The species method
Codified by Johann Joseph Fux in the “Gradus ad Parnassum” (1725): you write one voice (the counterpoint) above or below a given melody in long values (the cantus firmus). Five species of increasing difficulty. Studied in all conservatories and in Berklee counterpoint courses.
Rules of first species
- One note against one note, consonances only: unison, thirds, fifths, sixths, octaves (the fourth against the bass is dissonant).
- Begin on a perfect consonance (unison, fifth, octave; below the CF only unison or octave); end on a unison or octave.
- No parallel or hidden fifths and octaves; prefer contrary motion.
- At most three consecutive parallel thirds or sixths.
- Melody mostly by step; a wide leap must be compensated by stepwise motion in the opposite direction.
- A single climax (highest note).
- Cadence: the penultimate note forms a sixth that opens out to an octave (above) or a third that closes to a unison (below), with the leading tone.
Example in C major
Cantus firmus: C4 E4 D4 F4 E4 D4 C4.
Counterpoint above: C5 B4 D5 A4 C5 B4 C5.
Intervals: 8 – 5 – 8 – 3 – 6 – 6 – 8. Contrary motion almost everywhere, a single climax on D5, cadence 6 → 8 with B → C.
Why do it
It teaches you to write two independent lines: exactly what is needed between bass and topline, between lead and countermelody, between lead voice and second voice in choirs.
Real example
The style of Palestrina (e.g. “Missa Papae Marcelli,” c. 1562) is the model on which Fux built the method: stepwise lines, consonances on strong beats, contrary motion.