SOUND PATTERNS

A Structural Examination of Tonality, Vocabulary, Texture,
Sonorities, and Time Organization in Western Art Music

by PHILLIP MAGNUSON

BASIC RULES FOR SPECIES COUNTERPOINT

Chapter 9. Species IV in Two Voices

Chapter 6. Species I in Two Voices
Chapter 7. Species II in Two Voices
Chapter 8. Species III in Two Voices
.
Chapter 10. Species V in Two Voices
Chapter 11. Species I in Three Voices

9.1 MELODIC PRINCIPLES FOR SPECIES IV

1. The counterpoint moves in half notes tied across the bar lines, as in the example above, creating syncopations.

2. The counterpoint begins with a half rest.

3. The counterpoint ends with a clausula vera that resembles Species II, using a single half-note and a whole-note.

   

4. On occasion, continuous Species IV is not possible. If this happens, Species II may be used, but for no more than one measure (two half notes) and seldom more than once per exercise. The only reasons for breaking species are listed below:
   1. To stop a series of three identical suspensions [see Contrapuntal Principle b]
   2. To prevent a melodic tritone (diabolus in musica)
   3. To conform to restrictions imposed by the cantus firmus
   When Species IV is broken,all notes must follow the rules for Species II.

5. All other melodic principles from previous species apply.

9.2 CONTRAPUNTAL PRINCIPLES FOR SPECIES IV

1. The first of the two tied half notes (beat 2) must always be consonant.

2. The second of the two tied notes (beat 1) may be either consonant or dissonant. If dissonant, it must be justifiable as a SUSPENSION. Suspensions are constructed with three parts:
   1. a preparation, which occurs on beat 2 and must be consonant,
   2. a suspension, which occurs on the following beat 1, is the same pitch as the preparation, and may be dissonant,
   3. and a resolution, which occurs on the following beat 2, and which moves down by step to a consonance.

   There are only three types of suspensions that may be used in two voices writing:

   1. Above a cantus firmus: 7-6 or 4-3 (11-10)

      

   2. Below a cantus firmus: 2-3 (9-10)

      

   Suspensions are labelled with the two intervals formed above the bass (with a hyphen between them):

   ---

   INTERLUDE 1

   Which counterpoint below is done incorrectly?

   

   A	B	C

   ---

   Unisons are allowable on either beat.

   Suspensions may occur in chains, but no more than three of the same type in succession may be used.

   Here are three 7-6 suspensions is succession; Species IV must be broken in order to avoid a fourth one.

   

   ---

   INTERLUDE 2

   Which counterpoint below has more than three of the same type of suspension in succession?

   

   A	B	C

   ---

   Perfect consonances may occur on successive beats 1 or on successive beats 2, but never more than two of the same type in a row.

   

   All other contrapuntal principles from previous species apply.

   ---

   INTERLUDE 3

   Which counterpoint below has too many perfect consonances in a row?

   

   A	B	C

   ---

9.3 EXAMPLE OF COUNTERPOINT IN SPECIES IV

Note that the ties are on the opposite side from the stems, and that the suspensions are labelled with a hyphen between the numbers (7-6).

ASSIGNMENTS:

SYNTHESIS

Using an assigned cantus firmus, write a soprano counterpoint above, and a bass counterpoint below, in Species IV.

This must be written as two separate pieces, one with a treble clef and alto clef, and a second with alto clef and bass clef. Follow the exact format of the example above, including the labels for the counterpoint and the cantus firmus.

Be careful to pay attention to all the principles of Species IV. especially while writing a melodic line, and make sure that each suspension contains a preparation, the suspended note, and a resolution down by step.

Cantus firmi

1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.