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What intervals can you use in first species counterpoint?

What intervals can you use in first species counterpoint?

The interval between the cantus and counterpoint at any moment should not exceed a perfect twelfth (octave plus fifth). In general, try to keep the two lines within an octave where possible, and only exceed a tenth in “emergencies,” and only briefly (one or two notes).

What intervals are not allowed in first species counterpoint?

You cannot use any interval more than three times in a row. Try to use multiple parallel thirds or sixths in a row (though only up to three, as stated in rule 5). Do not move both parts in the same direction by skip. Avoid dissonant intervals 2nds, 7ths, augmented or diminished intervals, and (often) perfect 4ths.

What are dissonant intervals in counterpoint?

A pitch is ‘dissonant’ if it forms an unstable interval with other pitches. Stable or consonant intervals are the octave, fifth, thirds and sixths. Unstable or dissonant intervals are the others: seconds, sevenths, and particularly the augmented 4th and diminished 5th.

What is 4th species counterpoint?

In fourth-species counterpoint, the counterpoint line and cantus firmus both move once per bar, but they are rhythmically offset from each other by a half note. The counterpoint line will be notated in half notes, with each weak-beat half note tied across the bar line to the following strong beat.

What are the rules of counterpoint?

Counterpoint Rules

  • The interval between the given note and the note in your counter-melody should be consonant (major/minor 3rd or 6th, perfect unison, 5th, or octave, or a compound form).
  • If the counter-melody is above the given melody, then the last note of the counter-melody should be in the tonic chord.

What are dissonant intervals?

Dissonance is a combination of notes that sound unpleasant or harsh. Dissonant interval examples are major and minor seconds, tritone, and major and minor sevenths. The consonant intervals are considered the perfect unison, octave, fifth, fourth and major and minor third and sixth, and their compound forms.

How do you end the fourth species counterpoint?

Ending a fourth-species counterpoint The cantus firmus must end with re–do. Do not use a cantus that ends with ti–do. The counterpoint will end with a dissonant suspension. The penultimate bar will contain do–ti, and the final bar will contain a whole note do.

Is a sixth dissonant?

The major second, third and sixth, as well as the minor third, sixth and seventh are considered to be imperfect consonances. The perfect fourth is dissonant in some contexts but consonant in others (see below).