The 28 Commandments
of 1st Species Counterpoint
General considerations
1. Begin
and end on tonic (counterpoints above cantus firmus may begin
on dominant)
2. Approach
final note by step in contrasting motion to cantus firmus
3. Approach
penultimate note (next to last) by step or small leap (no larger
than a third)
4. Unique
climax (high point must occur only once in melody)
5. Climax
should not come at the beginning or end of the line
6. Range
must fit within vocal range (generally no more than a 10th)
Linear
7. Stepwise
(conjunct) motion should predominate
8. Avoid
chromatic half-steps
9. Avoid
repetitions (once per melody is acceptable)
10. Change
directions several times
11. Avoid
more than five consecutive notes in the same direction
Leaps
12. Avoid
leaps larger than an octave
13. Avoid
dissonant leaps (7ths, all augmented and diminished intervals)
14. Avoid
outlining dissonant intervals (boundaries of motion in same direction)
15. Leaps
larger than a third should be followed by stepwise motion in the
opposite direction
16. Consecutive leaps should be used rarely and should outline a
major or minor triad
Intervals
17. Only consonances are allowed (PP, m3, M3, P5, m6, M6, P8, m10,
M10)
18. Begin counterpoints above with a PP, P5 or P8; below with a
P8
19. End counterpoints above with P8 (occasionally P1); below with
a P8
20. Unisons may only occur at the beginning and end of piece
21. Imperfect consonances (3rds, 6ths, 10ths) should predominate
(except at beginning and end, which must be perfect intervals)
Motion
22. Contrary motion should predominate, but variety is important
23. No consecutive (two in a row) unisons, 5ths, or octaves via
any motion type
24. No more than three parallel 3rds, 6ths, or 10ths in direct succession
25. Avoid simultaneous leaps (if one voice leaps, the other should
move stepwise)
26. The climaxes of the two lines should not occur simultaneously
27. No "overlapping" (note in lower voice is higher than
previous note in upper voice--or vice versa)
28. Do not cross voices (for now)
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