Hello. It has been brought to my attention that many composers haven't been introduced to the fine art of counterpoint. :)

Here are some of the advantages of knowing counterpoint and implementing it:
-little knowledge of harmony is needed, as harmony is created just by following the rules
-you've got a set of rules set before you; as long as you follow them, you can't go wrong
-pieces produced with counterpoint often sound very well-thought out
-counterpoint can easily be used to create countermelodies without worrying about messing up the harmonization
-once you learn the rules, you can use counterpoint in any type of composition (although it dominated renaissance, baroque, and late medieval ages in composing)

I'm going to teach a bit about it in this thread. Basically, counterpoint is the interweaving of multiple melodic lines, each one independent of the rest. Johann Joseph Fux was the first to write a widely-used treatise on counterpoint, which he called Gradus ad Parnassum (Steps to Parnassus). In it, he talks about 5 different "species" of counterpoint. Each one is unique, but they all rely on a few general rules. A student learning how to compose counterpoint will often get melodies from a hymdall (this "stolen" melody is called the Cantus Firmus, plural Cantus Firmi) and will then transpose between 8-9 measures worth of it into all whole notes. Then, the student begins to write a counterpoint melody to it. Here are the general rules of counterpoint:

-Counterpoint can be made up of both dissonances and consonances.
-Consonances are intervals of: unison, third, fifth, sixth, and the octave.
-Seconds, fourths, sevenths, and all augmented and diminished intervals are dissonances.
-Of the consonances, the unison, fifth, and octave are called "Perfect" consonances. The third and sixth are "Imperfect" consonances.
-Imperfect consonances should be used more often than perfect, as they are more harmonious in nature.
-Augmented or diminished intervals between succeeding notes are not allowed.
-Leaps greater than an octave, or leaps of a major sixth or a seventh are prohibited.
-An ascending leap of a minor sixth or an octave must be followed by a step back down within the compass of the leap (figure 2). In the same way, a descending leap of an octave must be followed by a step back up within the compass of the leap.
-A descending leap of a minor sixth is prohibited.
-Accidentals should generally be avoided since they are not in the character of the ecclesiastical modes. However, the penultimate (next-to-last) bar in each species requires a specific sequence which may demand the use of a sharp.

Here are the rules regarding the MOTION of intervals (whether the notes move up/down together, move in opposite directions, or one moves and another stays in the same note as the previous measure):

-When the two voices move in the same direction, such movement is called 'direct', and it is also called 'similar', or 'parallel' motion.
-When the two voices move in different directions it is called 'contrary' motion.
-If one voice stays on the same note while the other moves, the movement is called 'oblique' motion.
-The two parts may not move in direct motion to a perfect consonance.

Here is a visual aid:

http://homepage.eircom.net/~gerfmcc/motions.gif

Well, this may seem overwhelming at first, but it starts out easy. :)

------------------------------------------------------------------
THE FIRST SPECIES
"Note against Note"

In addition to the already-mentioned rules above, these rules are specific to the first species of counterpoint:

-The counterpoint consists of a single whole note against each [whole] note of the cantus firmus.
-No dissonances are allowed.
-In the second-to-last bar the counterpoint must be a major sixth above the cantus firmus.
-In the final bar the counterpoint must be an octave above the cantus firmus.
-Unisons are not allowed, except in the first bar.
-The counterpoint in the first bar must be an octave or a fifth above the cantus firmus, or a unison.

Here is an example from Gradus ad Parnassum:

http://homepage.eircom.net/~gerfmcc/species1.gif

Notice that all three types of motions have been utilized. Also, in the pentultimate measure, the C has been "sharped" in order to meet the requirement of a major sixth in the next-to-last bar.

I'll post a bit more when I have more time. :) If you want cantus firmi to practice with, I suggest you copy them down from here: Cantus Firmi 1 (http://www.minotaurz.com/minotaur/edu/CPT_species/CP1.jpg) and Cantus Firmi 2 (http://www.minotaurz.com/minotaur/edu/CPT_species/CP2.jpg)

Good luck! By the way, it might help if you kept a notebook for counterpoint and wrote down the various rules in it, so they are readily available during practice. :D Have fun!

Maybe these iron-set rules are too much for the unruly composers of the modern day? :P

*bump* Sorry for the long wait for an update!

Now I'll introduce species two of counterpoint.

The 2nd species of counterpoint involves placing 2 minims (AKA half notes) against each note of the Cantus Firmus. This species is a bit more colorful and melodious than the first, and is one of the most important species to grasp.

Here are the rules that the notes must follow:

-The first minim must always be consonant with the cantus firmus.
-The second minim may be dissonant if it is approached and left by step (figure 1). If it moves by skip it must be consonant.
-Fifths on the first minim of successive bars are not allowed (figure 2) unless the intervening note leaps a fourth, fifth, or minor sixth in the same direction as the cantus firmus (figure 2a). The same constraint applies to octaves on the first minim of successive bars.
-The first note in the penultimate bar (second-to-last bar) must be a perfect fifth above the cantus firmus, followed by a major sixth above the cantus firmus (figure 3). As in first species, the counterpoint must begin a 5th or 8ve above the cantus firmus, and end an 8ve above the cantus firmus to reinforce the mode it is in.


http://homepage.eircom.net/~gerfmcc/dissPN.gif

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Here's an example directly from Gradus ad Parnassum (by J.J. Fux):

http://homepage.eircom.net/~gerfmcc/species2.gif

Observe the following of it:

-Since this is in the Aeolian mode (A minor), the closing formula has required both minims in the penultimate bar to be sharpened, thus leading it into A Major at the end).
-A half note rest has been used in the first bar. (Fux recommends this.)
-Only one unison has been used (on the "weak" or "off" beat of the 6th bar as to prevent standing out too much).
-Melodic direction reverses after an ascending leap (an 8ve) in bar 4
-The consecutive 8ves on the downbeat in bars 8 & 9 have been mitigated by the intervening leap of a fourth.

Eek! Gotta go for now! I'll post species three later! :D

Thanks for all those infos Gnomish :) Are there any books on counterpoints for even more informations? :think:

Yes. I advise that you buy The Study of Counterpoint. It is translated by Alfred Mann from a very old book entitled "Gradus ad Parnassum" (Steps to Parnassus) which was originally by J.J. Fux. However, the reading level can be a bit high at times, and all the rules make it very hard to follow along without re-reading several passages along the way... :)

You can find it here fairly cheap:
http://www.amazon.com/exec/obidos/tg/detai...775908?v=glance (http://www.amazon.com/exec/obidos/tg/detail/-/0393002772/104-8307549-8775908?v=glance)

ok, read all the reviews and many of them say you should have a teacher or an experienced person to help you :think: is it necessary to have one =_= ?

nope if your talented in self-learning and you have plenty of time on your hand


Never took Counterpoint...but it sound so cool
no dissonances, it's just notes to notes harmony.
Ultimate Fugue structure
EXECELLENT!