Second Species Counterpoint Rules Tutorial | Music Composition

Fourth species counterpoint introduces suspensions, which are dissonances created by rhythmically displacing consonances (typically parallel thirds) so that the dissonance occurs on the strong beat and resolves by descending by step on the weak beat of the following measure. The fundamental suspensions are 7-6 and 4-3, which resolve to imperfect consonances. Consonances must appear on weak beats while dissonances appear on strong beats. The species requires a 1:1 ratio between counterpoint and cantus firmus, and exercises should begin on the weak beat and end with a cadence 6-8. When the cantus firmus is in the lower voice, only 2-3 and 9-10 suspensions work effectively.

In fourth species counterpoint, dissonances like seconds resolve to thirds, and seventh intervals resolve to sixths or thirds, with cadential formulas like second-third-second-third-unison being characteristic of Renaissance music; while strict rules exist (such as avoiding parallel fifths), exceptions apply when dissonances occur on upbeats rather than downbeats, and ornamentation through diminution can create more vivid movement while maintaining the same musical substance.

The fourth species of counterpoint, used by masters like Bach and Palestrina, introduces suspensions—a dissonance that begins as a consonance, creates tension, and resolves downward by step to release that tension. This technique involves three phases: preparation (the note enters as consonance), suspension (the note becomes dissonant in relation to the cantus firmus), and resolution (the note resolves downward to a consonance). Suspensions create dramatic tension and emotional depth in music, transforming simple note relationships into complex harmonic expressions that evoke feelings of anticipation and release.

Species Counterpoint is a systematic five-level method for learning polyphonic composition, developed by Joseph Fux in 1725. The framework progresses from simple to complex: First species teaches note-against-note consonance; Second species introduces two notes against one with controlled dissonance; Third species expands to four notes against one with strategic dissonance placement; Fourth species develops suspension techniques with specific resolution rules; Fifth species synthesizes all techniques with ornamentation and syncopation. Each species builds upon previous skills, enabling students to compose free counterpoint after completing the sequence.

Counterpoint is a musical composition technique where two or more melodic voices are composed simultaneously, considering both the melodic profile of each voice and the intervallic/harmonic quality generated by their superposition. The given melody is called 'cantus firmus' (fixed song), and the student's task is to compose a complementary melody. There are five species of counterpoint: First species uses one note per cantus firmus note (semibreves); Second species uses two notes per cantus firmus note; Third species uses four notes per cantus firmus note; Fourth species introduces suspensions and resolutions; Fifth species combines all previous species, allowing for creative application. Mastery of intervals is essential before studying counterpoint, as it provides excellent training for piano and keyboard and ensures better melodic results.

Fifth species, called florid counterpoint, combines all species elements: whole notes, half notes, quarter notes, dotted quarter notes, dotted half notes, suspensions, and eighth note embellishments. This represents free writing where composers can use all these elements. Suspensions make harmony richer and sound more like actual music from the common practice era. Tritone leaps are acceptable in free counterpoint, especially in bass voices where other voices move quickly. Seventh chords can be properly resolved and approached, with some measures showing harmonic ambiguity where notes initially suggest one chord but resolve to a different chord.

The fifth species of counterpoint combines all elements from the previous four species (first species consonances, second species passing notes, third species passing notes and passing tones, fourth species suspensions) to create coherent, unified musical lines. The rhythmic repertoire includes blancas (half notes), negras (quarter notes), and blancas ligadas (ligated half notes), while avoiding redondas (whole notes). Key principles include: longer values on strong beats and shorter values on weak beats, avoiding parallel octaves and fifths, and using corcheas (eighth notes) only in pairs by step in weak fractions of the measure. The goal is to create vocal lines that flow naturally while incorporating rhythmic variety.

Fux's Gradus ad Parnassum allows an exception to the rule about resolving suspensions by step: an intervening note called an 'embellishing tone' can be included in fifth species between the dissonance and its resolution. In Beethoven's example, the suspended 7th (C) resolves down by step to B-flat, but this resolution is delayed by an embellishing tone. This delay forms exactly the interval pattern of descending fifth followed by ascending fourth that Beethoven uses for his theme.

This comprehensive section covers the five species of counterpoint as a didactic system for learning contrapuntal rules. The first species uses one note against each note of the cantus firmus. The second species doubles this to two notes per cantus firmus note. The third species increases to four notes per cantus firmus note, creating more fluid melodic lines. The fourth species introduces syncopation and suspension techniques. The fifth species combines all previous techniques into florid counterpoint. The instructor demonstrates each species with examples from Fux's textbook, showing how complexity increases while maintaining contrapuntal integrity.

Counterpoint is a compositional technique that creates polyphony, where multiple independent voices sound simultaneously to form harmony. The study of counterpoint is divided into five species: First species (one note against one note) uses only consonances (thirds, sixths, octaves) with stepwise motion or leaps; Second species (one note against two notes) introduces dissonances on the second beat as passing tones; Third species (one note against three or four notes) allows more flexibility with consonances and dissonances; Fourth species (one note against two notes offset by a beat) requires dissonances to resolve by step; Fifth species (florid counterpoint) combines all previous species for free composition. Key rules include avoiding parallel fifths and octaves, and maintaining voice independence through contrary motion.

A three-voice polyphonic Mass setting is a sacred choral composition that distributes the musical lines equally among three vocal parts (SSA or TTB), creating intricate harmonic textures while maintaining clarity in each voice part; this form allows for complex counterpoint and expressive musical storytelling within the liturgical structure of the Mass, as demonstrated in Kevin Allen's Missa Rex Genitor.

A polifonia em três planos com quatro vozes é um recurso interessante para arranjos de capela. A estrutura consiste em: melodia suando sobre um plano, baixo em outro plano, e harmonia em bloco no terceiro plano, com quatro vozes independentes. Por exemplo, no arranjo de 'Alguém cantando' de Caetano Veloso por Marcos Leite, todas as quatro vozes realmente cantam, com a melodia suando como ecos do motivo melódico principal.

The piece contains three distinct voices that are completely foreign to the harmony. These voices create a polyphonic texture where multiple independent melodic lines interact simultaneously, adding complexity to the musical arrangement.

Three major polyphonic composition techniques exist: the canon, invention, and fuga. A canon involves imitating a main motive between voices separated by temporal intervals, best performed a cappella. An invention is a short keyboard composition with contrapuntal structure, typically two voices. The fuga is the most complex, with five parts: exposition, contraexposition, episodes, stretto, and conclusion. These techniques demonstrate increasing levels of structural sophistication in polyphonic music.

While a fugue may be described as three-voiced, it is acceptable to have more than three voices sounding simultaneously at certain points. Composers may add four-voiced or five-voiced chords, particularly at conclusive moments. This is a common practice in completed fugues where the texture can be enriched without violating the fundamental principles of polyphonic writing.

This video presents a performance of Canon in augmentation in contrary motion from J.S. Bach’s Art of Fugue, played by Kimiko Ishizaka, accompanied by an animated graphical score. The canon is constructed from a single extended melody that begins with an ornamented version of the main Art of Fugue subject. In the first half, this melody is played slowly by the left hand (bass, green); in the second half, it is played slowly by the right hand (treble, green). The melody is designed so that when inverted, played at double speed, and offset by a few measures, it generates a contrapuntal accompaniment. However, because the faster version only covers the first part of the slow melody, Bach composed “free counterpoint” for the remainder, visually represented by moving balls. The animation uses triangles to depict the main melody, with pitch shown relative to a central symmetry point, illustrating that each note is played four times—twice by each hand and twice in opposite directions (original and inverted). The ending reintroduces the opening melody in the soprano (orange), accompanied by new free counterpoint in lighter green, not used elsewhere. The melody is split into two segments in the animation for clarity, as a single continuous version would be too wide. The animation aims to make the structure of the canon visually self-evident, though explanatory notes are provided for viewers who require clarification.

Professional tile installation involves several key techniques: (1) Fugue color selection should complement the overall color scheme of the space; (2) Corner trim (narożnik maskujący) provides a clean finish at corners, eliminating the need for silicone application; (3) Tile layout should consider countertop dimensions to ensure proper integration and visual appeal. The hosts demonstrate these principles by selecting graphite-colored fugue for their gray kitchen, using corner trim for clean edges, and planning tile layout to extend beyond cabinets for proper countertop overhang.

Fugue and canon are polyphonic musical forms characterized by 'chase' elements where themes are introduced successively. Fugue originates from the Italian word meaning 'struggle' or 'fight,' dating back to the late 14th century. Fugue is more accurately described as a musical technique rather than a formal structure, requiring at least 2 voices with most written for 3 or 4 voices. The first theme is called the 'subject,' and subsequent parts play a 'countersubject' that varies freely. Stretto creates tension by overlapping entries, while pedal point sustains a note while harmonies change above it. Canon involves strict imitation where later parts copy the earlier theme exactly. Bach's 'Cradle Canon' can be played forwards or backwards. Fugue creates a three-dimensional musical experience where multiple independent melodic lines interact, evoking cosmic patterns or architectural spaces. The interplay of voices creates tension and release, with faster entries creating urgency and slower themes creating meditative atmospheres.

This video features Canadian Brass performing J.S. Bach's famous Toccata and Fugue in d minor, a Baroque composition originally written for organ that has become one of the most recognizable pieces in classical music repertoire.

Johann Sebastian Bach’s The Art of Fugue, BWV 1080, is an incomplete masterpiece composed likely beginning in the early 1740s. The first known surviving manuscript, copied by Bach in 1745, contained 12 fugues and 2 canons, titled slightly differently by his son-in-law Johann Christoph Altnickol as Die Kunst der Fuga. A second version, published posthumously in 1751, expanded to 14 fugues and 4 canons. The work’s governing idea, as described by Bach specialist Christoph Wolff, is an in-depth exploration of contrapuntal possibilities derived from a single musical subject. The performance includes all movements in sequence: Contrapunctus I through XII (in both rectus and inversus forms), Contrapunctus XIII (rectus and inversus), Contrapunctus XI as a triple fugue, and Contrapunctus VII employing augmentation and diminution. Also included are four canons: Canone all’Ottava, Canone alla Duodecima in Contrapunto alla Quinta, Canone alla Decima in Contrapunto alla Terza, and Canone per Augmentationem in Contrario Motu. Contrapunctus VI is noted as being in Stylo Francese. The performance is rendered on organ by Herbert Tachezi. The work represents a systematic study of fugue and canon techniques, showcasing Bach’s mastery of counterpoint.