counterpoint First Species Counterpoint Feedback

Hi, I have just began writing first species counterpoint and want to get some feedback on it. I wrote four countermelodies for two upper cantus firmus and two lower. Any advice would be greatly appreciated

First Species Counterpoint.pdf

Hi @bhelloworld420, welcome to the forum! 

I did counterpoint exercises long ago so take what I say with a grain of salt. But I will try to make some comments. Hope it helps!

First Counterpoint: 
m.5~6: Nothing technically wrong here. You go to an octave and then a fifth in opposite directions. However, in this exercise, normally perfect intervals (octaves and fifths) are avoided or used rarely. Two perfect intervals in a row is something that normally is avoided (and some people might consider it wrong). Depending of who you ask, two perfect intervals in a row might even be considered a "wrong" movement. This counterpoint has great independence of the voices, though!

Second counterpoint: 

This one has more problems. In m.2 you have an interval of a seventh (dissonance not "allowed" in first species). In m.3 you go to an octave in similar direction. m.4 you move to another perfect interval (same problem as in first counterpoint exercise). Then, in the second half the intervals are technically correct but the bass is overly repetitive. The last five measures are only C-B-C-B-C. You should aim to avoid this kind of excessive repetition of same notes for making the melodies more varied. Also, you start with both voices quite high. Probably starting with the bass lower might allow you to have contrary motion at the beginning.  

Third counterpoint: 

Seems okay! You have two perfect intervals in measures 5 and 7. I would still avoid those, specially the octave. But this time they are not following each other, so it is better than in the first counterpoint.

Fourth counterpoint:

 Seems okay but maybe the movement of both voices is too similar overall. 

In my opinion, do not focus too much on whether sometimes something sounds better or worse, species counterpoint's main goal is not to make music. The important thing is that you are aware of things (that is the use of this exercises). For example, with the using of perfect intervals, it is not so much that they cannot be used. Rather, that, in real music, when in doubt, imperfect intervals almost always are more convenient, so getting used to using them and finding them becomes a helpful skill. Also, regardless of your solutions, be aware of them. If you use perfect interval, try to be aware where you used them and why. If you happen to end up with melodies with lack of independence, try to realize where you did that and why, etc. Using this or that interval is not as important as being aware of having used it.  

Good job!

8 hours ago, JorgeDavid said:

Hi @bhelloworld420, welcome to the forum! 

I did counterpoint exercises long ago so take what I say with a grain of salt. But I will try to make some comments. Hope it helps!

First Counterpoint: 
m.5~6: Nothing technically wrong here. You go to an octave and then a fifth in opposite directions. However, in this exercise, normally perfect intervals (octaves and fifths) are avoided or used rarely. Two perfect intervals in a row is something that normally is avoided (and some people might consider it wrong). Depending of who you ask, two perfect intervals in a row might even be considered a "wrong" movement. This counterpoint has great independence of the voices, though!

Second counterpoint: 

This one has more problems. In m.2 you have an interval of a seventh (dissonance not "allowed" in first species). In m.3 you go to an octave in similar direction. m.4 you move to another perfect interval (same problem as in first counterpoint exercise). Then, in the second half the intervals are technically correct but the bass is overly repetitive. The last five measures are only C-B-C-B-C. You should aim to avoid this kind of excessive repetition of same notes for making the melodies more varied. Also, you start with both voices quite high. Probably starting with the bass lower might allow you to have contrary motion at the beginning.  

Third counterpoint: 

Seems okay! You have two perfect intervals in measures 5 and 7. I would still avoid those, specially the octave. But this time they are not following each other, so it is better than in the first counterpoint.

Fourth counterpoint:

 Seems okay but maybe the movement of both voices is too similar overall. 

In my opinion, do not focus too much on whether sometimes something sounds better or worse, species counterpoint's main goal is not to make music. The important thing is that you are aware of things (that is the use of this exercises). For example, with the using of perfect intervals, it is not so much that they cannot be used. Rather, that, in real music, when in doubt, imperfect intervals almost always are more convenient, so getting used to using them and finding them becomes a helpful skill. Also, regardless of your solutions, be aware of them. If you use perfect interval, try to be aware where you used them and why. If you happen to end up with melodies with lack of independence, try to realize where you did that and why, etc. Using this or that interval is not as important as being aware of having used it.  

Good job!

 

Wow this is really detailed and helpful, thank you so much