Four 4 Part 1st Species Counterpoint Exercises

Here are Four 4 Part 1st Species Counterpoint Exercises that I did. The given melodies are highlighted in red. Any feedback would be appreciated! 🙏

I would like to know how strict the rules for the counterpoint you base on. E.g. some stated that tritone is forbidden between any voices but you have tritone in b.3 and 4 of ex.2. Some even say that no similar motion from an imperfect consonance to a perfect one since there will be a hidden fifth in it. I don't remember much for the rule though😅. Can you provide the rules you based on?Thank you!

Henry

3 minutes ago, Henry Ng Tsz Kiu said:

I would like to know how strict the rules for the counterpoint you base on. E.g. some stated that tritone is forbidden between any voices but you have tritone in b.3 and 4 of ex.2. Some even say that no similar motion from an imperfect consonance to a perfect one since there will be a hidden fifth in it. I don't remembee much foe the rule though😅. Can you provide the rules you based on?Thank you!

Henry

 

Right now I'm going through Ebenzer Prout's Counterpoint book. So it's based on 18th century counterpoint. It's a books, so the rules are spread throughout the book. I could probably find a pdf that list the general rules I am going for from another source.

I always though similar motion to a 5th or octave was fine, as long as it was between the inner voices or a inner voice and outer voice?

14 minutes ago, Guardian25 said:

always though similar motion to a 5th or octave was fine, as long as it was between the inner voices or a inner voice and outer voice?

Yeah there are quite a number of differences between the manuals, so knowing what rules you are based on is really important. 

8 minutes ago, Henry Ng Tsz Kiu said:

Yeah there are quite a number of differences between the manuals, so knowing what rules you are based on is really important. 

 

Right now this is the best thing I can find. 

I think all of them are good! Except I'm not sure in the opening chord of ex.3, will the interval between alto and tenor too wide?

There's a parallel octave between soprano and bass in b.6 to 7 of ex.4. though.

37 minutes ago, Henry Ng Tsz Kiu said:

I think all of them are good! Except I'm not sure in the opening chord of ex.3, will the interval between alto and tenor too wide?

There's a parallel octave between soprano and bass in b.6 to 7 of ex.4. though.

 

Updated! I missed those two interval in ex.3 being that wide!

I think it's ok for all 4 exercises now! Congrats!

12 minutes ago, Henry Ng Tsz Kiu said:

I think it's ok for all 4 exercises now! Congrats!

 

Thanks! I appreciate the feedback! 🙏

4 voices makes it much more difficult.

In the first one I have some suggestions:

Too many equal intervals in a row (10ths)

Two unisons together

An interval bigger than a 10th

I tried another solution, which is not perfect, of course.

Good exercises!

Hi @Luis Hernández!

I certainly agree with the too many 10th interval one if it's normal 4 part SATB, but I am not sure it is the requirement of a species counterpoint, since I remember Fux did suggest to have bunches of 3rds and 6ths, and I am not sure about that here.

I do remember when I learn the 4 part writing it stated that it is permissible for Tenor and Bass to have a range not wider than the 12th since the lower tones in overtone series have a wider range, which is the case here. I'm not sure whether that book I learned was right or not though. 

In your solution, I see there's a parallel octave between soprano and tenor in b.3-4. There's a parallel fifth between tenor and bass in b.6-7. And I am not sure the second inversion in b.5 will be good or not.

There are so many different rules regarding different theory books and manuals and I always get dizzy on that. Do you have some goos suggestion? I think the treatise by Fux and Zarlino quite good though. Thanks for your sharing, Luis!!

Henry

With 4 voices is not easy. Parallels must be avoided between soprano and bass. Between them all the intervals in first species must be consonant. What happens in the inner voices is more flexible. 4ths can be in the upper voices.

As you said there are many rules and systems.