Species Counterpoint - Examples of All Five Species

[MusicTheoryTCC]

"Bad" = not allowed in 16th century "species" counterpoint. Consecutive (Parallel) 5ths or Consecutive (Parallel) 8vas are not to be used at all. This rule helps keep the voices distinct, independent, and separate.

Bach-style 18th century c.p. also follows this convention, although more modern music does not necessarily.

Even if you don't strictly follow the rule, it is useful to be aware of it.

[backwordy]

3:00 bar 7-8 parallel fifth: c-g / d-a

[LordQueezle]

This is a good refresher to remind me of the rules of counterpoint. I don't think it would be all that helpful to a beginner, but nonetheless, this is a well put together video.

[MusicTheoryTCC]

Choral writing often follows the rules of counterpoint, but doesn't have to. It depends on what the desired effect is - if it is big blocks of sound moving up or down together, then parallel fifths and octaves are perfect. (Heavy Metal "Power Chords" are an example.) If the desired effect is a sound that is more intricate and layered, then good counterpoint will work best.

Counterpoint is just one of the many things that go into composing. I would not say it is "most important"

[kaustin]

3:06 parallel 5ths, fourth to last bar

[GeorgeZwierzchowskipianomusic]

at 1:53 we hear an ackward succesion. there is a hidden tritone that should resolve itself. common error in 2nd species. the b under the f shoild move up, because after all, they will sound together. I find it helps to use a string or organ to try your work out. the piano's quick decay sometimes hides these problems.
all together good job. 11 bars makes for weak phrase. 4 bar patterns are easier on the ear. I woul;d have written a 12 bar phrase.

[albertomartinez]

Very nice presentation. Thanks for posting.

[sebspiano]

Brilliant video, really informative and clear. Thank you! 

[oguzakbas]

That is a very good source for studying for my finals, thank you !

[MusicTheoryTCC]

(Replying to Roger Leos)  Unisons/Octaves are most common for the first and last bar. Fifths are also allowable in the first bar (but not the last bar).  I am not familiar with Ars Nova Software, but it sounds like it may not allow fifths in the first bar. Fourths are a dissonance, and are never to be used ON STRONG BEATS. If you are referring to the fourth that happens at the 1:43 mark in the first bar, it is allowable because it is on A WEAK BEAT. Perhaps in very strict counterpoint, this is considered bad because the first and last bars are supposed to be entirely consonant. 

[Music-vcmq]

thank you very much for the TUTORIAL...

[rinnoah]

Thank you for posting this video. It's easy to understand.

[Spadunka]

In the 6th compass: fourth-sixth chord!! Forbidden!

[arseniyonline]

In second species can I have the offbeat being at an octave with CF?

[timothyj.bowlby]

"Parallel fifths at 3:07, 2nd system bt 4 of m. 2-bt. 1 of m. 3, " he said as he "got his knives out" figuratively. A gleeful "Mmmwahaha" ensued very shortly thereafter.

[JamesTindaleArt]

I love J. J. Fux!!! "Steps to Parnassus" translated by Alfred Mann. 

[MitchBoucherComposer]

Great video, Byron! I hope to write good counterpoint like you someday. I love this video format.

[davidmanzanaresviles]

Parallel 5th on 3rd species (second example) between bars 2 and 3.

[Spadunka]

In the first cpt, in the second compass, there is a forbidden fourth-sixth chord. In the second cpt, there's a tie between 5th and sixth compass notes: you may put a C in the sixth compass, instead, since the C would make up a third-sixth chord (for it'd be C major, due to foregoing sensible note in the bass.
You'd rather avoid scales, as a whole.

[SpencerMusicSchool]

lI found several mistakes. In Species 3 Ionian there was parallel 5th motion between voices, and a d5 moving to P4. . These are not the the most elegant examples. Very rudimentary textbook. Also when cantus firmus was on top in species 3, it was considered not the best contrapuntal mvt to move P5 into P4 then to M6.. that kind of mvt would have been avoided.