This section on counterpoint was adapted from Open Music Theory with original authors Mark Gotham and Kris Shaffer, remixed for this text by the current author, Elliott Miles McKinley.

Punctum contra punctum… point against point… note against note.

This section on “counterpoint” takes that term to concern the combination of notes in general. Although “counterpoint”  is sometimes used as the “horizontal” or “melodic” complement to harmony’s “vertical” aspect, the two are clearly not so easily separated in practice and we do not attempt to make any such hard-and-fast distinction here, beyond simply emphasising linear elements.

Later editions of this section will also place a prominent emphasis on “try it yourself” exercises in species counterpoint and pastiche composition in 16th- and 18th-century styles, including digital versions of all the Fux Gradus ad Parnassum exercises.

Prerequisites

This section assumes you are familiar with the fundamentals of music notation and theory as learned either in Basic Musicianship or previous study of music. You may also review Open Music Theory‘s Fundamentals section as well as the website Teoria.

Organization

This section covers several of the main kinds of repertoires and techniques historically used in the study of counterpoint. Of primary importance for Music Theory and Composition I we begin with probably the best-known species counterpoint approach (modeled after Fux’s book and exercises).

Later, and more advanced compositional exploration of counterpoint study will include:

• Imitative polyphonic style of the 16th century
• The fugue: fugues in the early 18th century specifically.
• Finally, staying in the 18th century, we take a step away from strict imitation to look at some other kinds of approaches relevant to the contrapuntal thinking, particularly the practice of so-called “Galant schemas”: short pre-existing templates for combining voices that can be elaborated into “real” music (compositions or improvisation).