Introduction to Counterpoint

Lesson 11

January 28th, 2021

Lesson 11

Lecture notes:
  • There are four types of contrapuntal motion: (C) Contrary motion, (P) Parallel motion, (S) Similar motion, and (O) Oblique motion.
  • Contrary motion is when two parts move in opposite directions giving voices the most independence and balance.
  • Parallel motion is when both parts move in the same direction using the same interval. This is only allowed between imperfect consonances and not perfect consonances.
  • Similar motion is when both parts move in the same direction but using different intervals. This motion can be used freely except when approaching a perfect interval, which is only acceptable if the upper parts move by a step.
  • Oblique motion is when one part repeats or sustains a single pitch, and the other moves by either a leap, skip or step. This motion is acceptable; however, it is not desirable because one part is required to be static.
  • Perfect consonant intervals consist of PU (Perfect Unison), P5 (Perfect Fifth), and P8 (Perfect eighth).
  • Imperfect consonant intervals consist of M3 (Major third), m3 (minor third), M6 (Major sixth), and m6 (minor sixth).
  • The P4 (Perfect fourth) is treated as a dissonance when it appears harmonically between the lowest and upper voices.
  • The last two notes of a cantus firmus and counterpoint must move in a step-wise motion and end on the tonic.

The above photo shows a cantus firmus beginning on D, with a counterpoint of a P5 (Perfect fifth).

The above photo shows a cantus firmus beginning on F, with a counterpoint of a P8 (Perfect eighth).


The above video explains what cantus firmus and counterpoint are and the rules surrounding their operation.


The above video further explains the operations of cantus firmus and counterpoint.


The above photo is a Cantus Firmus that I'll play on the trombone.


This is a video of me playing the Cantus Firmus shown above.

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