![]() Contrary motion in 1st species counterpointĬontrary motion is the type of movement you should strive to use the most. When I talk about motion in 1st species counterpoint, it’s referring to moving from one interval to the next interval. There are three types of motion you must understand: direct, contrary, oblique. The three motions of counterpoint – oblique, contrary, and direct. In 1st species counterpoint the dissonant intervals are: If you write too many perfect consonances in a row the music will sound empty, and you will most likely be breaking some rule of counterpoint. In classical counterpoint, you should employ more imperfect consonances than perfect. Hopefully, that short break down helps you imagine why we perceive certain intervals as consonant and dissonant. In this case we get the ratio of 12 to 17 – a much more complex number than 2/3. This generates a lot more clashing and takes longer for the pitches to sync up than it does for the C and G combination. This time the C must complete 12 periods and the F# will complete 17 in the same amount of time and then they line up again. When C and F# are sounded together we get a tritone (augmented 4th) and it sounds rather harsh. In 1st species counterpoint the imperfect intervals are:ĭissonant wave patterns do not fit so nicely. This makes sense because the E is higher in pitch and has a higher frequency which means it moves faster than the C. In the time it takes C to complete 4 vibrations or periods, the E has completed 5. Imperfect intervals create wave patterns that are more complex than the perfect intervals but not as complex as the dissonant ones. In the time it takes C to complete 2 periods G has completed 3 periods and the waves line up again. Middle C is 261.63 hertz and the next G above middle C is 392 which lets us visualize their wave patterns interacting. Quick acoustical physics refresher: 1 hertz = 1 vibration per second. The wave patterns of these two pitches fit into each other rather nicely – meaning their peaks and troughs match often and consistently. For example, when a C and a G are sounded together, we get a perfect 5th – a consonance. Why are these considered perfect? It has to do with the complexity of wave patterns when these intervals are sounded. In 1st species counterpoint the perfect intervals are: This has to do with how the sound waves from each pitch are interacting with each other. Dissonance typically sounds harsh where as consonance sounds smooth. ![]() Imperfect intervals are more dissonant than the perfect intervals. Prerequisites before writing: What are perfect and imperfect intervals in counterpointĬonsonance refers to the intervals between two notes that are deemed “pleasant” or consonant. I believe it offers a method to explore music creation in a way improvisation and other compositional methods may not excel at.īe sure to download this free counterpoint workbook! ![]() Counterpoint can be used as a way to generate ideas, or work to develop a piece. Whether you are composing in a classical style or writing pop songs, counterpoint can be an incredible tool to have ready to use. Learning counterpoint is a fantastic way to hear how intervals interact vertically and how to handle melodic lines horizontally. It is a methodical way to build a second part from a melody. 1st species counterpoint is a great way to begin to understand and manage two voices. Why you should learn 1st species counterpointĬounterpoint is the foundation of Western music polyphony (multiple melodic lines of music). ![]() I also strive to bring a deeper understanding around some of the “whys” of this practice. In this article you will learn how to write a 1st species counterpoint in 6 steps. ![]()
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