Counterpoint

Rules

-Normal range is an octave beginning on any note (do, re, etc.) but can exceed by
step on either end making range a 10th.

-Change direction after leap of a 5th or greater in CF (and Cpt?)

Not Permitted

Leap of M6, m7, M7, all augmented or diminished except dim5, all intervals greater
than an octave.

Two contiguous moves in the same direction if they outline aug4, m7, M7, m9, M9.

The following combinations of three contiguous moves in the same direction:

-3rds, m or M, as these would outline a 7th chord and that apparently matters.
-M2nds if the extreme notes are the lowest and highest points in the line, as this
would outline the A4. If they aren’t the extremes, you’re fine (like if you continued
up a m2 or down a m2 or started the line lower or higher).

The First Species (Note on Note)

Simplest species: Cpt is whole notes just like CF

Concords can only serve as vertical intervals: the P1st, M or m 3rd, P5th, M or m 6th,
and P8. Unisons only allowed in the first or last measure. Any of these can be
expanded beyond the octave (10th, 12th, 13th, 15th), but do so sparingly.

The parts may cross when the melodic design is materially improved thereby. Must
be approached and left by contrary motion. Intervals between crossed voices are
referred to as minus and labeled with a –. Don’t overuse.

While crossing is permitted, overlapping is not. This occurs when 1) the lower voice
moves in the same direction as the upper to a higher note than the preceding note in
the upper voice & 2) the upper voice moves likewise with the lower to a lower note
than the preceding note in the lower voice.

Similar or parallel motion to a unison, P5, or octave is not allowed.

No parallel 5ths or 8ves.

Likewise forbidden are the progressions 1-8, 8-1, 5-12, 12-5, 8-15, 15-8, because
they are just consecutive 5ths and 8ves disguised by contrary motion.
When the CF is in the lower voice, the Cpt may begin with a 1st, 5th, or 8ve above it;
but when the CF is in the upper voice, the Cpt may begin only with a unison or 8ve
below it. No other starting intervals are permitted. Essentially, root must be on
bottom, and fifth or octave can be on top if top is Cpt.

One cadence formula is available: while the CF descends stepwise to the terminal
tonic, the Cpt ascends stepwise to the tonic from the leading-tone. Thus, the closing
progression will invariably be in contrary stepwise motion to an 8ve or unison on
the tonic.

When the C.F. moves stepwise from the fourth to fifth or fifth to fourth, a special
problem occurs: A 3rd or 5th above IV preceded or followed by a 3rd above the V
produces an objectionable A4 diagonally. This forbidden cross relation effect is
known as the “Tritone.” Any other diagonal tritone relationships are okay however.

More than three vertical 3rds or three 6ths must not be taken in succession, because
if weakens the contrapuntal texture. They sound dependent on one another rather
than working against one another (i.e. countering one another i.e. counterpoint).

Minor presents issues because of the extra diminished 5ths and augmented 4ths,
along with the augmented 5th and diminished 4th presented.

2nd Species (2:1)

-all accented discords must come in a descending scalewise line.

-The unison may occur only on the second half-note in the measure. It is good to
approach a unison by leap where possible in the 2nd species.

-In the 2nd species the Cpt. Begins after a half measure rest.