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COUNTERPOINT
MOVEMENT
Parallel -- both voices move the same direction, and the same distance.
Oblique -- one voice is stationary while the other moves.
Similar -- both voices move in the same direction but different distances.
Contrary -- voices move in opposite directions.
Cantus Firmus -- the original melody that to be harmonized.
Counterpoint -- the harmonized voice to the cantus firmus.
FIRST SPECIES -- 1 to 1
-- one note for each cantus firmus note.
-- only consonant intervals are used: unison, minor 3, major 3, perfect 4, perfect 5, octave.
-- piece must start with a consonant: unison, fifth, or octave.
-- piece ends in an octave or unison.
-- parallel fifths and octaves should be avoided, i.e. more than one fifth or octave moving in the same direction.
-- hidden fifths and octaves should avoided, i.e. moving to a fifth or octave by parallel motion with a skip.
-- thirds and sixths are most preferable, but other intervals work equally as well.
-- contrary motion is most preferred.
-- oblique motion should be kept to a minimum.
-- parallel and similar motion should be used with caution, to avoid parallel and hidden fifths and octaves.
SECOND SPECIES -- 2 to 1
-- the first note must be consonant
-- the second will be dissonant if movement is by step, must be consonant if moves by skip.
THIRD SPECIES -- 4 to 1
FOURTH SPECIES -- syncopated
FIFTH SPECIES -- florid counterpoint
-- is the combination of all the above species.
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