A Guide on
Simple Counterpoint
in
40 Lessons

The purpose of this work is to address the need in the Oberlin Conservatory of Music for a textbook on Simple Counterpoint that includes a clear assignment of lessons and offers more practice than usual in combining species.

It is a detailed discussion on strict counterpoint, but strict in a limited way. In two-part counterpoint involving anything other than the first species in both parts, dissonances are allowed under specific conditions, and in three- and four-part writing, the unprepared seventh and ninth, as well as the six-four chord, are permitted in certain contexts.

While the illustrations are written in close score, it's still recommended that all exercises be written out in open score, as the movement of the different parts is more clearly visible this way.

The use of C-clefs is left up to the teacher's discretion.

A basic understanding of harmony is assumed, so nothing is mentioned about it.

The author wants to thank Professor A.E. Heacox for his support and guidance.

F.J. Lehmann.

Oberlin, Ohio, Jan. 6, 1907.

Counterpoint is the art of blending two or more melodies that each have their own distinct sound.

In simple counterpoint, all parts must stay in the same relative position to each other.

The Cantus Firmus is a specific melodic phrase that will be treated contrapuntally, meaning that one or more parts will be added above or below it.

The Counterpoint is any section besides the Cantus Firmus.

Intervals are harmonic or melodic.

A harmonic interval is the difference in pitch between two tones that are played at the same time.

A melodic interval is the difference in pitch between two notes played one after the other by the same voice. [Fig. 1.]

Harmonic intervals are split into consonances and dissonances.

Consonances are categorized as perfect or imperfect.

The perfect harmonies are Unison, Fifth, and Octave. [Fig. 2a.]

The imperfect consonances are the major and minor thirds and sixths. [Fig. 2b.]

All other intervals are clashes.

A diatonic progression is when both the name and pitch change. [Fig. 3a.]

A chromatic progression is one where the pitch shifts by a semitone, but the name stays the same. [Fig. 3b.]

Progressing from one chord to another is called harmonic progression; moving from one note to another is called melodic progression.

In melodic progressions, all major, minor, perfect, and diminished intervals are permitted except for the major and minor seventh. The minor seventh can, however, be used when the harmony remains unchanged (a). [Fig. 4.]

In counterpoint, there are five types or orders. When there is one note for each note of the cantus firmus, it's called the First Species (a); if there are two notes for each note of the cantus firmus, it's the Second Species (b); if there are four notes, it's the Third Species (c); if there are two syncopated notes, it's the Fourth Species (d); and a combination of these types is the Fifth Species, or Florid Counterpoint (e). [Fig. 5.]

Two-part counterpoint consists of a cantus firmus and a counterpoint. [Fig. 6.]

Although in two-part counterpoint we have to focus on intervals instead of harmonies, we should still consider the harmonic progressions that these intervals represent.

The exercises should start and end with tonic harmony. At the beginning, you can use unison, fifth, or octave, and at the end, unison or octave are allowed. [Fig. 7.]

After the first measure, it's better to use only imperfect consonances. However, perfect consonances can be used sparingly when they create a more pleasant counterpoint.

The unison can only be used in the first and last measures. [Fig. 7.]

All progressions must be diatonic, and parts shouldn’t cross.

The repetition of a note in a lower register should be avoided whenever possible. In a higher register, repeating a note up to three times in a row is acceptable.

Do not use more than three thirds or sixths in a row. [Fig. 8.]

Successive similar skips, except for the minor third (a), in one direction should be avoided. Successive skips of a fourth are fine when the tones are the fifths of the triads on I, IV, and vii°. The last tone should go back one degree (b). [Fig. 9.]

Do not move more than an octave in one direction in two skips. [Fig. 9c.]

Covered fifths and octaves, except from I to V or V to I, are not allowed. [Fig. 10.]

Both parts moving in opposite directions by a fifth or octave should be avoided in two-part writing. [Fig. 11.]

Avoid consecutive perfect intervals. [__A_TAG_PLACEHOLDER_0__]

The augmented fourth (tritone) is seen as a bad melodic interval by some experts, and its use between different parts in successive intervals is also discouraged. However, this rule only applies when the chords in which it occurs are in their fundamental position, as in Fig. 13a. This is evident because if one part leaps as shown at b, there’s no unpleasant effect.

Avoid using consecutive major thirds in major keys. In minor keys, they're fine. [Fig. 14.]

Use nearby voices in writing, and don't go beyond the range of a voice.

Modulation can be used in the exercises, but only to closely related keys; for example, in C, to G, F, A, E, or D.

At the end, the parts should move gradually to unison or octave. [Fig. 15a.]

A close as in Fig. 15b can be used from time to time. In this case, the leading tone is better in the upper part.

To each of the following fixed cantos, write two counterpoints above and two below.

All rules for the first type must be followed.

Two notes are written in relation to one of the main melodies, except in the last measure. [Fig. 18a.] In the second-to-last measure, the first type can sometimes be used. [Fig. 18b.]

Repetition of a note in any form except the first is not allowed. [Fig. 19.]

The counterpoint can start on the first or the second half of the measure, with a preference for the second half. If it starts on the first half, it must be a unison, fifth, or octave; if it starts on the second half, it can be any consonance. [Fig. 20.]

After the first measure, the space on the first beat should be an imperfect consonance, like in the first species, but you can occasionally use the fifth or octave.

In this and the upcoming lessons, all notes in the measure that don’t fit the harmony suggested by the first beat should be treated as dissonances. For example, notes that fit the implied harmony can be moved by a skip (a) or by stepwise progression (b), unless they clash with the cantus firmus; in that case, avoid using them. If they are foreign to it, whether they are consonant (c) with the C.F. or not (d), they should be treated as embellishments or passing tones. [7] [Fig. 21.]

The embellishment can be used like this: when above the main note, it can be a semitone (a) or a whole tone (b) away from it; and when below, a semitone (c). [Fig. 22.]

When the counterpoint is below the cantus firmus, the fifth of the chord needs special attention. It’s allowed on the weak beat when the lower note is treated as a harmonic passing tone.

An harmonic passing tone is the second of three notes that belong to the same chord. [Fig. 23a.] While the third note should be part of the chord that includes the fifth as a harmonic passing tone, the chord above it may change, as in Fig. 23b.

The fifth is allowed on the strong beat when it’s just an implied fifth (six-four chord); that is, the third and fifth are on the strong beat, and the root doesn’t come in until the second half of the measure. [Fig. 23c.]

The unison is allowed on the weak beat. [Fig. 24.]

Avoid broken-chord effects; that is, don’t play more than three notes from the same chord in a row. [Fig. 25.]

Avoid frequently skipping parts. [__A_TAG_PLACEHOLDER_0__]

Parts may cross occasionally, but they should return right away. [Fig. 27.]

Consecutive fifths or octaves happening on strong beats are not ideal; however, they're acceptable on weak beats as long as the second fifth or octave is approached in the opposite direction from the first. [Fig. 28.]

In a minor key, the sixth degree may sometimes be raised on the strong beat if there's a desire to move up to the raised seventh degree. [Fig. 29.]

In the next to last measure, both the supertonic and leading tone should be present. [Fig. 30.]

Three notes can be written to one of the cantus firmus, as in Fig. 31. This doesn’t need any new rules.

The rhythms in Fig. 32 are good. It will be noted that the rhythms of the first type can also be used.

To cantus firmus a, write two counterpoints above and two below in the first species.

To cantus firmus b, write two above and two below in the second species.

When writing second species in both parts, there is no cantus firmus used; both parts are original. One part starts on the first beat, while the other can start on either the first or second beat. [Fig. 35.]

The gap created by the two notes on the second beat should be a consonance or one of the following dissonances: the augmented fourth, the diminished fifth, the minor or diminished seventh when properly resolved, and the perfect fourth when approached in opposite motion.

All sounds that don't fit the harmony suggested on the first beat should be considered dissonances. [Fig. 36.]

The seventh or ninth of the implied harmony in a measure, when approached upward, can be used in either part, as long as it sounds good with the other part or meets the criteria of the exceptions. [Fig. 37.]

The passing major seventh and its root can show up on the weak beat, even when approached in similar motion like in Fig. 37a. The seventh should then be treated as a passing tone.

The rhythms in Fig. 38 are effective when composing second species in both parts. Those that have second species in just one part can also be utilized.

Writing the second species in both sections will, in this lesson, be limited to a mix of the first and second species, as in Fig. 39.

In this, do not use the second species for more than four measures in a row in one part. You may notice that the second species can sometimes be used in both parts. In future lessons, you'll have the chance to write it continuously in both parts.

Write two eight-bar phrases combining the first and second species. [Fig. 39.]

To cantus firmus a, write one counterpoint above and one below, three notes to the measure. [Fig. 31.]

To cantus firmus b, write one above and one below, in the second species.

In this species, four notes are played in counterpoint to each note of the cantus firmus. The counterpoint can start on the first, second, or fourth quarter, but the second quarter is the most common. [Fig. 42.]

The exercises should start and finish with tonic harmony.

When the counterpoint starts on the first quarter, it needs to create a perfect harmony with the cantus firmus. When it begins on the second or fourth quarter, any harmony can be used.

All previous rules should be followed unless exceptions are specified.

At least one of the first three quarter notes in a measure should be left unchanged. [Fig. 43.]

The last quarter of a measure is typically left note-by-note. If it’s approached by a skip or by a sequence of at least two quarter notes, it can be left by a skip in the opposite direction it came from. A skip of a third in the same direction is also acceptable when it follows a skip of a third. d. [Fig. 44.]

Parts may overlap occasionally.

The use of non-harmonic tones, like in Fig. 45, works well in both parts. At a, the passing tone skips a third to the other side of the adjacent chord tone instead of moving directly to it, and then it returns. The embellishment is handled the same way, but [13] it's most effective when the main tone is the leading tone, as in b. In both situations, the counterpoint should continue to move stepwise through the chord tone. [Fig. 45.]

The fifth, when in the lower part, can be used on any quarter except the first, as long as it's treated as a passing tone, meaning it should be approached and left by moving stepwise in one direction.

Consecutive fifths and octaves are not allowed when they occur on the accented beats of consecutive measures; between strong notes of consecutive measures that are no more than four quarters apart; and between a strong note of one measure and the first quarter of the next. [Fig. 47.]

Oblique motion to the unison is not good. It's allowed if it continues in the same direction through the unison. [Fig. 48.]

The unison can be used in any part of a measure except for the first quarter.

Frequent repetition of a figure, like in Fig. 49, is not effective.

The embellishment can be used either above or below, whether it's a semitone or a whole tone; however, when it's a whole tone below, it works best as the ninth of the implied chord. [Fig. 50.]

In the minor scale, the sixth and seventh degrees are raised both when going up and down when used in harmonies that include the leading tone as a chord tone. They remain the same both going up and down in harmonies that include the sixth degree of the scale as a chord tone. In other harmonies, they are only raised when going up.

The sixth or seventh degrees can be changed chromatically with just one note in between. [Fig. 51.]

Six notes can be written for one of the cantus firmus, like in Fig. 52.

The beats in __A_TAG_PLACEHOLDER_0__ are amazing.

To cantus firmus a, write three counterpoints above and three below, in the third species.

Write two eight-measure phrases, using second species continuously in both parts. [Fig. 34.]

The suggestions for writing second species in both parts still apply here, except that when both parts move by step, any interval can appear on the second and fourth beats, preferably a consonance. The third beat is handled the same way as the second half when writing the second species in both parts.

The augmented fourth, diminished fifth, and diminished seventh can be approached using similar motion. [Fig. 56.]

The augmented fourth that comes after the perfect fourth, like in Fig. 56a, is fine.

The minor seventh, as well as the major and minor ninth of a chord, can be used freely except in the first quarter, but must blend well with the other part. [Fig. 57.]

The first and third types can be combined, as in Fig. 58.

The second type can be used in one section and the third in another, as well as having six notes in one section and two in the other, or six in one and three in the other. All tones that sound at the same time must follow the guidelines for tones that appear on the weak beat from earlier lessons, where both sections have a type other than the first one. [Fig. 59.]

The rhythms in Fig. 60 are great and will inspire more.

To cantus firmus a, write one counterpoint above and one below, in the third species.

To cantus firmus b, write counterpoints in six notes, one above and one below. [Fig. 52.]

Write one eight-measure phrase, combining the first and third species. [Fig. 58.]

Write two eight-measure phrases using third species for both sections. [Fig. 55.]

This species is the same as the second, except that the last note of the measure is connected to the first note of the next, creating a syncopation. Like in the second species, the first note of the counterpoint should create a unison, octave, or fifth, and when the counterpoint starts on the second half, it can also be an imperfect consonance.

When the counterpoint starts in the first half, the second half is handled the same way as the second half of the following measures, explained in the next paragraph.

After the first measure, the second half should have a consonance (Fig. 63a), while the first half can either have a consonance (b) or a dissonance (c), with a preference for dissonance, which creates a suspension. This is the most desirable type of syncopation. If the first half has a dissonance, the counterpoint must move down—or up in retardation (d)—by one degree to reach an imperfect consonance (c). If the first half is a consonance, it can transition to another chord tone by skipping to it (e) or by moving stepwise (f). In the latter case, the second note is non-harmonic, so it should not be used to set up a syncopation unless it's done as in Fig. 63d (Retardation of the root in I₆).

When writing three notes to one in the fourth species, the suspension can resolve on the second beat (a) or the third (b). In the second case, the suspension jumps (c) to another chord tone before resolving. The resolution to the leading tone (d) is an important exception to this rule. [Fig. 64.]

The fifth can be used in the lower part if it prepares for a suspension (Fig. 65a). It can also be used in the lower part, like in Fig. 65b, as long as it resolves by jumping to the third of the chord.

In moving from the fifth to the root, or the other way around, do it in an upward direction in the lower part. However, when treating the fifth as a harmonic passing tone, you can approach it either by going up or down.

The retardation should only be used when it's prepared by the leading tone. It rises a half step when resolving. [Fig. 66.]

The following dissonant intervals can be used in the first half of the measure:—When the counterpoint is above, use the fourth and seventh as suspensions, and the second and fifth as retardations; and when it’s below, use the second as a suspension, and the fourth and seventh as retardations. [Fig. 67.]

Consecutive fifths on consecutive strong beats of the measure work well when one of the notes in the second fifth is prepared, like in Fig. 68.

These cadences are great:

Write one eight-measure phrase with two notes per measure in one part and six in the other; one with three notes in one and six in the other; and one with two notes in one part and four in the other. (Fig. 59.) When combining the species in this and upcoming lessons, the student can place any species in any part.

To the cantus firmus, write two counterpoints above and two below, in the fourth species.

The first and fourth species can be combined as in Fig. 71. Rules for writing anything besides the first species in both sections should be followed.

To cantus firmus a, write two counterpoints above and two below, using the fourth species.

To cantus firmus b, write two above and two below, three half notes per measure, with syncopations.

Write two eight-bar phrases, combining the first and fourth species.

All the previous rules for combining species still apply.

In combining the fourth species with different types than the first, you can use the following intervals on the first half of the measure, in addition to those mentioned in Lesson VI: When the counterpoint is below, use the fourth, fifth, and seventh in suspension, and the ninth in retardation; and when above, use the fifth in suspension, and the seventh in retardation. However, in every case where the part has something other than the fourth species, it must move to a different chord tone before resolving the suspension. [Fig. 73.]

The leading tone can be doubled as in Fig. 74.. In this case, the prepared leading tone jumps to a different chord tone, while the new leading tone stays in place.

The minor or diminished seventh, major or minor ninth, can be used to set up a suspension in either part, as long as it is approached by a skip moving upward and is in harmony with the other part, or is one of the allowed dissonances. [Fig. 75.]

The fourth species can be combined with the second or third species, and two or three syncopated notes can be written in one part while six are in the other. [Fig. 76.]

To the cantus firmus, write one counterpoint above and one below, in the fourth species.

Write one eight-measure phrase each for the following combinations: the fourth species with the second; the fourth with the third; two notes syncopated against six notes; and three notes syncopated against six notes. Write some in major and some in minor. [Fig. 76.]

Florid counterpoint is a combination of the second, third, and fourth species.

In addition to these species, eighth notes can be used in pairs on the second and fourth beats of the measure. Both notes should be played in a stepwise manner, except that the first note may be approached by skipping. [Fig. 79.]

Not more than one and a half measures of any one type should be used continuously in one area. [Fig. 80.]

In using quarter notes, it's important to be careful. They can be used in the first half when they're followed by quarter notes, when the whole measure is filled, or when they come before a half note that prepares for a suspension. In the second half, they are always appropriate. [Fig. 81.]

For now, the suspension shouldn't be less than a half-note or its rhythmic equivalent in the decorative resolution.

In this species, the suspension might resolve in an ornamental way; that is, it might include some notes added between the suspension and its resolution. The relative positions of the suspension and its resolution must stay the same as in the standard resolution. [Fig. 82.]

When the suspension is released after a leap, the note that follows should be harmonious with the other part (b). When using eighth notes, as seen at a, they need to be approached and left by steps.

The suspension, instead of being held as a half-note, can be repeated on the second quarter, like at c. In this situation, it's best to move stepwise through to the tone of resolution.

At d the resolution, instead of showing up in the second half, it appears in the quarters on both sides. This is great.

The decorative resolution can be used in either section.

Use the suspension as needed.

The solutions should be musical and need to be written repeatedly until they're achieved.

All rhythms of the second, third, and fourth types, or any combination of these, may be used.

To sustain firm notes a and b, write two counterpoints above and two below, in the fifth species.

When elaborate counterpoint is mixed with other types besides first species, a dotted half-note followed by a quarter note (a), or two eighth notes (b), works well. Additionally, a rhythmic pattern, like in c, where a half-note spans the second and third beats, can also be utilized. [25] [Fig. 84.]

Write one eight-measure phrase for each of the following combinations: the fifth species with the second; the fifth with the third; and the fifth with the fourth. Also, write two eight-measure phrases with the fifth species in both parts. [Fig. 85.]

Regard all rules for two-part counterpoint, unless stated otherwise.

If possible, each measure should have a complete chord. When it’s necessary to double an interval in the first species, it’s best to double the root. The third should only be doubled if it results in a noticeably smoother melodic progression; and when both thirds are in the outer parts, each should be approached and departed from stepwise in one direction (Fig. 87). Doubling the fifth is, of course, not possible, since it requires omitting the third.

All triads can be used in their first inversion.

Diminished and augmented triads, however, work best in their first inversion.

The six-four chord can be used at the end as the cadencing tonic six-four chord. Avoid approaching the root and fifth by moving in similar motion, like at b. [Fig. 88.]

The dominant seventh can be used in any position except its second inversion, with the fifth left out. The seventh doesn't need any preparation. It's best to wait to use other seventh chords until second species and beyond.

If possible, make the chord in the first measure sound full. The second to last chord should also be full, unless a form of V or V₇ is used. [Fig. 89.]

Consecutive major thirds can be used when there are three or more parts involved. [Fig. 90.]

A note can now be restated in the lowest part when it becomes the seventh of a dominant seventh chord. [Fig. 91.]

In writing, use soprano, alto, and tenor, or alto, tenor, and bass; and don't separate the upper parts by more than an octave. For one or two chords, they may (to improve voice-leading) separate by a tenth.

All hidden fifths and octaves are bad, except between I and V and V and I. [Fig. 92a, b.]

The perfect fifth after the diminished fifth is effective when played stepwise upward in the higher parts. [Fig. 92c.]

All harmonies use cadences well.

Unless stated otherwise, place the cantus firmus in any voice, but avoid using it continuously in the same voice.

To create cantus firmus a and b, write the first species in all sections. Write each one three times, placing the cantus firmus in a different part each time. This requires transposing the cantus firmus when arranging it in the other parts.

The second species is written in one section and the first in the other two.

All suggestions for the second species in two-part counterpoint should be followed, unless stated otherwise. Pay special attention to the ones about consecutive perfect intervals.

The fifth, when played in the lowest voice, should be used like in two-part counterpoint, except when used in V⁴₃ or the ending tonic six-four chord.

The V⁴₃ chord can be played on the weak beat, which means you should leave out the third. [Fig. 95a.]

The third can be left out (b), or repeated twice (c), on the weak beat in this and the following types. [Fig. 95.]

The minor or diminished seventh can be approached by skipping upward on the weak beat in any part. This usually means leaving out another chord member on the weak beat.

The major or minor ninth can also be used similarly, as long as it's in the higher parts and at least a ninth above the root. [Fig. 96.]

The move from vii°₆ to V in root position or any inversion in the same measure works well. [Fig. 97.] Use b and c only when using something other than first species in two or more parts.

Each measure should generally include a complete chord. If it’s not complete on the first beat, add the missing interval on the second. [Fig. 98.]

The rhythms in Fig. 99 are effective and will inspire more. The use of the fourth species is allowed as seen at a. A note can be repeated in the final cadence in all species as shown at b.

To cantus firmus a, write the first species in all parts, as previously directed.

To cantus firmus b, write the second species in one part. Write three times, alternating the cantus firmus and counterpoint so that each appears in each part in turn.

The suggestions for second species in both parts, in two-part counterpoint, also apply to the two parts that have the second species in three-part counterpoint.

Accidental harmonies sometimes show up on the weak beat. All notes in this accidental harmony that don't belong to the chord on the strong beat must be considered dissonances. This should be taken into account whenever two or more parts are different from the first species. [Fig. 102.]

At Fig. 102a, the accidental harmony f-a-c falls on the weak beat. The f and a, since they don't belong to the chord c-e-g on the strong beat, are properly seen as dissonances. At b, the f and a are skipped over, which is not allowed.

The second species can be written continuously throughout; the tones that show up on the weak beats must be harmonically connected to each other, and those that are outside of the chord on the strong beat should be handled as dissonances. [Fig. 103.]

The first and second species can be combined, like in Fig. 104.

The rhythms in Fig. 105 are nice, and will inspire more. You can also use those with first species in all parts.

To cantus firmus a, write a second species counterpoint in one part. Create three settings, as outlined in the previous lesson.

Write two eight-measure phrases that combine the first and second species in all parts.

To cantus firmus b, write counterpoints in the second species in the other two parts. Create two variations, placing the cantus firmus in different parts.

The tips for third species in two-part counterpoint, as well as the guidelines for writing second species in three-part counterpoint, also apply when composing third species in three-part counterpoint.

The rhythms at Fig. 108 are great and will imply others.

To cantus firmus a, write third species in one part. Create three settings as instructed before.

To cantus firmus b, write the second species in two parts, as directed earlier.

Write one eight-measure phrase, using second species in all voices.

Previous suggestions when two or more parts are in a species other than the first apply here.

In using the ninth of a chord, it's best to keep it at least a seventh away from the third and a ninth above the root, except for the dominant ninth in minor keys, where it can be just an augmented second apart ([b]). [Fig. 111.]

In writing the third species in all parts, notes that appear at the same time should be harmonically related. Treat all tones that are outside the chord in the first quarter as dissonances.

The beats in __A_TAG_PLACEHOLDER_0__ are awesome.

To cantus firmus a, write third species in one part, as previously instructed.

To cantus firmus b write third species in two parts, as in Fig. 110b. Write two versions, switching the cantus firmus around.

Write one eight-measure phrase, mixing first and third species as in Fig. 110a.

To the cantus firmus, write the third species in one part, as previously instructed.

Write one eight-measure phrase that combines first and third species; also, create one that mixes first, second, and third. [Fig. 114.]

Write one eight-measure phrase, using third species in all voices. [Fig. 110c.]

When the syncopation acts as a suspension or delay, it is handled the same way as in harmony.

The retardation should always be prepared by the leading tone.

When the syncopated note is part of the harmony of the measure, it can be left by skipping or moving stepwise. [Fig. 117.]

The third can be left out on the strong beat in this type, as long as the part with the fourth species jumps to the missing third, like at Fig. 117a.

Consecutive fifths, but not octaves, are fixed by the suspension. Whenever they appear, don’t use the note of resolution as [38] preparation for a suspension, or carry it over into the next measure (a), since it is actually the passing seventh, which doesn’t work well for either of the above, except in a sequence as shown at b. [Fig. 118.]

The seventh or ninth of a chord, except for the major seventh, can be used to set up a suspension when approached by skipping upward, as seen in Fig. 119.

This species can also be written in triple rhythm. [Fig. 120.]

The rhythms in Fig. 121 are good, along with those of the second type.

To cantus firmus a write fourth species in one part. Write three settings, as usual.

To cantus firmus b, write the fourth species in one part in triple rhythm. Write three arrangements, as mentioned above.

To cantus firmus b, write the second species in one voice and the third in the other. [Fig. 122.]

Write two eight-measure phrases, using the fourth species mixed in all parts. [Fig. 124a.]

To cantus firmus a, write in the second species for one part and the fourth for the other. [Fig. 124b.]

To cantus firmus b, write third species in one part and fourth in the other. [Fig. 124c.]

No additional suggestions beyond those already provided for two- and three-part counterpoint are needed for this type.

To confirm a and b, write the fifth species in one part. Write each one three times, as you usually do.

To cantus firmus a, write the second species in one part and the fifth in the other. [Fig. 128a.]

To cantus firmus b, write third species in one part and fifth in the other. [b.]

To cantus firmus c, write fourth species in one part and fifth in the other. [c].

To cantus firmus d write the fifth species in two parts. [d.]

Write one eight-measure phrase for each of the following combinations: (1) 2nd, 3rd, and 4th species (Fig. 130a); (2) 2nd, 3rd, and 5th species (b); (3) 3rd, 5th, and 5th species (c); (4) 2nd, 4th, and 5th species (d); (5) 4th, 5th, and 5th species (e).

Write five eight-measure phrases using the fifth species in all parts, incorporating imitation at the start like in Fig. 131.. The imitation can be relative and should last for three or four notes. It's also a good idea for one part to imitate a notable melodic figure from another part right after it plays.

No new suggestions are needed, except for the following: All covered fifths and octaves allowed in harmony are accepted here. When the cantus firmus is in the lowest part and the choice of the second to last chord is V⁴₃ or vii°₆, use the latter, as in Fig. 133.

To canti firmi a and b, write the first species in the other parts. Write each one four times, placing the cantus firmus in each part in rotation.

To cantus firmus a, write the first species in all parts, just like in the previous lesson.

To cantus firmus b, write the second species in one part. Write it four times, and alternate with each version, so that both the cantus firmus and the second species appear in each part. [Fig. 135.]

To cantus firmus a, write second species in one part as directed before.

To cantus firmus b, write the first and second species mixed in the other three parts. [Fig. 137a.]

To cantus firmus c, write the third species in one part, as instructed for the second species (b).

To cantus firmus a, write the second species in two parts and the first in the others. Write it twice, swapping the parts around. [Fig. 139a.]

To cantus firmus b, write third species in one part as previously directed.

To cantus firmus c, write third species mixed in the other three parts, as at Fig. 139b.

To cantus firmus a, write the first, second, and third species in the other three parts. Write twice, switching the parts about [Fig. 141a.]

To cantus firmus b, write in fourth species in one part, as explained in the earlier lessons. [Fig. 141b.]

To write third species mixed in the other three parts of the cantus firmus c. [Fig. 139b.]

To cantus firmus a, write the fourth species in one part, just like usual.

To cantus firmus b, write the first, second, and fourth species in the other three parts. [Fig. 143a.]

To cantus firmus c, write the first, third, and fourth species in the other three parts. [Fig. 143b.]

To cantus firmus c, write fourth species mixed in the other parts. [Fig. 143c.]

To confirm a and b, write the fifth species in one part, as before.

To the cantus firmus, write the fifth species in two parts. Do this four times, changing the cantus firmus for each part. [Fig. 147a.]

Write one eight-measure phrase mixing the second, third, and fourth species (b). Also, write one exercise combining the first, second, third, and fourth species (c).

To the cantus firmus, write the fifth species in all the other parts. [Fig. 149a.]

Write four eight-measure phrases using the fifth species in all parts. [Fig. 149b.]

Write six eight-measure phrases, using the fifth species in all the parts. Let the parts start one after the other in imitation. [Fig. 151.]

Thus far, all the notes in the measure that don't fit the harmony on the first beat were considered dissonances. Now, the cantus firmus can be harmonized freely, with the only rule being that any note that doesn't belong to the chord it starts with must be treated as a dissonance. [Fig. 152.]

It doesn't have to be that every part is overly elaborate, but the overall impact of the parts together should be. This applies from this point onward through the end of these lessons.

The suspension can now be a quarter note or its rhythmic equivalent. It occurs on the first (a) or third (b) quarter of the measure, with the resolution following on the next quarter. The preparation should last as long as, or longer than, the suspension. [Fig. 153.]

The eighth note, as shown in Fig. 154a, is effective. It should only be used on the second half of a weak beat and should be preceded by a dotted quarter note. You can use sixteenth notes instead of the eighth note, but they should be approached and left in a step-wise manner. [Fig. 154b.]

The first species can be used sometimes during an exercise.

Use a lot of imitation.

When more than one line of a choir is used, you can handle the other parts by having them continue during the holds, like at a, or by letting them pause, like at b. [Fig. 155.]

When the movement keeps going instead of staying still, you need to add a full measure where the hold was. [Fig. 155 and Fig. 159.]

The note under the hold can be extended for an extra measure, or it can pause and then come back in. All that’s needed is for it to start after one measure has passed, meaning that if the line ends on the accent, the next line starts on the weak beat of the following measure, and if it ends on the weak beat, then it starts on the accent of the next measure.

The gap at any hold except the last one in a choir can be either a perfect (a) or an imperfect consonance (b). [Fig. 156.]

Modulation often happens at the holds. If that’s the case, make it clear.

In this lesson and the ones that follow, set the cantus firmus in any part, and transpose if needed.

To cantus firmus b, write two counterpoints above and two below.

To cantus firmus a, write one part above and one below, with both staying at the hold. Also do the same with the counterpoint continuing at the hold. [Fig. 155a, b.]

When writing in three or more sections, it's helpful to let a section take a break now and then, and when it comes back, have it mimic one of the other sections. [Fig. 158.]

To cantus firmus a, write two counterpoints above and two below in two-part counterpoint.

Write two original eight-bar phrases in two-part counterpoint.

To write a cantus firmus b example in three-part counterpoint with ongoing movement at the hold. [Fig. 159.]

To canti firmi a and b, write two parts. Write each three times, placing the cantus firmus in all parts in rotation. Write one of the solutions for the choral with continuous movement at the end.

Write two eight-measure phrases and one sixteen-measure phrase of original counterpoint in three parts.

To the cantus firmus, add three parts.

Write two sixteen-measure phrases of original four-part counterpoint, one in major and one in minor.

In this lesson and the ones that follow, some of the exercises will have the parts start one after the other in imitation. [Fig. 151.]

Write two eight-measure phrases and one sixteen-measure phrase of original four-part counterpoint.

Write two sixteen-bar phrases of original four-part counterpoint.

Write an original exercise in four-part counterpoint, extended to thirty-two measures.