Adam Birnbaum

Principles of Counterpoint
First Species 2-part (whole note against whole note)

(1) We begin with a pre-determined “Cantus Firmus” line against which we will write a
counter line, either above or below. The C.F. may never be altered in any way. It will have a
clearly defined tonal center and start and end with the root of that key.
(2) Only consonant intervals are permitted between voices (unison, major or minor 3rd,
perfect 5th, major or minor 6th, octave, major or minor 10th). Intervals of a 2nd, 4th, tritone
or 7th may not be used at any time.
(3) Each voice must maintain its own singable line with a defined start, climax and end
point. The climaxes in the two voices cannot coincide.
(4) Contrary motion between parts is better whenever possible.
(5) Parallel 5th or octaves are never permitted.
(6) 5th or octaves approached in parallel motion (so called “hidden parallels”) are also not
permitted.
(7) No more than 3 in a row of the same parallel interval type should be used.
(8) Repeated or tied notes are permissible but should be used sparingly. Too many will
create an uninteresting line.
(9) Unisons may only be used in the first or final measure.
(10)Exercise may begin with any perfect interval (unison, 5th or octave) but must end with
an octave or unison only.
(11) The penultimate measure will always consist of the 2nd scale degree and 7th scale
degree in order to voice-lead into the final consonance.
(12) The 2 parts may not criss cross each other at any point.
(13) Simultaneous leaps are not ideal and should be avoided if possible.
(14) Intervals greater than a 10th between the two voices should be avoided.
(15) Above all else, preserving the independence of each line trumps most other
considerations!

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