First-species counterpoint pairs each note of a fixed melody with one note in a second line, usually using whole notes. Both parts move together rhythmically, so their independence has to come from pitch movement and melodic shape. Different rhythms are not a requirement for polyphonic texture in music.
Start with a short melody and write one added voice above it. The job differs from supplying chordal accompaniment beneath a tune, because your added part needs to work as a melody itself. For this practice, keep both voices consonant at every note, use mostly steps, and finish with the voices approaching their final octave in opposite directions. These restrictions deliberately remove rhythmic decoration so you can hear what the notes are doing.
Write C5 over the opening C4. For the ending, place B4 over the penultimate D4 and C5 over the final C4. You now have a major sixth expanding to an octave through contrary motion, with five middle notes still to choose.
Planning how to end first-species counterpoint early prevents the last measure from becoming a rescue attempt. Check how your last few notes reach that ending once you fill them in. An acceptable final interval cannot repair an awkward leap immediately before it.
First-species counterpoint in minor needs particular care at this point. Over a lower B3 moving to A3, an upper G♯4 moving to A4 supplies the same sixth-to-octave close. The raised seventh belongs to the cadence, so do not assume that natural minor and its modal relatives require every note to stay inside one unchanged collection.
A melodic fourth is a different matter. C5 moving to F5 can be an acceptable leap within your upper line, while C4 sounding beneath F4 creates a prohibited harmonic fourth in this exercise. The distinction between melodic and harmonic intervals prevents a common misreading of the rules.
For the middle of your practice line, pencil in two possible upper notes against each lower note before committing. Over D4, F4 and B4 offer a third and a sixth, but the better choice depends on where your upper melody has just been and where it needs to go. Connecting consonant pairs is only half the task.
Keep leaps in first-species counterpoint occasional. After a larger jump, try stepping back in the opposite direction, and avoid augmented or diminished melodic intervals. Aim for a clear high point that occurs somewhere other than the lower line’s G4, rather than letting both melodies peak together.
Two tiny first-species examples make the motion problem audible. C4 beneath E4 followed by D4 beneath F4 produces parallel thirds, which can work briefly. C4 beneath G4 followed by D4 beneath A4 produces parallel fifths, which this practice excludes even though both individual pairs are consonant.
Repeating notes in first species is another point of variation. Oblique motion means one voice stays on its pitch while the other moves, but a method that discourages repeated notes limits your opportunities to use it. For this exercise, use fresh pitches and contrary motion instead of relying on repeated notes to escape difficult choices.
Begin without a rest. A delayed entrance belongs to other exercise designs, and adding one here would sidestep the opening you are practicing. Likewise, do not repair a dissonance by inserting extra passing notes, because you would have changed the note-against-note assignment.
Check first-species counterpoint errors in separate passes. Label every vertical interval, inspect successive fifths and octaves, then sing the upper line alone. With separate editable MIDI parts, you can audition a replacement note while preserving the cantus. If you use a counterpoint checker, compare its settings with your chosen method before accepting a warning or a clean result.
Start with a short melody and write one added voice above it. The job differs from supplying chordal accompaniment beneath a tune, because your added part needs to work as a melody itself. For this practice, keep both voices consonant at every note, use mostly steps, and finish with the voices approaching their final octave in opposite directions. These restrictions deliberately remove rhythmic decoration so you can hear what the notes are doing.
Fix the opening and ending before the middle
The cantus firmus is the fixed melody in your first-species exercise. Try this eight-note practice line, with one whole note per measure, where C4 means middle C. Play C4, D4, F4, E4, G4, F4, D4, C4, and leave the lower part unchanged while you compose above it.Write C5 over the opening C4. For the ending, place B4 over the penultimate D4 and C5 over the final C4. You now have a major sixth expanding to an octave through contrary motion, with five middle notes still to choose.
Planning how to end first-species counterpoint early prevents the last measure from becoming a rescue attempt. Check how your last few notes reach that ending once you fill them in. An acceptable final interval cannot repair an awkward leap immediately before it.
First-species counterpoint in minor needs particular care at this point. Over a lower B3 moving to A3, an upper G♯4 moving to A4 supplies the same sixth-to-octave close. The raised seventh belongs to the cadence, so do not assume that natural minor and its modal relatives require every note to stay inside one unchanged collection.
Check intervals without flattening the melody
The allowed intervals in two-part first species are major or minor thirds and sixths, perfect fifths, and octaves, with unisons generally reserved for the boundaries. Seconds, sevenths, and fourths between the voices are excluded. Count from the lower sounding note, and check interval quality as well as the number.A melodic fourth is a different matter. C5 moving to F5 can be an acceptable leap within your upper line, while C4 sounding beneath F4 creates a prohibited harmonic fourth in this exercise. The distinction between melodic and harmonic intervals prevents a common misreading of the rules.
For the middle of your practice line, pencil in two possible upper notes against each lower note before committing. Over D4, F4 and B4 offer a third and a sixth, but the better choice depends on where your upper melody has just been and where it needs to go. Connecting consonant pairs is only half the task.
Keep leaps in first-species counterpoint occasional. After a larger jump, try stepping back in the opposite direction, and avoid augmented or diminished melodic intervals. Aim for a clear high point that occurs somewhere other than the lower line’s G4, rather than letting both melodies peak together.
Two tiny first-species examples make the motion problem audible. C4 beneath E4 followed by D4 beneath F4 produces parallel thirds, which can work briefly. C4 beneath G4 followed by D4 beneath A4 produces parallel fifths, which this practice excludes even though both individual pairs are consonant.
Revise using one consistent rule set
First-species counterpoint rules vary between teaching methods. Some permit an opening fifth above the cantus; others prescribe an octave or unison. Choosing the octave here avoids that disagreement without pretending every textbook uses identical restrictions.Repeating notes in first species is another point of variation. Oblique motion means one voice stays on its pitch while the other moves, but a method that discourages repeated notes limits your opportunities to use it. For this exercise, use fresh pitches and contrary motion instead of relying on repeated notes to escape difficult choices.
Begin without a rest. A delayed entrance belongs to other exercise designs, and adding one here would sidestep the opening you are practicing. Likewise, do not repair a dissonance by inserting extra passing notes, because you would have changed the note-against-note assignment.
Check first-species counterpoint errors in separate passes. Label every vertical interval, inspect successive fifths and octaves, then sing the upper line alone. With separate editable MIDI parts, you can audition a replacement note while preserving the cantus. If you use a counterpoint checker, compare its settings with your chosen method before accepting a warning or a clean result.
