%do%smaller%ones;%they%should%be%followed%by%a%change%in%direction,%preferably%by%step.%%The%final%note,%scale%degree%1,%should%be%approached%by%step%(either%scale%degree%7%or%2).%Avoid%melodic%outline%of%the%tritone.%%The%tritone%may%be%corrected%with%a%Bb%in%any%of%the%modes,%although%it%should%be%used%sparingly,%if%possible.%%Eb%functions%in%the%same%way%in%the%transposed%modes.%%%%OVERALL'SHAPE'(form):'The%Cantus%Firmus%should%begin%and%end%on%the%same%note%and%include%a%climax.%%Avoid%repeating%the%climax%tone.%%The%climax%should%NOT%be%the%leading%tone.%For%the%sake%of%continuity,%the%cantus%firmus%will%contain%predominantly%stepwise%motion,%but%so%much%that%the%line%becomes%too%homogeneous%and%lacking%variety.%%The%cantus%firmus%will%contain%about%2"4%leaps,%and%the%direction%of%the%line%will%change%several%times.%Avoid%emphasizing%or%circling%around%one%note.%Avoid%sequences.'

First&Species&Description&

DEFINITION:&Two$half$notes$set$against$each$whole$note$of$the$cantus$firmus.$$BEGINNING&AND&ENDING:$$If$writing$an$upper$counterpoint,$begin$with$an$octave$or$fifth.$$If$writing$a$lower$counterpoint,$begin$with$an$octave$or$unison.$$$The$final$interval$will$be$either$an$octave$or$unison.$$The$penultimate$measure$must$contain$scale$degree$2$in$one$voice$and$scale$degree$7$in$the$other$voice.$$Remember$that$scale$degree$7$must$be$raised$in$Dorian,$Mixolydian,$and$Aeolian.$$LINEAR&INTERVALS:&In$general,$avoid$simultaneous$leaps$between$the$two$voices,$especially$leaps$in$the$same$direction$involving$melodic$intervals$larger$than$a$fourth.$$VERTICAL&INTERVALS:&Only$consonant$intervals$are$to$be$used$(major$and$minor$3rds,$perfect$5th,$major$and$minor$6ths,$and$perfect$8ths).$$Unisons$may$only$be$used$on$the$first$and$last$notes$of$the$exercise.$Avoid$parallel$octaves$and$fifths,$similar$motion$to$octaves$and$fifths,$and$contrary$fifths$and$octaves.$$$Use$a$variety$of$intervals,$as$oppose$to,$for$example,$a$long$strain$of$parallel$sixths.$$Avoid$voice$overlap$and$voice$crossing$(note$Jeppesen$includes$voice$crossing)$$In$general,$the$distance$between$the$counterpoint$and$the$cantus$should$not$exceed$a$12th.$$$Repeated$/$tied$notes$in$the$counterpoint$are$possible,$but$avoid$tying$more$than$two$whole$notes.$$FORM:&The$counterpoint$must$main$its$own$integrity.$$The$contour$of$the$counterpoint$should$be$individual$and$distinct$from$the$cantus$firmus.$An$upper$counterpoint,$like$the$cantus,$should$move$to$a$high$point$for$the$climax.$$The$lower$counterpoint,$may$employ$either$a$high$or$low$point.$$Contrary$motion$and$oblique$motion$help$produce$independence$between$the$counterpoint$and$the$cantus$firmus,$but$all$three$types$of$motion$should$be$used$(including$parallel$motion).$$$

Second'Species'Description'

'DEFINITION:!!Two!half!notes!set!against!each!whole!note!of!the!cantus!firmus.!!BEGINNING'AND'ENDING:'!The!counterpoint!may!begin!either!with!two!half!notes!or!with!a!half!rest!and!one!half!note.!!The!last!measure!of!the!counterpoint!will!always!contain!a!whole!note.!!The!penultimate!measure!may!contain!a!whole!note!or!consist!of!two!half!notes.!!As!in!first!species,!the!tone!immediately!preceding!the!final!tonic!will!be!the!leading!tone.!!If!the!penultimate!measure!contains!a!whole!note,!that!note!will!!be!the!leading!tone;!if!it!contains!two!half!notes,!the!leading!tone!will!fall!on!the!second!of!these!half!notes.!!TREATMENT'OF'DISSONANCE:'!The!only!dissonances!allowed!in!second!species!are!the!unaccented!passing!tone.!!The!passing!tone!connects!two!notes!spanning!an!interval!of!a!third.!!! !!The!dissonant!note!occurs!only!on!the!second!beat;!it!follows!as!a!logical!consequence!that!the!first!beat!of!every!measure!will!be!consonant.!!Note!that!the!tritone!need!not!be!corrected!when!treated!as!a!dissonance.!!TREATMENT'OF'CONSONANCE:'!The!consonant!skip!may!be!used,!in!addition!to!the!consonant!passing!tone.!!The!second!half!of!the!measure!may!be!consonant.!!Unlike!dissonant!tones,!consonances!may!be!approached!by!leap!as!well!as!by!step.!!FORM:'!Similar!to!the!cantus!firmus,!the!melody!must!always!have!a!clear!direction!and!a!climax!(or!a!low!point!in!the!case!of!a!bottom!counterpoint).!!Both!the!cantus!firmus!and!the!counterpoint!should!remain!as!independent!as!possible.!!!CASES'OF'PARALLEL'FIFTHS'AND'OCTAVES:'! !Avoid!perfect!5ths!and!octaves!on!consecutive!downbeats.!!Consecutive!parallel!perfect!5th!and!octaves!are!still!to!be!avoided.!!!

44&

Avoid octaves/fifths between consecutive beats.

Ex. 1A Ex. 1B

Second Species Parallel Perfect Intervals

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Avoid octaves/fifths between consecutive strong beats.

Ex. 2A Ex. 2B

&Ex. 3A Ex. 3B

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Octaves/fifths between consecutive weak beats: OK

Ex. 4A Ex. 4B

w w

w w

w w w w

w w w w w w

w w w w w w

Third&Species&Description&

DEFINITION:&In#third#species#a#rhythmic#texture#of#four#notes#against#one#is#employed#(four#quarter#notes#in#the#counterpoint#to#one#whole#note#in#the#cantus#firmus).#The#presence#of#four#quarter#notes#creates#three#levels#of#metrical#hierarchy.### The#FIRST#quarter#is#the#STRONGEST#beat#of#the#measure.#The#SECOND#and#FOURTH#quarter#beats#are#the#WEAKEST#beats#of#the#measure.#The#THIRD#quarter#holds#an#INTERMEDIATE#position.##It#is#stronger#than#the#second#and#fourth#quarters,#but#weaker#than#the#first#quarter.#BEGINNING&AND&END&OF&THE&EXERCISE:&The#final#note#of#the#counterpoint#will#be#a#whole#note.#The#penultimate#measure#will#contain#the#usual#four#quarter#notes.#The#first#measure#of#the#counterpoint#may#contain#four#quarter#notes#or#a#rest#and#three#quarter#notes.#DISSONANCE:&PASSING&TONES&The#first#type#of#dissonance,#which#is#included#in#second#species,#is#the#passing#tone.#The#passing#tone#in#third#species#usually#occurs#on#the#second#and#fourth#quarters#of#a#measure,#but#may#also#occur#on#the#relatively#strong#third#quarter.##In#the#later#case#it#is#an#accented#passing#tone#and#MUST#be#a#descending#passing#tone.##A#passing#tone#may#not#occur#on#the#downbeat.#The#passing#tone#in#all#cases#must#be#preceded#and#followed#by#consonance#intervals#(relative#to#the#cantus#firmus).##DISSONANCE:&NEIGHBOR&TONES&The#second#type#of#dissonance,#which#is#a#new#dissonance#introduced#in#third#species,#is#the#neighbor#tone.##The#neighbor#note#decorates#a#single#tone.##Many#times#its#function#is#to#delay#melodic#progression#without#halting#local#melodic#activity.###The#neighbor#tone#in#third#species#occurs#on#the#second#and#fourth#quarters#of#a#measure.##It#may#not#occur#on#the#first#beat#or#third#beat#of#a#measure.#Only#the#lower#neighbor#note#is#permissible.#DISSONANCE:&NOTA&CAMBIATA&The#Nota#Cambiata#includes#5#NOTES.#The#FIRST#and#FIFTH#notes#are#CONSONANCES#with#respect#to#the#cantus#firmus#and#are#a#step#apart#with#respect#to#each#other.#They#form#the#two#structural#tones.##The#first#note#must#occur#either#on#the#first#or#third#beat.##The#fifth#note#is#a#step#lower#than#the#first#note.#The#THIRD#note#of#the#cambiata#will#be#an#interval#of#a#fourth#from#the#first#note#of#the#cambiata#and#an#interval#of#a#third#from#the#fifth#note#of#the#counterpoint.##Like#the#first#and#

fifth#notes,#it#forms#a#CONSONANCE#with#the#cantus#firmus#note.##Therefore,#the#third#note#will#be#an#interval#of#a#fourth/third#LOWER#with#respect#to#the#first#and#fifth#notes.###The#FOURTH#note#is#a#passing#tone#filling#in#an#interval#of#a#third#between#the#third#and#last#notes.##The#SECOND#note#of#the#cambiata#is#the#same#pitch#as#the#fifth#note,#BUT#unlike#the#fifth#note#it#forms#a#dissonance#with#the#cantus#firmus.##NEW&CASES&OF&PARALLEL&PERFECT&INTERVALS:&4th#beat#to#1st#beat:#AVOID#3rd#beat#to#1st#beat:#AVOID#2nd#beat#to#1st#beat:#OK#1st#beat#to#1st#beat:#OK,#especially#if#cambiata#results.##However,#avoid#if#possible,#especially#if#it#produces#a#sequence.##3rd#beat#to#3rd#beat:#OK#OTHER&CONSIDERATIONS:&Large#leaps#across#a#barline#should#be#avoided#as#much#as#possible,#especially#if#the#leap#follows#stepwise#motion#in#the#same#direction.###The#climax#tone#should#occur#on#beat#1#or#3#and#may#be#decorated#with#a#neighbor#note.####### # ###

44&

Passing note

Ex. 1A

passing note(weak beat: mostcommon) consonant

passing noteEx. 1B

passing note(beat 3: not as common)

Dissonances in Third Species

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Neighbor note

Ex. 2Aneighbor note(weak beat: essential)

Ex. 2Bconsonant neighbor note

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Nota Cambiata

Ex. 4A cambiata Ex. 4B cambiata

w w w w

w w w w

w w w w

Fourth'Species'Description'

DEFINITION:'In#fourth#species#the#added#voice#consists#of#tied#half#notes.##Against#the#whole#note#of#the#cantus#firmus,#the#counterpoint#contains#two#half#notes;#the#first#of#these#halves#is#tied#over#FROM#the#preceding#measure#and#the#second#half#note#is#tied#over#INTO#the#following#measure.#Fourth#species#can#be#thought#of#as#a#displaced#first#species#line;#activity#in#the#counterpoint#occurs#at#intervals#of#whole#notes,#but#is#now#displaced#so#that#the#attack#occurs#on#the#third#beat#rather#than#the#first#beat.##This#displacement#of#the#texture#so#that#the#rhythmic#emphasis#conflicts#with#the#meter#is#called#SYNCOPATION.#It#will#occasionally#become#necessary#to#abandon#the#syncopated#rhythm#in#the#course#of#an#exercise#and#break#into#second#species.##This#procedure#should#occur#very#sparingly#and#will#not#nullify#the#essentially#syncopated#nature#of#fourth#species.#For#the#sake#of#variety,#it#is#best#not#to#avoid#a#long#chain#of#the#same#type#of#suspension.##For#these#exercises#a#suspension#chain#of#three#will#be#the#limit.###BEGINNING'AND'END'OF'THE'EXERCISE:'The#opening#measure#will#ALWAYS#contain#a#rest#on#the#first#half#of#the#opening#measure.#In#the#penultimate#measure#the#second#half#note#will#NEVER#be#tied#over#into#the#last#measure.##The#last#measure#will#contain#a#whole#note.#DISSONANCE:'SUSPENSIONS'THREE#STEPS#TO#A#SUSPENSION#1.#PREPARATION:#the#preparation#occurs#on#the#second#half#note#of#the#measure#and#the#intervallic#relationship#between#the#counterpoint#and#cantus#firmus#at#this#point#is#CONSONANT.##2.#DISSONANCE:#on#the#downbeat#of#the#following#measure#the#note#in#the#counterpoint#is#tied#over#or#suspended,#thereby#forming#a#DISSONANCE#with#the#new#cantus#firmus#note.#3.#RESOLUTION:#The#resolution#occurs#on#the#second#half#of#the#following#measure#and#results#in#a#CONSONANCE#over#the#new#cantus#firmus#note.##The#resolution#of#the#dissonance#is#ALWAYS#STEPWISE#and#DOWNWARD.##Note#that#the#resolution#may#also#serve#as#the#preparation#for#a#new#suspension.##The#suspension#produces#the#strongest#impact#of#the#three#basic#types#of#dissonance#since#there#is#minimal#melodic#activity.##The#dissonance#falling#on#the#downbeat#of#the#measure#also#contributes#to#the#suspensions#impact.#SUSPENSIONS'IN'UPPER'COUNTERPOINT'The#upper#counterpoint#contains#the#following#theoretical#possible#suspensions:## Interval#of#a#seventh#resolving#to#a#sixth#(7V6)## Interval#of#a#fourth#resolving#to#a#third#(4V3)## Interval#of#a#ninth#resolving#to#an#octave#(9V8)#also#(2V1).#AVOID.#

Avoid#(9V8)#and#(2V1)#suspensions.#SUSPENSIONS'IN'LOWER'COUNTERPOINT'In#the#lower#counterpoint#there#are#four#theoretical#possible#suspensions:## Interval#of#a#second#resolving#to#a#third#(9V10)#also#(2V3)## Interval#of#a#fourth#resolving#to#a#fifth#(4V5).#AVOID## Interval#of#a#seventh#resolve#to#an#octave#(7V8).#AVOID#Since#are#fewer#possible#suspensions#in#the#lower#counterpoint,#the#lower#counterpoint#will#have#to#rely#on#more#consonant#syncopations#to#sustain#intervallic#variety#throughout#the#exercise.###CONSONANT'SUSPENSIONS:'A#consonant#suspension#includes#a#consonant#interval#during#the#downbeat#of#the#measure.#Like#consonant#passing#tones#and#neighbor#tones,#there#is#no#need#for#the#consonant#suspensions#to#resolve#or#more#stepwise.#Consonant#syncopations#should#not#occur#too#frequently.#They#should#by#no#means#form#the#predominating#element#of#the#contrapuntal#fabric.###The#principle#role#of#the#consonant#suspension#will#be#to#provide#variety#of#melodic#movement;##without#them#there#can#be#no#relief#from#the#stepwise#downward#progression#required#by#dissonant#suspensions.######### # ###

Fifth&Species&Description&

DEFINITION:&In#fifth#species#the#note#values#of#second,#third,#and#fourth#species#occur#in#various#mixtures,#including#half#notes,#quarters,#and#tied#halves.##These#note#values#are#governed#by#the#procedures#of#the#species#in#which#they#belong.&In#addition#to#the#preceding#species,#the#following#rhythmic#values#are#introduced:#dotted#half#notes#and#eighth#notes.## Dotted#half#notes#must#be#consonant#with#the#cantus#firmus#and#occur#on#the#downbeat.## Eighth#notes#must#come#in#pairs.##No#isolated#eighth#note#is#allowed#in#fifth#species.## Each#eighth#note#must#be#preceded#and#followed#by#step.## Each#pair#of#eighth#notes#must#occur#on#beats#2#or#4.### At#least#one#of#the#two#eighth#notes#in#a#pair#must#be#consonant#with#the#bass.##BEGINNING&AND&ENDING:&A#fifth#species#counterpoint#may#begin#as#a#second,#third,#or#fourth#species#exercise##with#a#rest#at#the#beginning.#It#is#usually#best#to#begin#the#exercise#with#stepwise#motion#and#longer#note#values#and#the#increase#the#momentum#by#using#shorter#values#and#leaps#to#the#climax.#The#ending#of#the#exercise#will#usually#consist#of#a#decorated#suspension#in#the#penultimate#measure#and#a#whole#note#in#the#last#measure.##FORM:&Avoid#a#long,#uninterrupted#chain#of#a#single#note#value.##2#measures#of#a#single#note#value#as#a#maximum#is#a#good#rule#of#thumb.##Avoid#segmenting#the#line#with#blocks#of#note#values.##Ex:

#Avoid#rhythmic#syncopation.##Possible#rhythms#in#a#measure:##It#is#not#permissible#to#tie#notes#of#smaller#duration#to#subsequent#notes#of#longer#duration.#Similar#to#previous#species,#avoid#motivic#repetition.##The#counterpoint#should,#as#much#as#possible,#be#a#single#uninterrupted#phrase.#

ORNAMENTATION&OF&SUSPENSIONS:&There#are#several#ways#to#ornament#a#fourth#species#suspension:#

#Notice#that#all#quarter#note#ornaments#are#consonant#with#the#bass.#Notice#that#the#eighth#note#ornaments#either#anticipate#the#resolution#or#decorate#the#suspension#with#an#upper#neighbor#note.##At#least#one#of#the#eighth#notes#is#consonant#with#the#bass.#NEW&RHYTHMIC&POSSIBILITIES&OF&THE&CAMBIATA:&

#PARALLEL&OCTAVES&AND&FIFTHS:&Three#scenarios#under#consideration:## Parallel#perfect#intervals#between#beats#4#and#1#should#ALWAYS#be#avoided.## Parallel#perfect#intervals#between#beats#3#and#1#should#ALWAYS#be#avoided.#Parallel#perfect#intervals#between#successive#downbeats#are#a#borderline#case.##Several#intervening#notes#between#the#two#downbeats#will#soften#the#effect#of#the#parallel#perfect#intervals,#while#a#thinner#texture#of#successive#half#notes#may#accentuate#parallel#intervals.##Also,#contrary#motion#before/after#the#parallel#motion#may#guide#the#ear#away#from#the#parallel#motion.##MELODIC&CONTOUR:&The#following#guidelines#will#be#helpful#in#shaping#the#melodic#contour#through#rhythmic#means:#Extended#scalewise#motion#is#best#entrusted#to#predominantly#small#rhythmic#values.##Too#many#half#notes#will#slow#the#motion#to#a#point#where#the#counterpoint#becomes#sluggish.#Motions#that#decorate#a#stationary#tone#should#usually#be#accomplished#by#quarters#and/or#eighths.###In#a#series#of#dissonant#suspensions#it#is#usually#best#use#ornamentation.##However,#be#sure#to#decorate#each#suspension#differently#to#avoid#sequential#repetition.###In#general#the#tone#preceding#a#large#melodic#leap#should#be#a#longer#note#value.###