First Species Counterpoint in the 18th Century

During the 18th century, one-against-one counterpoint was known as first species counterpoint, characterized by each note in the counterpoint aligning with a single note in the cantus firmus (or fixed melody). The rules and principles for composing this style, particularly outlined by Johann Joseph Fux in Gradus ad Parnassum.

Learning Resources: https://viva.pressbooks.pub/openmusictheory/chapter/first-species-counterpoint/
2.
https://musictheory.pugetsound.edu/mt21c/SecondSpecies.html

Names of th Two Voices

1. Cantus Firmus (Fixed Melody):
   • A simple, stepwise melody, often diatonic, with a strong tonal structure.
   • It serves as the foundation over which the counterpoint is composed.
2. Counterpoint Line:
   • A new melodic line designed to complement the cantus firmus.
   • Follows strict rules to maintain harmonic and melodic balance.

Principles for the Counterpoint

1. Permitted Intervals in the Middle of First Species Counterpoint

In the middle of the counterpoint, all intervals between the cantus firmus and the counterpoint must be “consonant.” In other words, the intervals permitted are perfect consonances and imperfect consonances. There are seven options allowed to use in the middile of piece:

(Why is the perfect fourth not allowed? By the 12th century, composers increasingly treated the perfect fourth as a dissonance, requiring it to resolve to a third. As a result, the perfect fourth is considered dissonant in this context and must resolve accordingly.)

2. Permitted Intervals at the Beginning and End: Ensuring Tonal Coherence:

1.) The intervals allowed at the beginning and end of a piece are more restricted than those used in the middle. The counterpoint usually begins and ends with a perfect consonance (unison, fifth, or octave).

2.) Tonal Coherence at the beginning and end is crucial and should be on the tonic on the home key. How can we understand this phenomenon? Think about it: most pieces from the Renaissance, Baroque, and Classical periods typically start and end on the tonic, emphasizing tonal stability.

3. Avoiding Dissonances Between Voices

To maintain harmonic clarity, dissonant intervals (such as seconds, sevenths, augmented, or diminished intervals) as well as the perfect fourth interval must be avoided between the two voices.

4. Motion in One Voice:

1.) Each voice (melodic line) should predominantly move by step to ensure smoothness and singability. Steps are preferred over “skips” and “leaps.”

2.) Skips (Leaps) are permissible but must resolve by step in the opposite direction in order to maintain balance and fluidity.

5. Avoiding Motion in Dissonant Intervals Within a Voice:

Avoid using augmented, diminished, or chromatic intervals. Also, don’t use intervals larger than a fifth, except for octaves and minor sixths. Minor sixths should only be used when moving upward.

6. Climactic Point:

Each melodic line should have a clear focal point or high point (climax) to provide shape and direction.

7. Motion Between Two Voices:

1.) Similar Motion:

2-1.) Parallel Unisons, Fifths, and Octaves: Consecutive perfect consonances (e.g., unisons, fifths, or octaves) are strictly prohibited to avoid because this kind ofof motion will create monotony.

2-2.) Parallel Thirds and Sixths: Using two consecutive same imperfect consonances (e.g.,e.g., moving from one third to another third or from one sixth to another sixth) is permitted, but using three or more consecutive same imperfect consonances is not allowed because it would discourage to maintain variety and interest.

3.) Oblique Motion (one voice remains stationary while the other moves) is also acceptable. In the first species, repeating a note is the only way to use oblique motion. However, the note should not be repeated more than twice in the counterpoint.

4.) Contrary Motion (opposite directions) is generally preferred to create greater independence between the voices. This means, listeners can easily recognize the independancy of the two voices when hear the contrary motion occurs.

8. Balance and Independence:

1.) The counterpoint line should sound independent while harmonically blending with the cantus firmus.

2.) Avoid excessive repetition or predictability in intervals and rhythms.

Fonally, by adhering to these principles above, 18th-century composers created clear, balanced, and harmonious counterpoint lines that adhered to the aesthetics of the Baroque and early Classical periods. These rules laid the foundation for more complex counterpoint in later species.