Lesson with healey.cj

Yes, sorry about that hotlinking. I will upload the picture just so as there is no doubt. I will consider using their book for examples.

Yes, each separate part of the exercise should be treated on its own, and not in conjunction with any of the other parts, that is to say, I don't want you to combine any of the different exercises.

I don't want four part counterpoint, just two as I asked.

You should *always* be thinking of progression, but that does not stop you from abiding the criteria I set you.

Well I can't find the image again, so I will trust you've used the same one.

Okay, so you want the C.F as Soprano initially with a bass counterline and then you want me to put the C.F as the bass and write a soprano counterline?

And do that for both exercises.

Sorry, Just making sure that we are understanding each other correctly.

Chris :-)

Yes, that's correct.
If you do it wrong, I will tell you anyway.

Each exercise contains the CF in the Bass and Soprano.
...

Hope these are alright.

How are those?

I'll try and check them over today.

?

Ex2a:
There is too much parallel motion. In counterpoint, the best type of movement is contrary - i.e., that in which the voices move in contrary directions.
You start with a fourth between the bass and the upper voice. You must start on a perfect consonance, which is either a 5th or an octave (or unison). Because the CF is in the upper voice, using the 5th below the tonic results in a fourth, which in this case is considered a dissonance.
Your Eflat at the end must be written as a D-sharp, because the scale of E minor (harmonic) is: E F# G A B C D# E
You can only have one of each letter name in a scale (obviously not counting when we go into the next octave). One of each letter - no less and no more.
Look at any scale. D major is not written thus: D E Gflat G A B Dflat D
This is hideously incorrect. There are two "types" of D, and G, and there is no F or C note at all. You must have one of each, so we end up with: D E F# G A B C# D
(Again, octave notwithstanding)

The second part of this with the CF in the bass:
You have a parallel 5th between the first and second measures. This is absolutely forbidden. Play it yourself on a piano and hear how it sounds. The point of counterpoint (no pun intended..) is to have multiple voices singing/playing their own independent melodic lines, while the harmony is outlined by their movement, or the chords they form at certain intersections.
It is very important that each voice is independent from the others - that's what all the rules of counterpoint are for! This is why excessive parallel motion is frowned upon. If you double a melody in thirds continuously, it may sound fine, but you effectively only have one line, or voice. In counterpoint you are generally restricted to 3 parallel thirds (or 6ths) in a row. For the same reason, you are not allowed parallel fifths, although it is a more extreme case. The fifth is a very pure and stable interval, as is the octave. If you have fifths moving in parallel then, you get the same problem as you got with the thirds, but far worse. This is also why perfect consonances are used for the start and end of counterpoint, whereas imperfect consonance and dissonance is used throughout the course of it.
Long story short: No parallel 5ths or octaves! (They are used in music, but this is usually for special effect, and absolutely never ever in a contrapuntal setting... at least not in a modern one)

Direct octaves (and fifths) are also disallowed. You have one m.5-6.
It is when two voices approach an octave (or fifth) by contrary motion.
There are some cases where it is ok, but not usually.

Ex2b:
Again, start on a perfect consonance.
This was better. Much more contrary motion, and logical motion of line, and progression of harmony - good.

C.F. in bass:
Measures 3-4: The leading tone (7th degree) must always move to the tonic by moving up a step of a semitone. Here you have thwarted it. Again, I say always here - there are cases where it doesn't, but not at present.
Measures 5-8: too many parallel 6ths (or 13ths).

Overall you have some solid work here. I think we're making some progress. Sorry that I'm slow, but I'm flaky by nature.

I have made out a sheet which I want you to work from (given to all my students).
I want the same treatment as you've done here. C.F. in soprano and bass for each one. When in bass, transpose down and octave and put in bass clef.
I've used some nasty keys just to get you used to using them and reading and working in them. You're just going to have to slog through it

Some tips for counterpoint in the minor (counterpoint in the minor is harder. Evidence for that is that your e minor exercise was not as successful as your F major one):

The harmonic form of the scale is mostly used. The only time you do not use the sharpened 7th is in the bass when you are descending by step from the tonic to the 6th degree of the scale. E.g. in C minor: C, Bb, Ab. B natural is used in most other cases.

http://www.youngcomposers.com/forum/...-worksheet.pdf

Thanks for the reply and Don't worry, I'm the same... I'll check this every day for a couple of days then forget about it for a week or so lol

I take it you want me to write counterpoint to the worksheet? Just two part?

Chris :-)