Introduction to Two-Part Counterpoint
Species counterpoint is a step-by-step process for creating music with two or more independent melodic lines, known as polyphony. The approach has been used as a teaching tool since the Renaissance (ca. 1400-1600).
Steps to Writing Two-Part Counterpoint
1. Bass line
First create a bass line that implies a functional harmonic progression.
2. 1:1 counterpoint
In 1:1 counterpoint, an independent upper voice occurs against each note fixed in the lower voice, adhering to the original harmonic design. Contrary, oblique, similar, and parallel motion are used, and repeated notes are avoided.
Acceptable consonant intervals are P8, P5, M3, m3, M6, and m6, as well as the A4, d5, and m7 dissonant notes of the V7 chord if properly resolved. The only acceptable parallels are 3rds and 6ths, but are used sparingly to maintain the independence of voices.
1:1 counterpoint using the initial bass line:
3. 2:1 counterpoint
In 2:1 counterpoint, the upper voice produces two notes against the bass, following the original harmonic design. The use of nonharmonic tones and arpeggiated chord tones is acceptable. A leap of greater than a 3rd is typically followed by stepwise movement in the opposite direction. At this stage, do not leap to dissonances.
2:1 counterpoint using the initial bass line:
2:1 counterpoint can occur in the lower voice. The original harmonic structure is maintained. The use of nonharmonic tones and arpeggiated chord tones is acceptable.
2:1 counterpoint in the lower voice using the soprano line from above:
4. 3:1 counterpoint
In 3:1 counterpoint, three notes occur against every one note in the opposite voice. Arpeggiated tones from the original harmonic design are used along with nonharmonic tones. Dissonances are approached and left by step (PT, NT).
3:1 counterpoint using the soprano line from above:
5. 4:1 counterpoint
In 4:1 counterpoint, four notes occur against every one note in the opposite voice. Arpeggiated tones are used to imply the original harmonic design. Care is taken to balance the contour of the melodic line.
4:1 counterpoint using the initial bass line:
6. Florid counterpoint
The final step is to divide the moving parts between both voices to create two free-flowing, florid, independent lines. The two voices emphasize the horizontal aspects of the original harmonic design.
Florid counterpoint based on the initial bass line:
For a superb example of counterpoint using the above bass line, see J.S. Bach’s 14 Canons, BWV 1087.
Practice
Design a short bass line using a diatonic chord progression. Write original 1:1, 2:1, 3:1, 4:1, and florid counterpoint above and below the bass line, as shown in the examples above.
The Harmonic Framework of Counterpoint
When analyzing contrapuntal examples, first consider the underlying harmonic progression.
In the example below, the upper line shows the harmonic framework of the counterpoint based on a standard chord progression. Using that framework, Rameau adds nonharmonic tones to create two independent horizontal melodic lines.
In the two-part Bach example, the large leaps create three-voice chords that imply four-part harmony. Baroque composers often employ this technique.
Practice
Write original melodies against the Rameau “Menuet” and Bach “Little Prelude” bass lines.
Imitation
Imitative counterpoint is the height of polyphony and involves two or more voices entering in a canon-like (canonic or fugal) manner. The greatest examples of fugal composition are found in the inventions and fugues of J.S. Bach.
Also see the canons in the Diatonic Musicianship and Chromatic Musicianship sections.
Excellent examples of two-part free and imitative counterpoint can be found in the Baroque dances and preludes of J.S. Bach and Handel.
Practice