Species Counterpoint
Species counterpoint trains you to combine independent melodies under controlled conditions. A fixed melody, the cantus firmus, stays in place while a second line moves from one note against one note toward syncopation and florid rhythm.
- cantus firmus plus counterpoint
- 5 progressive species
- independence before harmonic complexity
What is a cantus firmus?
A cantus firmus is a simple fixed melody used as the foundation of the exercise. It usually moves mostly by step, has one clear high point and ends with a step into the final.
The counterpoint must sound complete with it while retaining its own contour. The goal is not chord labeling; it is control of two simultaneous lines.
What are the five species?
- First species: note against note
Every cantus note receives one counterpoint note, and the vertical intervals are consonant.
- Second species: two notes against one
The added line moves twice as fast. Passing dissonances can appear on weak beats when approached and left by step.
- Third species: four notes against one
More motion creates passing notes, neighbor notes and longer melodic shapes.
- Fourth species: syncopation
Tied notes create suspensions: preparation, dissonance on a strong beat and stepwise resolution.
- Fifth species: florid counterpoint
The previous species combine into a rhythmically varied line.
Which intervals are consonant?
Perfect consonances are unison, fifth and octave. Imperfect consonances are thirds and sixths.
Thirds and sixths support independence because the voices remain distinct. Perfect intervals require care: repeated parallel fifths or octaves make the lines fuse.
Seconds, sevenths and most fourths against the bass are dissonant in this style. Later species allow them when their preparation and resolution are controlled.
How should the voices move?
| Motion | Use in counterpoint |
|---|---|
| Contrary | strongly separates the lines |
| Oblique | one voice holds while the other moves |
| Similar | useful when it does not produce exposed perfect intervals |
| Parallel | safe in thirds and sixths; avoid repeated perfect fifths and octaves |
Approach perfect consonances by contrary or oblique motion when possible. Keep climaxes at different moments so the melodies do not behave as one doubled shape.
What makes a line singable?
Use steps as the default and treat leaps as structural events. Recover from a large leap by changing direction and moving by step.
Give the line one main high point, avoid aimless repetition and preserve a clear route to the final. Check the counterpoint alone; it should still sound like a melody.
How is dissonance introduced safely?
Passing tone. A stepwise dissonance connects two consonances in the same direction on a weak beat.
Neighbor tone. A line steps away from a consonance and returns.
Suspension. A consonance is prepared, held into a new harmony as a strong-beat dissonance and resolved down by step.
The labels describe melodic behavior over time. An isolated vertical interval cannot tell you whether a dissonance is controlled.
How do you write a first-species exercise?
- Choose the finalbegin and end with unison or octave as the exercise requires.
- Prefer thirds and sixthsuse them for most internal sonorities.
- Shape one independent contouravoid copying the cantus direction continuously.
- Check perfect intervalsremove parallel and direct fifths or octaves.
- Sing both linesrevise awkward leaps or a weak approach to the final.
Why study species counterpoint now?
The exercises isolate skills used in melody writing, bass lines, vocal arranging and orchestration. Common tones, contrary motion, suspensions and controlled peaks remain useful outside strict Renaissance style.
The restrictions are training conditions. They teach you to hear independence before a later style allows exceptions.