Examples 5b - Cantus Firmus and 1:1 Counterpoint

Use the following examples of first-species (1:1) counterpoint to develop guidelines for writing in this style. Each of the following examples is in the major mode and has the counterpoint above the cantus firmus, but be aware that these two characteristics are not indicative of all counterpoint; we are using a simplified structure as our introduction.

As you develop your rules for first-species counterpoint, look only at the counterpoint (CP) line; the cantus firmus (CF) was provided, so the counterpoint line was written by following the stylistic rules.

Generally, your rules should be divided into three categories:

• Constructing a melodic line
  • Length
  • Starting and ending pitches
  • Approaching the final note
  • Repeated pitches
  • Melodic intervals
    • Leaps
    • Resolutions following leaps
  • Range
  • Climax (position in melody and frequency)
• Acceptable intervals between lines
  • Valid harmonic intervals
    • Particularly starting and ending intervals
  • Approaching perfect intervals
  • Approaching the final pitch
  • Number of times that an interval size can be used consecutively
    • Differentiate between perfect and imperfect consonances
• Acceptable motion between lines
  • Acceptable types of motion

Note that these examples are taken from a counterpoint random generator and lack some of the elegance that human-composed counterpoint tends to have.