16th Century Counterpoint - 2 Voices, 1st Species Primer

Good work - I especially like how you handled the additional restriction of no accidentals AND did this within a 10th. Actually though Jeppeson allows intervals up to a 12th. When you work with 3 or more voices will ocassionally exceed this for practicality.

Now, check your work again as you have two instances of parallel octaves -- recall the rule to avoid parallel P5 and P8 and the best way to do this is to avoid similar motion to these intervals. Check where you approached octaves in similar motion and correct it -- you may use the interval of the 12th if necessary.

I decided to try two more sustaining instruments with different timbres so the parts would be clearer. Well, with GPO the clarinet and cello are quite musical together - the midi much less so.

And of course the clarinet transposes - I usually don't work in concert pitch - it's easier to mentally transpose than fix the mess Finale makes when you go back - but for this the score is shown in concert pitch.

I did two versions - the melody jumps down an octave beginning the second version to keep to the contrary motion rule.

Euler - Fantastic job on both but the second one - that should be kept for the foundation of a piece for clarinet and cello.

One suggestion on the first exercise, msr 8 would be fine also if the melody were an A -- granted you'd have 4 descending thirds (which is the limit) BUT as the bass beforehand skips alot and moves in contrary motion from mm 9 - 10, this would still be interesting. Another reason for suggesting the A is that the skip to the maj third and then the downward motion by a M2 breaks up the stepwise motion in the soprano and gives the melody a large arc from beginning to end. Consider this suggestion. Again, excellent work.

Euler or anybody else interested in trying 2 voice, 2nd specie (eg 2 notes against one) counterpoint? Some additions rules for this specie. Just post to let me know.

Tried the first and fifth species...

Download it here

I think I did a hidden fifth at bar 6... can't b bothered to rethink that, it's 3AM!!

Steve

Steve - good work especially for how quickly you were able to do 1st AND 5th species!

I'll comment on your 1st species. Look around mm 6 and 7. You improperly identified an interval which led to a few parallel 5ths. Also, the G in msr 10 makes the melody too static - esp as you return to the interval 2 mm before. Last, the downward 6th though appropriate in later musical periods is very unusual in strict 16th century counterpoint. Note the rule I gave allows only for ascending 6ths. Also this 6th descent gives the melodic line a bit too abrupt approach to the tonic - more preparation is required I think.

See if you can fix these errors in your 1st species

Heya

I hope it's not too late for me to join the party

I did the exercise suggested on the very first post. I'm not sure if my use of oblique motion is too correct, or the way I moved from the octave to the fifth in the second stave - but I gave it my best shot.

M-D -

It is correct so good work on that BUT one important mistake - avoid repeated notes.

If you listen to yours compared to Eulers you will hear a difference and one of the most important purposes of this exercise. So, try it again without any repeated notes!

PS. Glad you joined in too. I plan to start a thread on 2nd species. This will probably go to the masterclass as 16th century counterpoint is a big topic.

I gave it another shot. I'm not sure if the tenth is allowed, but I figured it's a consonance.

Much better. A few things though - Start and end on the tonic. SO your first melody note would not be G. Also, sing your melody line or look at the contour. I think it could still have more variety. Why not give one more try OR transpose the bass an octave to make it the melody and write a new bass.