Examples 5c - 2:1 Counterpoint and Embellishing Shapes

Use the following examples of second-species (2:1) 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 second-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:

• Acceptable harmonic intervals (intervals between lines)
  • Strong beats versus weak beats
    • Are dissonances viable? If so, when?
  • Starting and ending intervals
  • Approaching the final pitch
  • Approaching and leaving perfect intervals
  • 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
• Constructing a melodic line
  • Length
  • Starting and ending pitches
  • Approaching the final note
  • Repeated pitches
  • Melodic intervals
    • Leaps
    • Resolutions following leaps
    • How would you describe the motion surrounding any dissonant intervals?
  • Range
  • Climax (position in melody and frequency)