All you ever Wanted to Know About Species Counterpoint (al Fux)

Cantus firmus requirements (Schenker, Salzer-Schachter)

Cantus firmus: Abstraction from melody in which linear element is separated from other aspects of writing (harmony, rhythmic profile, motivic design)

1. Rhythm--equal note values (use whole notes). Absence of pulse. 2. Harmonically neutral--e.g., not outlining triads (creates a grouping). 3. No chromatic notes (suggests repetition, modal mixture, or modulation) 4. Intervals allowed: major and minor seconds (only horizontal dissonance) major and minor thirds perfect fifth, perfect fourth major and minor sixths perfect octave (larger intervals should be treated cautiously) 5. Balance: no single tone predominates (watch for tones preceded by leaps, as these stick out) Avoid excessive motion in same direction (over 5 notes) No complete neighbor or neighbor-like formations 6. Unresolved melodic tension forbidden Outlining of dissonant intervals, e.g. tritone Leading note without resolution 7. No immediate repetition of groups of tones, sequences 8. Leaps: A leap larger than a third should be followed by a change in direction Larger the leap, the more carefully it should be handled No more than two leaps larger than a fourth Two consecutive leaps in same direction Avoid more than two consecutive leaps (suggests compound melody)

Better to avoid downward leaps of sixths 9. Variety Mixture of conjunct and disjunct motion (should contain 2-4 leaps) 10. Continuity: Conjunct motion should predominate 11. Direction, contour: Should contain some highest point or climax (do not repeat climax) 12. Range: 10th is maximum (normal vocal range) 13. Length: 8 to 16 notes (not a piece, just an exercise) 14. Begin and end on tonic: Approach tonic from above at end (2-1) Penultimate tone generally enters by step. Never follows leap larger than a third. 15. Establish key: Avoid perfect 4th upwards or perfect 5th downwards for first interval 16. Avoid descending scales with notes left out (but see Schenker's c.f.) 17. With long c.f., more than five tones in stepwise motion permissable if counteracted by a large leap in opposite direction. 18. Do not end c.f. with both leading tones--too static.

First Species Rules (two voices)

1. The voice above or below the cantus firmus is a counterpoint. In first species note of the counterpoint is placed against one note of the cantus firmus.

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2. Only consonances are allowed as vertical intervals (excluding the perfect fourth).

3. Restrictions on perfect consonances:

a) The unison is allowed only at the beginning or the end. As the most stable interval, in the middle of an exercise it would impede forward motion.

b) Octaves and fifths may appear in the middle of an exercise. However, too many octaves will impede the melodic flow, as will, to a lesser extent, too many fifths. Imperfect consonances should predominate in the middle of the exercise.

4. Three types of motion are formed by the cantus and the counterpoint:

a) motus rectus (direct motion) b) motus contrarius (contrary motion) c) motus obliquus (oblique motion)

Direct motion is of two types:

a) Parallel motion= voices maintain a constant distance from each other.

b) Similar motion= voices proceed in the same direction without maintaining a constant distance from each other.

5. The two basic rules of interval succession (vertical dimension)

a) Imperfect consonances may be approached in any motion.

b) Perfect intervals may only be approached through contrary/oblique motion.

6. Other forbidden successions involving perfect consonances:

a) Anti-parallels (e.g. a fifth moving to a twelfth or U-8ve in contrary motion).

b) The octava-battuta and the quinta-battuta, in which the perfect consonance

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approached by a leap of a 4th or more in the upper part vs. a step in the lower.

7. Avoid more than three parallel imperfect consonances in succession.

8. Avoid more than one instance of oblique motion (created by tying a note in the counterpoint) per exercise. Two instances would be the limit for a longer cf.

9. Overlapping is prohibited. Occurs when, without crossing parts, the lower voice moves to a tone higher than the preceding tone of the upper voice, or the upper voice descends to a tone lower than the previous one of the lower voice.

10. At this stage, avoid crossing parts.

11. Spacing: Should not exceed a tenth. Rule may be temporarily relaxed for the sake of a climax approached in contrary motion.

12. Avoid simultaneous leaps, especially similar motion involving melodic intervals larger than a fourth.

13. Beginning: Use only 1, 8, or 5 between cantus and upper counterpoint, 1 or 8 for lower counterpoint.

14. Ending: On unison or octave only. The next to last bar must contain the ascending leading tone in one part and the descending leading tone (scale degree 2) in the other. If the mode is minor, Dorian or Mixolydian, the ascending leading tone must be raised. If in minor, and scale degree 7 is preceded by scale degree 6, then scale degree 6 must be raised.

15. Melodic aspects of the first species line:

The rules of cantus firmus construction still apply in principle. In practice, however, a first species line would rarely make a good cantus firmus. The restrictions on outlining chords or dissonant intervals are more relaxed in counterpoints. One may occasionally sacrifice a climax to smoothness, and the lower counterpoint may posess a climactic low point. More stepwise motion is permissable in the first species line than would be in a c.f.

Nonetheless, the counterpoint should still possess a coherent contour with a single

highest or lowest point. Leaps should be handled carefully, especially large ones. Excessive unidirectional motion, isolated figures, and erratic leaps should be avoided.

16. Altered notes:

The sixth and seventh degrees will occasionally have to be raised (see rule 14). In setting the Dorian cantus firmi, either B or Bb may be used. All other things being equal, Bb will normally be used in descending lines.