Does anyone here know counterpoint theory well? (as taught from Gradus ad Parnassum) I need help understanding it. I'm completely confused about something...

Do we have any contrapuntists here, even? (looks at Alphonse and Alphonso) Any help? :(

At least post your question, first. @_@

Yeah, tsk tsk double posting. :P

(Psst, I'm Alphonse, and he's Alfonso, haha)

Um, I know some counterpoint, having studied it a bit, but haven't looked at it lately. I did good on the exam, but I don't really know the rules. I just, um, do it? (does that make sense?)

But yeah, hehe, what's your question?

I seem to have only confused myself. I believe I figured it out, but I'll post the problem anyway.

As I'm sure you know:

Perfect consonances are the unison, fifth, and octave.
Imperfect consonances, which should be used more often, are the third and sixth.

From one (im)perfect consonance to another (im)perfect consonance, one must use contrary or oblique motion.
From one (im)perfect consonance to the opposite (depending if it was imperfect or perfect to begin with), one may utilize any of the three motions.
@_@
However, I seem to have confused myself... While reading it, I thought I'd try doing a few counterpoint exercises of my own. I got totally lost! In the book, "Josephus" writes the intervals above the bottom voice to show what kind of consonance it is in relation to the top voice. However, when I tried doing the exercises, I didn't know what to do: From one consonance to another, how are you supposed to know if it is perfect or imperfect, based on the cantus firmus? :doh: However, this is where I confused myself: I was only looking at the cantus firmi, not realizing that you are supposed to choose the intervals, and consonances, yourself. It was just a brain malfunction on my part I guess... :P :rolleyes:

Well... thanks anyway! :D :sweatdrop:

But one more question: For the first species of counterpoint, is one only supposed to input a sixth at the second-to-last measure?

:P

Wow, too many rules! :blink: I never had to learn which motion to use between the consonances. Made my life easier! ;)

Lol! :P This is the reason that composers around Mozart's time did away with the strictness of counterpoint, I guess. :P

Originally posted by Gnomish@Jun 13 2004, 01:26 AM


But one more question: For the first species of counterpoint, is one only supposed to input a sixth at the second-to-last measure?
6th to 8ve if your counterpoint melody is above the cantus firmus. 3rd to unison or 10th to 8ve if it's below the cantus firmus.

(did a lookup, HAHA, I don't really remember the rules)

Ah! Thanks. Forgot that little bit. :D

Has anyone ever used the strict counterpoint rules to make a composition before? :) I love counterpoint! It's a SUREFIRE way to get chord progression, harmony, and independent melodies, all with a few simple rules! :D

EDIT: For those of you who want to learn counterpoint or practice it, I found a GREAT website. Here is the link: Species Counterpoint (http://homepage.eircom.net/~gerfmcc/SpeciesOne.html) It even has an applet you can use to practice! :D