FIRST SPECIES

Fig.
86.

Regard all rules for two-part counterpoint, unless otherwise mentioned.

If possible, each measure should contain a complete chord. When in the first species it becomes necessary to double an interval, let it be preferably the root. The third should be doubled only when a decidedly smoother melodic progression is thereby obtained; and when both thirds are in outer parts, each should be approached and left stepwise in one direction ([Fig. 87]). The doubling of the fifth is, of course, impossible, since it necessitates the omission of the third.

Fig.
87.

All triads may be used in their first inversion.

Diminished and augmented triads, however, are best used in their first inversion.

The six-four chord may be used at the close as the cadencing tonic six-four chord. Do not approach the root and fifth in similar motion, as at b. [[Fig. 88.]]

Fig.
88.

The dominant seventh may be used in any but its second inversion, the fifth being omitted.[A] The seventh requires no preparation. Other chords of the seventh are better not used until second species and later.

If possible, let the chord in the first measure appear complete. The last chord but one should be complete, unless some form of V or V₇ is used. [[Fig. 89.]]

Fig.
89.

Consecutive major thirds may be used when three or more parts are employed. [[Fig. 90.]]

Fig.
90.

A note may now be repeated in the lowest part when it becomes the seventh of a dominant seventh-chord. [[Fig. 91.]]

Fig.
91.

In writing, use soprano, alto and tenor, or alto, tenor and bass; and do not separate upper parts more than an octave. For a chord or two they may (for the sake of better voice-leading) separate a tenth.

All hidden fifths and octaves are bad, except between I and V and V and I. [[Fig. 92a], b.]

[A] In severely strict counterpoint all parts above the lowest must be consonant with it. Dissonances, when entering simultaneously with it, must be treated as suspensions, and when used in the progression of a part from one chord to another, should be treated as passing-tones or embellishments. This excludes the use of the unprepared seventh and ninth; all diminished and augmented triads except in their first inversion; and all six-four chords, except when the lowest part is treated as a passing-tone.

The perfect fifth following the diminished fifth is good when taken in an upward direction stepwise in the higher parts. [[Fig. 92c].]

Fig.
92.

All cadences used in harmony are good.

Unless otherwise mentioned, put the cantus firmus in any part, but avoid its continued use in the same part.