1

Update, TLDR: given multiple semi-written lines of music, which line should be deemed the cantus firmus before working on the counterpoint of the other lines?

Given a "free" (?) soprano line (by this I mean not of any consistent rhythmic form, such as just half notes or just whole notes, etc) and a bass line in first species (whole notes only)--I believe, relative to one another, these linear structures would be called unaligned and not parallel--how should I go about filling in the alto and tenor voices using species counterpoint? I would like for the for the lines to be "two-against-one" with the bass line (second species)? I eventually want to include suspensions (fourth species), but i'll let that go for now.

Should my point of reference be the bass line or the soprano line? Do I need to simplify/reduce the soprano line so that it is easier to see/build intervals? Essentially, I would like to know the most logical way to develop my piece give a free-flowing melody and a bass line in first species.

For reference, here is the music as is:

enter image description here

Improve this question
11
  • 3
    As written, this question doesn't really make sense. Species counterpoint isn't defined by individual lines — an entire line in whole notes does not make it first species. It's defined by the relationships between the parts and the types of movements allowed. It also relies on a cantus firmus, by which the other voices are determined. But OP doesn't have a cantus firmus (or, not one that adheres to the rules of species counterpoint).
    – Aaron
    May 17, 2021 at 16:22
  • 1
    Short of making any changes yet, can you give me a sense of your overall goal and why you are looking to use species counterpoint?
    – Aaron
    May 17, 2021 at 16:31
  • 2
    Is this a particular exercise from the Westergaard book?
    – Michael Curtis
    May 17, 2021 at 17:47
  • 1
    @286642, have you already done all the exercises the book has for species counterpoint?
    – Michael Curtis
    May 18, 2021 at 15:14
  • 1
    @286642 Try working through Fux. He writes out the exercises, solutions, and corrections to the solutions.
    – Aaron
    May 19, 2021 at 5:33

1 Answer 1

Reset to default
1

Given that you want two-against-one with the bass, it would make the most sense to use the bass as the cantus firmus. While you develop those voices, treat the soprano as a descant voice,1 which will help you keep everything in sync.

I do think it would be helpful to simplify the soprano so that notes fall (primarily) on the beat, then returning them to anticipations/suspensions once the other parts are in place.

You can have it both ways by simplifying the soprano for the purpose of interval-checking as you develop the inner parts, but then play it as written for evaluating the actual composition.

1 "Descant: an independent treble melody usually sung or played above a basic melody." (From Google search)

Improve this answer
0

Your Answer

By clicking “Post Your Answer”, you agree to our terms of service and acknowledge that you have read and understand our privacy policy and code of conduct.

Not the answer you're looking for? Browse other questions tagged or ask your own question.