17:06 Mon 10 Jan ~72%[jiii[

Melodic and Rhythmic

10 Embellishment in
Two-Voice Composition

Checkpoints for Students and Teachers

When writing second-species (2:1) counterpoint, we suggest two passes to check your work:
I. Check the harmonic intervals first.
• The first and last intervals should be either 8 or U. The first can be 5 only if the
counterpoint is above the cantus.
• Each cantus note should be paired with a consonance (the first half note in the
measure, falling "on the beat"). A dissonance written on this beat is an error.
• If there is an 8 or 5 on the beat, check the first half note in the next measure
for parallel octaves or fifths; also look back at the approach to the 8 or 5, which
should be by step in the upper part (check for hidden fifths or octaves) and not
from another interval of the same size.
• The second half note ("offbeat") of each measure may include a dissonant passing
or neighbor tone. Make sure any 2, 4, 7, or 9 is prepared and resolved as a passing
or neighbor tone, and mark it P or N. An A4 or ds must be treated as a passing or
neighbor tone, and must resolve to the correct interval.
• The offbeat may be another consonance, approached by step, skip, or leap, in
oblique motion with the cantus note. You can leap or skip into octaves or fifths
on the offbeats; octaves or fifths on consecutive offbeats are also acceptable,
unless they draw attention to themselves. If the offbeat note is an 8 or 5, check the
connection to the next beat for parallels.
• The unison (U) should only appear at the beginning or end of the counterpoint
(some teachers allow it on the second half of the measure if the voices are close
together).
• The close in strict style should be 3-U (10-8) or 6-8, with the parts approaching
the final note in contrary motion by step over the bar line. The next-to-last cantus
note may be set 2:1 or 1:1; the final note is 1:1. Raise ~7 in minor to make a leading
tone, and ~6 if necessary, but only approaching at the close.
2. Examine the contour and melodic intervals of the counterpoint line.
• There should be one high or low point, with perhaps a subsidiary high or low point.
• If the cantus includes a skip or leap, the counterpoint should balance it, ideally
with steps in the opposite direction.
• Any leaps in the counterpoint line should be prepared by an approach contrary to
the direction of the leap, and followed by steps contrary to the direction of the leap.

107
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• Dissonant melodic intervals (7, d5, A4, A2) are not allowed.
• There should be a mix of perlect consonances, imperfect consonances, and
dissonances (treated correctly as passing or neighbor tones). A second-species
exercise must include some dissonant passing or neighbor tones; complete lack of
them is an error!
When writing third-species counterpoint ( 4:1), check for the following elements:
1. Check the harmonic intervals first.
• The first and last intervals should be either 8 or U. The first can be 5 only if the
counterpoint is above the cantus.
• Each cantus note should be paired with a consonance (the first quarter note in the
measure, falling "on the beat"). A dissonance written on the downbeat is an error.
• There should be some diversity of intervals on the downbeats- ideally no
more than three 3 or three 6 in a row, and at least one 8 or 5 in the middle of
the exercise (two if it is a long cantus) in addition to the opening and closing
intervals- to mix the "sweetness" of the imperfect consonances with the
"hollowness" of the perfect consonances.
• If there is an 8 or 5 on the downbeat, check the first quarter note in the next
measure for parallel octaves or fifths; also look back at the approach to the 8 or 5,
which should be by step in the upper part (check for hidden fifths or octaves) and
not from another interval of the same size.
• If the third quarter note in a measure is an 8 or 5, check the next downbeat, which
should not be the same interval (creating parallel octaves or fifths).
• The intervals 8 or 5 on consecutive offbeats are acceptable unless they draw
attention to themselves, through contour or repetition. The intervals 8 and 5
from the second quarter note to the following downbeat, or from the second,
third, or fourth quarter to any beat other than the downbeat of the next measure,
are acceptable.
• The unison should only appear at the beginning or end of the counterpoint (some
teachers, including Fux, allow it on the second, third, or fourth quarter note if the
voices are close together).
• The second, third, and fourth notes of each measure may include a dissonant
passing or neighbor tone or may be a consonance. A consonance may be
approached by step, skip, or leap. Make sure any 2, 4, 7, or 9 is prepared and
resolved as a passing or neighbor tone, and mark it P or N.
• An A4 or d5 must be treated as a passing or neighbor tone, and must resolve
to the correct interval. In third species, these intervals normally appear on the
final quarter note of the measure so as to resolve immediately. To identify places
to include them, look for scale degrees 4-3 or 7-i in the cantus (without both
together the resolution is not possible).
• The closing intervals should be 3-U (10-8) or 6-8, with the parts approaching the
final note in contrary motion by step over the bar line. Raise~(> and ~7 in minor
only when approaching i at the close.
2. Examine the contour and melodic intervals of the counterpoint line.
• Examine the melody in units of five quarter notes (downbeat to the downbeat of
the following measure) for local continuity. Each five-note unit should make a
pleasing contour, with a melodic step crossing the bar line. Avoid repeating the
same melodic shape in consecutive measures.
108 Part I Elements of Music
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• Avoid a static line- circling around a few pitches or repeating a pitch more than
three times in a span of two measures- by using a wider range than in second
species. Do not immediately repeat any notes, whether within the bar or across
the bar line.
• The counterpoint may span up to an octave and a fifth in overall range, but do not
move more than an octave in one direction without a change of direction.
• Leaps and skips in the counterpoint line should be placed within the measure
(not over the bar line). Leaps are prepared by an approach contrary to the
direction of the leap and followed by steps contrary to the direction of the leap.
Skips normally involve a change of direction as well and should not follow a series
of steps in the same direction.
• Dissonant melodic intervals (7, d5, A4, A2) are not allowed.
• There should be one high or low point, with a subsidiary high or low point. The
contour of an upper counterpoint should be like mountains in the distance. A
lower counterpoint should be like the mountains reflected in a lake.
• A well-crafted third-species counterpoint creates the feeling of soaring- like a
raptor floating on the thermals, swooping downward, then soaring upward. This
effect is made from primarily stepwise motion enlivened by judiciously placed
skips and employment of a properly placed and prepared leap. Counterpoint
melodies that are too conservative- occupying a narrow range or exclusively
stepwise- will not soar.
When writing fourth-species counterpoint, check for the following elements:
• The first and last intervals should be either 8 or U. The counterpoint can begin
with 5 if it is above the cantus.
• The counterpoint begins with a half rest, followed by a half note (preferably
tied over the bar line), and ends with a whole note. The second half note in the
penultimate measure is not tied over.
• If the counterpoint is below the cantus, the last two measures will end with a 2-3
suspension to an 8 or U; if the counterpoint is above the cantus, it will close with
a 7-6 suspension to 8. Because the closing suspension must be prepared, the last
two and a half measures will be i tied over and then resolved to 7, followed by i.
• The second half note in each measure (on the offbeat) should be tied over to the
same note on the downbeat of the following measure wherever possible.
• Where possible, the tied-over note should create a dissonant suspension, prepared
by a consonance on the offbeat of the previous measure, and resolving down by
step on the offbeat.
• When you break species, the second half note is not tied over to the following
downbeat. The resulting half notes follow the guidelines for second-species
counterpoint.
• Acceptable dissonant suspensions are 4-3, 7-6, and 9-8 when the counterpoint is in
the upper voice, and 2-3 when the counterpoint is in the lower part. The consonant
suspensions 5-6 and 6-5 may be used when the counterpoint is in either voice.
• The only suspensions that may be used in a chain are 7-6 and 4-3 in the upper
part, and 2-3 in the lower. Chains should be broken, either by a change in the
suspension type or by breaking species, to avoid more than three repetitions of
the same intervallic pattern.

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• The suspensions 9-8 and 6-5 may not be used in chains, as this creates the sound
of parallel octaves or fifths.
• If it is not possible to create a dissonant suspension, a consonant note on the
offbeat may be tied across the bar to form a consonant interval with the following
cantus note. When consonance is tied across to consonance, there is no need for
resolution on the offbeat downward or by step; instead the counterpoint may step,
skip, or leap upward or downward to prepare the next suspension.
• Contour is less of a concern in fourth species (counterpoints tend to move
downward), but be careful to avoid excessive use of any one note and to keep the
counterpoint and cantus lines from crossing or overlapping. It will occasionally
be necessary to leap or skip upward within a bar (from one consonant interval to
another) to allow the counterpoint room to continue to descend.
• Breaking species should be reserved for the following situations:
(a) when dissonant suspensions are not available and there is no consonance that
can be tied over;
(b) to reestablish the proper distance between the parts when they are about to
cross or to make a more interesting line;
(c) to break off a chain of suspensions;
(d) to prevent counterpoint errors and to solve difficult places in the cantus.

110 Part I Elements of Music

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NAME _ _ _ _ _ _

Assignment 10.1
I. Writing 2:1 counterpoint openings
Write a 2:1 counterpoint opening for each given cantus firmus line in strict style. Start with either a half
rest and a half note or two half notes in measure 1, then continue with two half notes for each remaining
measure. Include passing tones, neighbor tones, and consonant skips, and write the harmonic interval
numbers between the staves. Circle the interval number for any harmonic dissonance, and check that it
forms a correct P or N.

(a) (b)

ll!::; r lo I.. llll~!

:: ~1. ~1° I 0

(c) (d)

ll!:: I" lo 1 l ~!:: a~1° ~1.. I

w ro

l ! : - I I.. 1 l ~!: .. ===iI=======+=======I

l Il O
O

(g) (h)

0 O

ll!:: I.. I 1 l ~!:: ~1° ~1.. I 0

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II. Writing 2:1 counterpoint closings

Write a 2:1 counterpoint closing for each given cantus firmus in strict style, two half notes per each whole
note except for the last (and possibly penultimate) measure. Use passing tones, neighbor tones, and
consonant skips, and write the harmonic interval numbers between the staves. Circle the number for any
harmonic dissonance, and check that it forms a correct P or N.

(a) (b)

l ! :; I I.. 1 lI~!:; ====iI..====: :I: i: : : ==I 0 O

(c) (d)

O O

l ! :: . I I 1 l~I
! :: ~I. ~I I 0
O

00 00

ll!:o lo lo lll~
I!: . ~lo ~I. I
(g) (h)

ll!:" lo lo 1 l~
I!: ~1° ~1.. I 0

112 Part I Elements of Music

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NAME _ _ _ _ _ _ _ _ _ __

Assignment 10.2
I. Writing a 2:1 counterpoint
Write a 2:1 counterpoint for each given cantus firmus in strict style, using two half notes for each cantus
whole note. Include passing tones, neighbor tones, and consonant skips, and write the harmonic interval
numbers between the staves. Circle the number for each harmonic dissonance.

A. Above a given line

Chapter 10 Melodic and Rhythmic Embellishment in Two-Voice Composition 113

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B. Below a given line

"' 1'!n:, :' o :•.. :• o :•.. :

l!"o :•., :•o :•

0

:•: :"- ::

m 1'!::·
0

I'.. I
O

r.. I

1!:·o lo [" lo lo I

114 Part I Elements of Music

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NAME _ _ _ _ _ _ __

Assignment 10.3
I. Writing a 2:1 counterpoint
Write a 2:1 counterpoint in strict style for each given cantus firmus, as for Assignment 10.2.

A. Below a given line

I!::•~; le I" I" lo le I

I!:,.. I.. i.. I·. I .e r:. I

2
( ) 0 I 2 3 4 5

CT• 1:::., I" I I" I I e e

1::·. l'o l"e I" l'o I"., I

Chapter 10 Melodic and Rhythmic Embellishment in Two-Voice C omposition 115

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B. Above a given line

118 Part I Elements of Music

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NAME _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

Assignment 10.4
I. Writing a 4:1 counterpoint
Write a 4:1 counterpoint for each given cantus firmus in strict style, using four quarter notes for each
cantus whole note, starting either with a quarter rest followed by three quarter notes or a full measure
of quarter notes in the counterpoint. Include passing tones, neighbor tones, and consonant skips, and
write the harmonic interval numbers between the staves. You may include a cambiata or double neighbor
pattern; if so, bracket and label it (both patterns extend a whole measure plus the next downbeat). Circle
the number for each harmonic dissonance, and label it as passing (P) or neighboring (N).

A. Below a given line.

(1)
4

~J!;
'j 0 (j
'j

l!
It
,, (j
0

10 11 12

l! u
(j
0
e

II

Chapter 10 Melodic and Rhythmic Embellishment in Two-Voice Composition 117

17:07 Mon 10 Jan 9 71%i.)

(2)

::ll!:·& lo re i.. I

lf! 0

I.. I'
0

I
O

i & I

B. Above a given line.

:J!:·.. r.. lo i.. I

!. I
ir O
I'.. 1· .. I

l!
9 W 11 12

I .. I O
I .. I

118 Part I Elements of Music

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NAME _ _

Assignment 10.5
I. Suspensions in note-to-note counterpoint
For each note-to-note framework, make a dissonant suspension as shown. Between the staves, write the
interval numbers for both the framework and your suspension. Above the staff, label the three parts of the
suspension: preparation (prep), dissonant suspension (S), and resolution (res). Include at least one bass
suspension.

li!:: : I: 1 : :·! llli!:: : I: 111 I I

l ! :: : : I:I : I 1 l E:ttE=!
:: : : I ;: ~ II
w ro

ll!: I: I I llll~! ::: ~ I: 1 :: ~I I

l~: : I: I I llli!::::: : I= 11:::: I I
Chapter 10 Melodic and Rhythmic Embellishment in Two-Voice Composition 119
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II. Writing chains of suspensions

Use rhythmic displacement to make chains of suspensions from the given parallel thirds or sixths. In (d)
and (e), write your own suspension chains, using a different type of suspension in each. Play your chains at
a keyboard, or sing or play them as a duet with a partner.

(a) Write suspensions in the upper part.

8 0 8
0
11° Ii J7 11
3 @ 3

(b) Write suspensions in the lower part.

s 8: s 8
-e- s .il

-}=j (j
11 1- 11
3 ® 3

(c) Write suspensions in the upper part.

-e- u -e-
r 11
6

(d) Write a chain of suspensions.

11

(e) Write another chain, using a suspension type other than the one in (d).

11

120 Part I Elements of Music

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NAME _ _ _ _ _ _ _ __

Assignment 10.6
I. Writing fourth-species counterpoint
Write a fourth-species counterpoint in strict style for each given cantus firmus with two half notes tied over
the bar line for each whole note. Write the harmonic interval numbers between the staves, and circle the
number for any harmonic dissonance.

A. Above a given line

j~:·: q~ r le le le I.. I

1!:'e I- le 1·~ 1·~, l'e II

j~:· e 1·e I'.. re I.. I

1!:·e 1,e I.. le 1:. r·e II

Chapter 10 Melodic and Rhythmic Embellishment in Two-Voice Composition 121

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B. Below a given line

,,, 1"!:' I.. ie I.. I

0

:1 [

1!· e I'.. le le 1°
0

r~ I

,,, 1'!::,: rd. I e r.. I

lo I
O

1!:'e I'.. l"e I

122 Part I Elements of Music

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NAME _ _ _ _ _ _ __

Assignment 10.7
I. Writing fourth-species counterpoint
Write a fourth-species counterpoint in strict style for each given cantus firmus, as in Assignment 10.6.

A. Below a given line

(2) (1 I 2 3 4 5
O
O

CT• 1::: .. I.. I I.. I I

O

1::·.. l'o I I.. l'"o r;· I

Chapter 10 Melodic and Rhythmic Embellishment in Two-Voice Composition 123

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'" !::::': , , '

B. Above a given line

I 1.. I
(transposed) 1° 1°

I
1:;:... I O
1· 0 1·. O
I

,,,i'!n:. : r r
O
I
O
1·.. I O
I

lo I.. I..
00

1!·.. r I".. 1

124 Part I Elements of Music

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NAME _ _ _ _ _ _ _ _ __

Assignment 10.8
Evaluating second, third, and fi~h species
A. Shown are two examples of second-species counterpoint by Jeppesen. Write in the harmonic interval
numbers between the staves. Circle each dissonance, and identify as a passing tone (P) or neighbor tone (N).

]::·~i r: r: r: l r· -l 1' : l I":'. ,J 1': 1

::]t: 1·: r: i;"I'; ,I r I' l i:; l r: .I i: I: I

B. In this example of third-species counterpoint by Fux, write the harmonic interval numbers between the
staves. Circle each dissonance, and identify as P or N. 0

cr ll!::. i:1r: l J j 1· l JJ r: Jl l I': l l j r: l j l I

Chapter 10 Melodic and Rhythmic Embellishment in Two-Voice Composition 125

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C. In these examples of fifth-species counterpoint, write the harmonic intervals between the staves. Circle
each dissonance, and identify as a passing tone (P), neighbor tone (N), suspension (sus ), or combination.

]::·-blt SUS
r r: FE r r; r r: E f I' :

l !": ct rd: r L r: I
: !~:,: r: t ;I l l r r: r r: l l V re JJ rr:
l :·aJ 1 rr' r: 0
' I: l ,! 1:: ,J r': I

:j~:
0

: : r: Ct r; r r; I:F L r'

ll!:': r f F r; r fd; r rd: tr r r': I

126 Part I Elements of Music