The Contrapuntal Skeleton - First Species

First species counterpoint is the foundation, the skeleton upon which a good piece of counterpoint is constructed. A great many problems can be created and avoided in this stage of composition.

Rules for First Species

• You may not use dissonances. This includes all harmonic 2nds, 4ths, and 7ths, as well as diminished or augmented harmonic intervals of any kind.

• You may not write perfect intervals approached by similar motion.
• Avoid too many parallel 6ths or 3rds.
• Avoid moving further than an 8ve from other parts.      A 10th is occasionally permissible.

• You must begin on either the 5th scale degree or the 1st. You must end on the 1st.
• You may only use whole notes.
  
• Write as much contrary motion as possible.
• Avoid consecutive skips, and try to follow skips with stepwise movement in the opposite direction.
• Avoid consecutive perfect intervals on strong beats, or beats 1 and 3. This is also known as the 'no hidden perfect intervals' rule.
  

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Let's examine the Telemann and see how he fares under first species.

Original
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First Species, with harmonic interval analysis
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Telemann, predictably, follows all of these rules to a T (no pun intended). There is a healthy amount of contrary motion, the piece begins on the finalis, D (as we are in D ionian), and there are zero dissonances. This canon is a fine example of first species counterpoint.

What is most interesting about this example is the lack of perfect intervals. This is due to the inherent difficulty of resolving perfect intervals in a straight canon like this one.

Also note how close the parts are to each other, especially the abundance of voice crossing. This is, again, due to the nature of a canon, as well as the instruments in question - two violins.

Continue to second species→