Download Rules for Writing 2:1 Counterpoint: Creating Harmonious Melodies and more Study notes Music Theory and Analysis in PDF only on Docsity! Rules for Writing a 2:1 Counterpoint 1. 2:1 counterpoints have two notes in the counterpoint for each note in the cantus. The only exceptions to this are at the beginning and at the end. The first note of the cantus may be set with a rest and a single note or with two notes in the counterpoint. The last note in the cantus should be set with a single note in the counterpoint, and the penultimate note may be set with either two notes or with a single note. 2. Whether or not the exercise begins with a rest, the first note must be a 3rd, a 5th, or an octave above the cantus for an upper counterpoint, a unison or octave below for a lower counterpoint. The penultimate note must be the leading tone (raised in minor). If the leading tone in minor is preceded by scale-degree 6, it too must be raised. 3. Dissonances in the form of passing tones and neighbor tones may be used on beat 2 of each measure. A passing tone must be approached and continued by step in the same direction. A neighbor tone must be approached by step and followed by step in the opposite direction. 4. The first beat of every measure must be consonant. These consonances may be approached by leap (from a consonant tone) and left by leap (to another consonant tone). 5. Leaps larger than a 4th may occur within the measure (i.e. from beat 1 to beat 2), but not across the barline. Leaps of a 3rd across the barline are fine; leaps of a 4th across the bar line should be used sparingly. Never leap to or from a dissonant tone. 6. Unisons may occur only on the second beat of a measure and must be left by step. 7. Parallel motion to 5ths or 8vas is still forbidden. Parallel 5ths or 8vas on successive first beats should be avoided unless the second 5th or 8va is introduced in the counterpoint as part of a stepwise line moving in a single direction and in contrary motion to the cantus (see Ex. 1). Parallel 5ths and 8vas on successive second beats may be used freely. 8. For variety, no more than 3 consecutive measures should start with the same interval. 9. In 2:1 counterpoints, ties are no longer necessary and should be avoided. 10. The climax should occur on beat 1. 11. In general, the rules for note-against-note counterpoint apply to 2:1 counterpoints as well. The counterpoint should contain a climax which is not repeated, it must be entirely diatonic (except for the end of a minor setting), it must not contain dissonant leaps, two successive leaps in the same direction should outline a triad, more than two successive leaps in the same direction should be avoided, leaps larger than a 4th should be both preceded and followed by a change of direction, there should be more steps than leaps, the voices may not cross or overlap, one should avoid sequences, or the repetition of a note or group of notes, etc.
