Fux First Species Counterpoint Help

Hello I have recently started to work thorough J. Fux’s Gradus ad Parnassum. I have just completed the first chapter on species one counterpoint, and believe I have understood the majority of it. But there are just a couple of questions I have regarding the text that any help for would be gratefully appreciated.

The first is in Fig. 21 on p.39 (Using the 1965 Alfred Mann translation) The student (Joseph) is given a cantus firmus in the mixolydain mode starting on G. In the 11^thBar he sharpens the F to and F#. When asked as to why he did this he says:

I wanted to write a sixth here. But when I studies singing I learned that Fa leads down and mi leads up. Since the progression moves upwards from the sixth into a third, I have used a sharp in order to emphasize the tendency to ascend. Besides, The F in the eleventh bar would result in a harsh relation with the F# in the thirteenth bar.

This answer seems to please his teacher (Aloys). What is meant by far leads down and mi leads up?

I understand the need for the F# in the thirteenth bar which creates a Minor third with the leading tone in the upper part, resulting in smooth cadence back to the tonic. But why is a sharp needed in other bars as I thought taking the melody out of he mode was strictly forbidden according to Fux’s rules? If all the F’s are made # would this then just be G major?

My second question in relating to Fig. 15 (p.37) In bar 10 to 11 Here 'Joespeth' has brought together both voices from a 10^th into an 8va leading them stepwise, the upper part down and the lower up. Aloys refers to this, as Battuta It is apparently wrong why? I thought it was acceptable to move from an imperfect to perfect in contrary motion.

Any help on these two questions would be much appreciated. Thank you

I don't have the book but what I think he's saying is that the he wanted the melody to ascend, so he sharpened the F because the F# "wants" to go up, specifically, to G (although it doesn't have to). Now if it were just an F, the note would "want" to go down, specifically, to E (doesn't have to). Those are the "natural" resolutions of the notes. Take this with a grain of salt, I don't have the book and have only skimmed through it a few times before. You don't have to worry about taking the melody out of the mode since music nowadays is pretty much all tonal, as opposed to modal .

Thank you for your reply Sparky. Your message makes sense to me. I know the book is a little out of date in a good few areas. I just want to have a basic grasp of the concepts. but like you say I shall be taking a lot with a grain of salt. Thanks again

Besides, The F in the eleventh bar would result in a harsh relation with the F# in the thirteenth bar.

The F in the 11th bar is in harsh relation with the F# in the 13th bar because one intervening note (I guess it's the G, since you've said it goes up) is simply not enough for the ears to forget. Moreover, F is a "fa" note while F# is a "mi" note producing the "mi against fa" effect, which considered bad in that time, both melodically and harmonically.

So this is bad:

F G F# G

If you lead F (fa) down, the situation is better, but still bad:

F E F# G

The solution of the student is ok, but still produces a poor melody I think:

F# G F# G

Try singing(!) your countermelody and you will know if it is melodically bad or good.

About the 10th->8ve, it's simply a false cadence, I think, because it mimics a 3rd->unison cadence at an octave distance. You can avoid using it in 2 parts. The best to approach a 8ve is oblique motion or contrary motion from the 6th.

Máté

Thank you very much Matthaeus. Your post has helped clear things up for me. I feel like I can move on to the next species now. I shall also take note of your suggestion to sing my countermelody's to make the sound good.

I am looking forward to working through the book then perhaps moving on to a more modern text.

Thank you once again to the both of you your help is much appreciated.