Modal Counterpoint
2 Counterpoint: First Species
Key Points
- First species counterpoint is a traditional compositional exercise that teaches us to consider how to start and end melodic lines and, most importantly, how to keep them independent of each other while also working together as a unified whole.
- When writing in first species, follow these guidelines:
- Begin on a perfect unison, fifth, or octave.
- Both voices move at exactly the same rate at a 1:1 ratio and have no rhythmic variety (for example, all notes are whole notes).
- Harmonically, the intervals between the two voices will all be consonances.
- Melodically, it is best to primarily move by stepwise motion and use skips and leaps only occasionally.
- Melodic leaps of a tritone or seventh are forbidden.
- Parallel motion by perfect consonances (fifths, octaves) are forbidden.
- End with a perfect unison or octave.
As we learned in the introduction, Counterpoint is the mediation of two or more musical lines into a meaningful whole. In counterpoint of the first species, we will strive to write a smooth melody that has its own integrity of shape, variety, independence, and goal-directed motion against a given melody that will also contain these traits. The melody you compose is called the Counterpoint and the given melody is called the Cantus Firmus . Further, and most importantly, we strive to have both melodies combine in a such a way as to create a whole musical texture that is smooth, exhibits variety and goal-oriented motion, and in which these melodies both maintain their independence and fuse together into consonant simultaneities (the general term for two or more notes sounding at the same time). In first species we write one new melodic note for each new note in the Cantus Firmus. Thus, first species is sometimes called “one-against-one” or 1:1 counterpoint as both voices move together. To keep things simple, and focused on only a few elements at a time, we will not worry about a time signature or any type of meter at the present time. The only note value we will use will be a whole note.
The Counterpoint Melody
In general, the counterpoint melody should follow the principles of writing a good melodic line as discussed in the Introduction to Counterpoint.
To help gain an understanding of how these melodies should look and sound, it is best to examine examples. Below are the complete exercises of first-species counterpoint found in Part I of the counterpoint treatise, Gradus ad Parnassum by Fux which was referenced in the introduction. All of these exercises are annotated with the interval that the counterpoint line makes against the cantus firmus:
https://musescore.com/user/32728834/scores/8488049/embed
Example 1. All first-species exercises from Gradus ad Parnassum.
Guidelines: Beginning and Ending
Beginning a first species counterpoint
As you can see (and hear), each exercise in Example 1 begins with a perfect consonance. This creates a sense of stability which we want to have at the beginning of our phrases.
When writing a counterpoint above a given cantus firmus, the first note of the counterpoint should be the modal final, or in other words, scale degree do 
or sol , scale degree 
(a P1, P5, or P8 above the cantus). Note: The terms do, sol, etc. are the solfege syllables sung in accordance modal and tonal scale degrees.
When writing a counterpoint below a given cantus firmus, the first note of the counterpoint must always be on the modal final, do, scale degree (a P1 or P8 below the cantus). Unlike writing a melody above the cantus, if we begin on sol, scale degree we would create a dissonant interval of a fourth. If we began on fa, scale degree 
we would create a stable perfect fifth (P5), however this would confuse listeners by not projecting the sense of the modal/tonal center in context, as the tones fa–do, scale degrees 
at the beginning of a phrase may easily be misheard as the tones of do–sol, scale degrees 
.
Ending a first species counterpoint
The final note of the counterpoint melody must always be on the modal final, do, scale degree (P1 or P8 above/below the cantus).
To approach this ending smoothly, with variety, and with a strong sense of goal orientation, always approach the concluding interval by contrary stepwise motion as follows:
- If the cantus ends re–do
, the counterpoint melody’s final two pitches should be ti–do 
. - If the cantus ends ti–do , the counterpoint melody’s final two pitches should be re–do .
Thus, the penultimate beat (just before the conclusion) will either form the interval of a third or sixth between the counterpoint melody and the cantus firmus (Example 2). This ending formula is known as the clausula vera which is a modal cadence.
As we are working within the context of all the diatonic modes in our counterpoint exercises, not just modern major and minor we find in tonal music, it is important to note a few differences and alterations that are common practice, especially with regard to the cadences of counterpoint phrases. In the Dorian mode and the Aeolian (natural minor) mode is it customary to raise scale degree 
to create an artificial leading tone and mimic the ti–do motion we find typically in the major-like modes of Ionian (major) and Lydian. This is the only time we are allowed to alter any of the notes of the mode. We do not do this for any of the other modes, including Mixolydian and Phrygian which, like Dorian and Aeolian, do not have a natural leading tone.
The exercises found above in Example 1 each end with a clausula vera, further shown below:
https://musescore.com/user/32728834/scores/8513480/embed
Example 2. Examples of the clausula vera in D Dorian mode.
Guidelines: The Melody
- It is important to strive for the greatest variety in each line such that the counterpoint melody and the cantus firmus sound like a complete and logical melodic phrase while also working together in a way that does not compromise a sense of independence.
- Like the cantus firmus, the counterpoint melody should have a single climatic point and, to maintain the independence of the lines and the smoothness of the entire phrase (so no one moment is hyper-emphasized by a double climax), these climaxes should not coincide.
- A single repeated note or tie in the counterpoint is allowed, but try to avoid any repetition if it can be at all. This promotes variety in the phrase, especially since there are so few notes to work with.
- Avoid voice crossing. Voice crossings not only diminish the independence of the lines but also make them more difficult to distinguish by ear.
- Avoid voice overlap, where one voice leaps past the previous note of the other voice. For example, if the upper part sings an E4, the lower part cannot sing an F4 in the following bar. This also helps maintain the independence of the lines.
- You must stay in the given mode. No changes to the notes in the mode are allowed, other than the exceptions noted above for ending the counterpoint in certain minor-like modes.
- All melodic motion must be diatonic; chromatic motion is not allowed at this time.
Guidelines: The Harmony (Intervals)
- The interval between the cantus firmus and counterpoint melody at any given moment should not exceed a perfect twelfth (P12). As a general rule of thumb, try to keep the two lines within an octave where possible, and only exceed a tenth in “emergencies” where not doing so might create a worse problem and even then only briefly (no longer than one or two notes). When the voices are too far apart, we do not hear them as being connected which has a the overall affect of the music and the melodic integrity which listeners hear during a performance.
- In general, all harmonic consonances are allowed. However, unisons should only be used for the first and last intervals of the phrase as unisons are very stable and serve best as goals rather than midpoints. They also diminish the independence of the lines. Similarly, octaves should be used sparingly though they have less of an effect of complete stability than that of unisions.
- Imperfect Consonances are preferable to Perfect Consonances for all intervals other than the first and last notes, in order to heighten the sense of arrival at the end and to promote a sense of motion toward that arrival. In all cases, aim for a variety of harmonic intervals over the course of any counterpoint phrase.
- Never use two perfect consonances of the same size in a row: Example, P5 to P5 or P8 to P8. This includes both simple and compound intervals; for example, P5 to P12 is considered the same as P5–P5. This creates parallel perfect fifths or parallel perfect octaves and will immediately destroy any sense of indepence of line for which we are striving to achieve.
- Two different perfect consonances in a row, such as P8 to P5, are allowed, but are not desirable. Try to follow every perfect consonance with an imperfect consonance if at all possible.
- Vary the types of motion between successive intervals, aiming to use each type in the course of the phrase.
- Because similar and parallel motion diminish variety and melodic independence, their use should be mediated by other factors:
- Do not use more than three of the same imperfect consonance types in a row (e.g., three thirds in a row).
- Never move into a perfect consonance by way of similar motion (this is called direct fifths/octaves. This draws too much attention to an interval that already stands out of the texture.
- Avoid combining similar motion with leaps, especially large ones.
EXAMPLE
First-Species in DORIAN, PHRYGIAN, LYDIAN
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EXERCISES
First Species Counterpoint
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Further Reading
- For the complete set of Fux exercises, see the Gradus ad Parnassum chapter.
As an acoustic phenomenon, frequencies vibrating at whole-number ratios with one another; as a cultural phenomenon, perceived stability in a chord or interval.
melodic motion to the next adjacent note (pitch) in the mode/scale (scale degree), either up or down.
a melodic interval of a third, named as such because often a note between is skipped in the mode/scale (example, C going to E skips over the D in between)
A melodic interval greater than a third (fourths, fifths, octaves, etc.)
A type of voice motion when two voices move in the same direction in relation to each other and move by the same melodic interval and, thus, retain the same harmonic interval—for example, both voices move upward by a melodic second.
Perfect octaves (twelve semitones), perfect unisons (zero semitones), and perfect fifths (seven semitones). Perfect fourths (five semitones) are sometimes considered a perfect consonance, sometimes a dissonance; this depends on the context.
the art or technique of setting, writing, or playing a melody or melodies in conjunction with another, according to fixed rules. Literal meaning is "point against point" which we interpret as "note against note"
Literally meaning “fixed voice," this is a pre-existing melodic line that serves as the basis for a new counterpoint exercise or other composition.
A note value that lasts the duration of two half notes. Notation: 𝅝
Scale Degree 1 of a diatonic mode. Also referred to as the modal center. In tonal music, we call this the tonal center (tone defining the key).
The relative position of a note within a diatonic scale. Indicated with a number, 1–7, that indicates this position relative to the tonic of that scale.
Perfect Unison
Perfect Fifth
Perfect Octave
Solmization (solfege) is a system of attributing a distinct syllable to each note of a musical scale. Various forms of solmization are in use and have been used throughout the world, but solfège is the most common convention in countries of Western culture. The seven syllables normally used for this practice in English-speaking countries are: do, re, mi, fa, sol, la, and ti (with sharpened notes of di, ri, fi, si, li and flattened notes of te, le, se, me, ra). The system for other Western countries is similar, though si is often used as the final syllable rather than ti.
A contrapuntal ending (cadence) in which a perfect octave or unison is approached with contrary motion in the voices by stepwise motion. One line will have re–do (2̂– 1̂) while the other will have ti–do (7̂-1̂). This results in the sequence of harmonic intervals sixth–octave, tenth–octave, or third–unison. The effect is one of closure and ending.
A melodic and harmonic goal. In classical tonal music, cadence types include Perfect Authentic (PAC), Imperfect Authentic (IAC), and Half (HC).
A seven note scale that follows the pattern of whole and half steps W–W–H–W–W–W–H. Since there are seven, there are in effect, seven different "modes" -- places we can start and thus rotate the pattern of whole and half steps.
Diatonic further refers to any music that is only made of the seven pitches derived from the local mode/key (as opposed to "chromatic" notes which fall outside any of those seven notes).
A diatonic mode that follows the pattern W–H–W–W–W–H–W. This is like the natural minor scale, but with a raised 6̂. This scale can also be found by playing the white notes of the piano starting on D.
A diatonic mode that follows the pattern W–H–W–W–H–W–W. This is like the natural minor scale. This scale can also be found by playing the white notes of the piano starting on A.
A 7̂ that is one half step below 1̂. The leading tone is diatonic in major keys, but requires an accidental in minor keys.
A diatonic mode that follows the pattern W–W–H–W–W–W–H. This is equivalent to a major scale.
A diatonic mode that follows the pattern W–W–W–H–W–W–H. This is like the major scale, but with a raised 4̂. This scale can also be found by playing the white notes of the piano starting on F.
A diatonic mode that follows the pattern W–W–H–W–W–H–W. This is like the major scale, but with a lowered 7̂. This scale can also be found by playing the white notes of the piano starting on G.
A diatonic mode that follows the pattern H–W–W–W–H–W–W. This is like the natural minor scale, but with a lowered 2̂. This scale can also be found by playing the white notes of the piano starting on E.
When a higher voice part moves below a lower voice part. In strict SATB style, the ranges of voices should not cross; the soprano must always be higher than the alto, the alto must always be higher than the tenor, and the tenor must be higher than the bass.
In a multi-voice texture, when one voice leaps beyond the previous note in another voice.
1. A scale, mode, or collection that follows the pattern of whole and half steps W–W–H–W–W–W–H, or any rotation of that pattern.
2. Belonging to the local key (as opposed to "chromatic").
Relating in some sense to the chromatic scale. The term may be used to refer to notes that are outside the given key.
Perfect Twelfth: A compound Perfect Fifth ( = Perfect Octave plus a Perfect Fifth)
Thirds or sixths with major or minor quality. These intervals are found in higher overtones in the harmonic series from a given fundamental and have a more distant relationship in terms of frequency ratios.
A type of motion between two voices when they move melodically in relation to each other in the same direction (either upward or downward) while the distance (harmonic interval) changes.
Similar motion into either a fifth or octave. Also called hidden fifths / hidden octaves.
