In ways of teaching counterpoint, five species of counterpoint were developed to train the beginning composer the strict rules. These species get less strict with each one, but they still have many rules. It was the hope of music theory scholars prepare students for more full-fledged contrapuntal writing.
We will do the same with first species counterpoint, or “note-against-note” counterpoint where the ratio of notes between the and the newly added line and cantus firmus is 1:1. It should look something like this:
Now, it is time for the rules:
- All downbeats (and therefore, all vertical harmonic intervals) must be consonant
- Start all compositions on unisons, perfect fifths, or octaves.
- End all compositions on unisons or octaves.
- Only have unisons at the start or end of a composition, never in the middle.
- Avoid no more than two perfect intervals in a row.
- At most, the largest harmonic interval you should get is a major twelfth.
- There must be some form of motion at all times.
- Only approach perfect intervals by contrary or oblique motion.
- Most of the motion should be stepwise
- Skips should account for less than half of all melodic motion
- Parallel motion can only be used 3 times in a row.
- Try not to have both voices skip at the same time.
- Attempt to fill large skips in before or after it.
- Immediate repetition of a melodic idea is forbidden… unless it is spaced out.
- No more than two sequential repetitions are allowed.
- Cover the whole melodic range of the mode approximately every 10-20 notes.
- Incorporate all other rules previously stated.
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