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Music Theory Counterpoint

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Music Theory Counterpoint Third,Fourth, and Fifth Species Counterpoint Glen Halls ©All Rights Reserved Third Species Counterpoint basically refers to a four-to-one ratio of moving notes with respect to the cantus firmus or original,single tone. ( Three-to-one for triplet-type meters ) Third species gives the potential for generating rhythmic interest, filling in relatively large melodic leaps as a stepwise line, and at the same time to express the harmony more fully if appropriate. ( I.e. it allows you to move to and through the third tone of a triad by line and not leap ) In the strict style third species does seem to carry the most restrictions. It is curious in some respects: on the one hand, the rhythmic relationship between original and counterpoint is the most extreme permitted in the style. Considering a phrase as a whole, a measure of third species rhythmic subdivison is already an 'accent', if entered suddendly. If approached gradually, however, third species relations seem to give an entire phrase a point of natural climax.( note: An excerise in 3rd species implies only 3 or 4 to one relations, but in actual music one typically encounters a variety of rhythms and mixtures of species. We refer to this as 5th species, or free counterpoint. Acutally that's another strange term. Free Species counterpoint is still not as free as Bach-style counterpoint, which is instrumental in nature and permits all manor of leaps and expressive melodic accents. ) Given the 'heightened interest' inherent in 3rd species, this might account for the large number of rules incurred which , really, limit accent in the parameters of dissonance treatment and countour. So, here is an example of third species as it might appear in a strict counterpoint excercise. Given the following Cantus Firmus: A Third Species Counterpoint above might be: A few things to notice and mention. I think this is a pretty good solution, but there might be a better one in there. Note it is basically linear, but not completely linear. There is only one ascending leap and it occurs between the 2nd and 3rd beats. This is the ONLY Place an ascending leap is permitted in the strict style. Descending leaps ussually occur from the first or third beat ( though in one instance, if the first and second beats are consonant, one may also leap down from the second beat. ) Leaps are always FROM AND TO CONSONANCES. There are no leaps across barlines ( and into the first beat, which is already a kind of accent- don't leap into it to exaggerate the accented effect.) There are all kinds of dissonances on the 2nd and 4th beats, and in most cases these are passing tones. The one exception, in the first measure, is the neighbor tone, which is now permitted in 3rd species. Accidentals are permitted to avoid dissonances and make the cadence. SO, now that we have the basic gist of it, here are some formal 'rules' of third species counterpoint. As in second species, all diissonances must be preceded and followed by consonances. One may begin the counterpoint on the 1st, 2nd, or 3rd beats. - Upper counterpoint may begin on the 3rd or 5 or tonic. - A whole note is allowed in the penultimate measure, or two quarters followed by a half note. -The dissonant neighbor tone is now permitted ( but only in 1/4 notes, only on beats 2 or 4, and only when preceded and followed by consonances. -There is one NEW figure ( which actually breaks its own rules ) called the CAMBIATA. Cambiata remains as a generic term which may describe any leap from a dissonance. In the strict Palestrina style, however, the cambiata has a much more limited meaning. Specifically, it is a 5 note figure which is often employed to facilitate a decending second ( beat one of one bar to beat one of the next bar= a descending second) in third species. It looks like this: c (-2) b (-3) g (+2) a (+2) | b Note that stepwise contrary motion is now created across the barline. The fourth note of the cambiata may be a dissonant passing tone, as above. ( In other words beats 3, 4, and then one will be like a small unit of 2nd species counterpoint and adhere to those rules. ) Beats one and three must be consonant, beat four may be a dissonant passing tone, as above, but beat two is open to interpretation. In the strictest possible style beat two must also be consonant. As more personal expression works its way into counterpoint this rule is relaxed. For some beat two may be dissonant. The thing is this: Do you want an accent or not? Another interesting variation on the cambiata- This five note pattern may begin on beat three, not beat one. Again, in the strictest style it is best if beat four is also consonant. The change here is that we now permit a descending leap across the barline. This certainly creates an accent, a mild syncopated effect. Note: The cambiata from the 3rd beat idea is something we will typically find in free or fifth species writing, i.e. where the figure is preceded or followed by half notes, or perhaps involved in second species part of the time. The example given above is weak in that the first measure contains a strong beat octave and no other consonance. This could be addressed in free counterpoint. There is another exception to the rules and another kind of dissonance allowed, with caution: the accented passing tone. In Bach style counterpoint of course the accented passing tone occurs virtually all the time. Here, however, it is only permitted as the third note in a descending four note diatonic pattern, and only when surrounded by consonances ( ie. on beat two and four ) . This pretty well limits one's use of the figure to the following example: We've been trying really hard to avoid speaking of harmony here, but it might help to remember this context as basically an elaboration of a firts inversion triad, in which the faster line moves from the root down to the fifth. The classic third species cadence is rather strict-the quarter note motion in an upper voice continues right to the first beat of the final bar, where we again 7- 8, 2-1 type of cadence. When the counterpoint is below, however, we have a problem. Ascending quarternote motion in the penultimate measure leads to a p4th dissonance on the 3rd beat. It is therefore conventional to stop the 4:1 counterpoint in the third to last measure. There are a couple of different 'openings' in 3rd species. Voices may of course begin on the unison or 8ve on beat one, as before. However, the counterpoint starting on the 8ve or unison may also be delayed two beats. Some texts also allow the following opening for upper voice counterpoints: (0) 3 5 4 | 3 in terms of scale degrees, starting on beat two. Some thoughts on parallel, accented, and hidden fifths and 8ves. It is generally considered that 8ves and fifths occuring on beat one of consecutive measure,is poor. This is sometimes called parallel accented fifths. This is where things get very grey. It is arguable that in 3rd species where there are four quarter notes of separation parallel accented 8ves are fine. If you must use them try to approach the second one in contrary motion. From my own point of view I would call them poor, as there is in almost all cases a better alternative. ( I.e. in two voices. As we get into 3,4,5 and more voice textures rules about parallelism must be relaxed. Accented 5ths and 8ves are evident in Paletrina, but he usually tries to have at least one of the two parallel voices as an inner voice. It is not wrong to have 8ves and 5ths on the first beats of measures, but it isn't the best. It sounds 'hollow'. 8ves and 5ths are not as 'sweet' as thirds and sixths, and we've kind of been expecting a kind of 'harmonic rhythm' where we get a sweet 3rd or 6th on the first beat. If we don't got one it suddenly sounds like the piece is over, or there is a problem of some kind. If you have to use a beat one 8ve or fifth try to move to a third or 6th for beat three.( In the Bach style we would insist you fill out the triad with the other consonance on beat three. ) Alternately, one could aim for placing, kind of 'hiding' 8ves and fifths on beat three. This is very good third species counterpoint. The only thing to watch out for now are consecutive 'hidden 8ves' or fifths. In other words-beat 3 8ves or fifths in consecutive measures. Actually this is fine in third species- just don't do it more than three times in a row. Also, going from a hidden 8ve on beat 3 to an accented 8ve on beat 1 in the next measure is poor. Note, even the above example which is OK could be improved by approaching the second of the two 8ves in a direction contrary to the approach to the first. ( I.e. by ascent, rather than decent- this hides it even more. ) Some fine lines of steps and leaps. So we're not supposed to have an ascending leap from beat one or three, and yet in actually Palestrina masses they abound. As mentioned, in multivoice setting some of the rules are relaxed a bit anyway, but it would appear that though ascending step motion is ideal , a 'skip' of a third, followed by stepwise motion is OK.
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