Counterpoint Study Lesson 4: 1:1 Ratio (Part 2)
In the last lesson, we have studied at least 5 basic rules of strict counterpoint. In this lesson, we will further study more rules in strict counterpoint.
Rule No. 6
Horizontal leap which forms at least diminished 5th interval is better approached (preceded and succeeded) by notes which lie inside the interval.
You may notice that this rule is more like a suggestion since it uses the word 'better'. However, in strict counterpoint, rule number 6 is regarded as strong suggestion (because there are contrapuntal works which violates this particular rule, for instance, Bach's Invention Number 4). In the example below, the first leap, which forms a major 7th interval, is preceded and succeeded respectively by note C and A, which lie inside the leap. In the second leap, it is preceded by note B and is succeeded by note F, which both lie inside the minor 6th interval.
Rule No. 7
Seventh (7th) interval, and its inversion, second (2nd) interval, must be resolved (or succeeded) by a step note.
The rule number 7 states that any 7th or 2nd intervals must be resolved by step notes. This rule exists because, as I stated in the first lesson about interval, that 7th and 2nd intervals are categorized as dissonant intervals. Dissonant intervals have the characteristic of being unstable, therefore they are relatively not so good to hear in a long time. Hence, they must be resolved by step notes. In 7th interval, a step note may form 6th or octave intervals horizontally, whereas in 2nd interval, a step note may form unison or 3rd intervals horizontally.
Rule No. 8
Do not use major seventh (M7) chord.
This is simply because M7 chord was not known nor used in the Baroque era.
Rule No. 9
Avoid using any diminished chord.
If diminished chord appears, then eventually, it will cause problems, mainly in the counterpoint which ratio is more than 1:1.
Rule No. 10
Three or more consecutive horizontal leaps on the same direction is forbidden.
This rule forbids the existence of three or more consecutive horizontal leaps on the same direction. In other words, there should not exist three or more leaps on melodic intervals appear consecutively on the same direction. The example below shows the violation of rule number 10. On the first bar, there are 3 consecutive upward leaps. On the second bar, there are 3 consecutive downward leaps. On the third bar, the upward leaps is interrupted by an upward step. Finally, on the last bar, the downward leaps is resolved by an upward leap. In conclusion, the first and the second bars violate the rule number 10, whereas the remaining bars do not.
Exercise
Try to compose counterpoint part for the cantus firmus below by using all the given rules. Notice that because the CF is written in clef F, the CP must be written in clef G. If you notice, the first four bar is the same with the last exercise in the previous lesson. Thus, you are allowed to use your own answer of the previous exercise. I will put my answer on the next update.
Horizontal leap which forms at least diminished 5th interval is better approached (preceded and succeeded) by notes which lie inside the interval.
You may notice that this rule is more like a suggestion since it uses the word 'better'. However, in strict counterpoint, rule number 6 is regarded as strong suggestion (because there are contrapuntal works which violates this particular rule, for instance, Bach's Invention Number 4). In the example below, the first leap, which forms a major 7th interval, is preceded and succeeded respectively by note C and A, which lie inside the leap. In the second leap, it is preceded by note B and is succeeded by note F, which both lie inside the minor 6th interval.
Seventh (7th) interval, and its inversion, second (2nd) interval, must be resolved (or succeeded) by a step note.
The rule number 7 states that any 7th or 2nd intervals must be resolved by step notes. This rule exists because, as I stated in the first lesson about interval, that 7th and 2nd intervals are categorized as dissonant intervals. Dissonant intervals have the characteristic of being unstable, therefore they are relatively not so good to hear in a long time. Hence, they must be resolved by step notes. In 7th interval, a step note may form 6th or octave intervals horizontally, whereas in 2nd interval, a step note may form unison or 3rd intervals horizontally.
Rule No. 8
Do not use major seventh (M7) chord.
This is simply because M7 chord was not known nor used in the Baroque era.
Rule No. 9
Avoid using any diminished chord.
If diminished chord appears, then eventually, it will cause problems, mainly in the counterpoint which ratio is more than 1:1.
Rule No. 10
Three or more consecutive horizontal leaps on the same direction is forbidden.
This rule forbids the existence of three or more consecutive horizontal leaps on the same direction. In other words, there should not exist three or more leaps on melodic intervals appear consecutively on the same direction. The example below shows the violation of rule number 10. On the first bar, there are 3 consecutive upward leaps. On the second bar, there are 3 consecutive downward leaps. On the third bar, the upward leaps is interrupted by an upward step. Finally, on the last bar, the downward leaps is resolved by an upward leap. In conclusion, the first and the second bars violate the rule number 10, whereas the remaining bars do not.
Try to compose counterpoint part for the cantus firmus below by using all the given rules. Notice that because the CF is written in clef F, the CP must be written in clef G. If you notice, the first four bar is the same with the last exercise in the previous lesson. Thus, you are allowed to use your own answer of the previous exercise. I will put my answer on the next update.
Below is my composition for the counterpoint part of the exercise above,
