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mw-ui-icon-wikimedia-expand"></span> <span>Toggle Species counterpoint subsection</span> </button> <ul id="toc-Species_counterpoint-sublist" class="vector-toc-list"> <li id="toc-Considerations_for_all_species" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Considerations_for_all_species"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.1</span> <span>Considerations for all species</span> </div> </a> <ul id="toc-Considerations_for_all_species-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-First_species" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#First_species"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.2</span> <span>First species</span> </div> </a> <ul id="toc-First_species-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Second_species" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Second_species"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.3</span> <span>Second species</span> </div> </a> <ul id="toc-Second_species-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Third_species" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Third_species"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.4</span> <span>Third species</span> </div> </a> <ul id="toc-Third_species-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Fourth_species" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Fourth_species"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.5</span> <span>Fourth species</span> </div> </a> <ul id="toc-Fourth_species-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Fifth_species_(florid_counterpoint)" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Fifth_species_(florid_counterpoint)"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.6</span> <span>Fifth species (florid counterpoint)</span> </div> </a> <ul id="toc-Fifth_species_(florid_counterpoint)-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Contrapuntal_derivations" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Contrapuntal_derivations"> <div class="vector-toc-text"> <span class="vector-toc-numb">5</span> <span>Contrapuntal derivations</span> </div> </a> <ul id="toc-Contrapuntal_derivations-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Free_counterpoint" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Free_counterpoint"> <div class="vector-toc-text"> <span class="vector-toc-numb">6</span> <span>Free counterpoint</span> </div> </a> <ul id="toc-Free_counterpoint-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Linear_counterpoint" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Linear_counterpoint"> <div class="vector-toc-text"> <span class="vector-toc-numb">7</span> <span>Linear counterpoint</span> </div> </a> <ul id="toc-Linear_counterpoint-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Dissonant_counterpoint" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Dissonant_counterpoint"> <div class="vector-toc-text"> <span class="vector-toc-numb">8</span> <span>Dissonant counterpoint</span> </div> </a> <ul id="toc-Dissonant_counterpoint-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-See_also" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#See_also"> <div class="vector-toc-text"> <span class="vector-toc-numb">9</span> <span>See also</span> </div> </a> <ul id="toc-See_also-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> <span class="vector-toc-numb">10</span> <span>References</span> </div> </a> <ul id="toc-References-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Further_reading" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Further_reading"> <div class="vector-toc-text"> <span class="vector-toc-numb">11</span> <span>Further reading</span> </div> </a> <ul id="toc-Further_reading-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> <span class="vector-toc-numb">12</span> <span>External links</span> </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc vector-button-flush-left" > <input type="checkbox" id="vector-page-titlebar-toc-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-page-titlebar-toc" class="vector-dropdown-checkbox " aria-label="Toggle the table of contents" > <label id="vector-page-titlebar-toc-label" for="vector-page-titlebar-toc-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only " aria-hidden="true" ><span class="vector-icon mw-ui-icon-listBullet mw-ui-icon-wikimedia-listBullet"></span> <span class="vector-dropdown-label-text">Toggle the table of contents</span> </label> <div class="vector-dropdown-content"> <div id="vector-page-titlebar-toc-unpinned-container" class="vector-unpinned-container"> </div> </div> </div> </nav> <h1 id="firstHeading" class="firstHeading mw-first-heading"><span class="mw-page-title-main">Counterpoint</span></h1> <div id="p-lang-btn" class="vector-dropdown mw-portlet mw-portlet-lang" > <input type="checkbox" id="p-lang-btn-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-p-lang-btn" class="vector-dropdown-checkbox mw-interlanguage-selector" aria-label="Go to an article in another language. Available in 56 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-56" aria-hidden="true" ><span class="vector-icon mw-ui-icon-language-progressive mw-ui-icon-wikimedia-language-progressive"></span> <span class="vector-dropdown-label-text">56 languages</span> </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-af mw-list-item"><a href="https://af.wikipedia.org/wiki/Kontrapunt" title="Kontrapunt – Afrikaans" lang="af" hreflang="af" data-title="Kontrapunt" data-language-autonym="Afrikaans" data-language-local-name="Afrikaans" class="interlanguage-link-target"><span>Afrikaans</span></a></li><li class="interlanguage-link interwiki-als mw-list-item"><a href="https://als.wikipedia.org/wiki/Kontrapunkt" title="Kontrapunkt – Alemannic" lang="gsw" hreflang="gsw" data-title="Kontrapunkt" data-language-autonym="Alemannisch" data-language-local-name="Alemannic" class="interlanguage-link-target"><span>Alemannisch</span></a></li><li class="interlanguage-link interwiki-ar mw-list-item"><a href="https://ar.wikipedia.org/wiki/%D8%B7%D8%A8%D8%A7%D9%82_(%D9%85%D9%88%D8%B3%D9%8A%D9%82%D9%89)" title="طباق (موسيقى) – Arabic" lang="ar" hreflang="ar" data-title="طباق (موسيقى)" data-language-autonym="العربية" data-language-local-name="Arabic" class="interlanguage-link-target"><span>العربية</span></a></li><li class="interlanguage-link interwiki-ast mw-list-item"><a href="https://ast.wikipedia.org/wiki/Contrapuntu" title="Contrapuntu – Asturian" lang="ast" hreflang="ast" data-title="Contrapuntu" data-language-autonym="Asturianu" data-language-local-name="Asturian" class="interlanguage-link-target"><span>Asturianu</span></a></li><li class="interlanguage-link interwiki-be mw-list-item"><a href="https://be.wikipedia.org/wiki/%D0%9A%D0%B0%D0%BD%D1%82%D1%80%D0%B0%D0%BF%D1%83%D0%BD%D0%BA%D1%82" title="Кантрапункт – Belarusian" lang="be" hreflang="be" data-title="Кантрапункт" data-language-autonym="Беларуская" data-language-local-name="Belarusian" class="interlanguage-link-target"><span>Беларуская</span></a></li><li class="interlanguage-link interwiki-be-x-old mw-list-item"><a href="https://be-tarask.wikipedia.org/wiki/%D0%9A%D0%B0%D0%BD%D1%82%D1%80%D0%B0%D0%BF%D1%83%D0%BD%D0%BA%D1%82" title="Кантрапункт – Belarusian (Taraškievica orthography)" lang="be-tarask" hreflang="be-tarask" data-title="Кантрапункт" data-language-autonym="Беларуская (тарашкевіца)" data-language-local-name="Belarusian (Taraškievica orthography)" class="interlanguage-link-target"><span>Беларуская (тарашкевіца)</span></a></li><li class="interlanguage-link interwiki-bg mw-list-item"><a href="https://bg.wikipedia.org/wiki/%D0%9A%D0%BE%D0%BD%D1%82%D1%80%D0%B0%D0%BF%D1%83%D0%BD%D0%BA%D1%82" title="Контрапункт – Bulgarian" lang="bg" hreflang="bg" data-title="Контрапункт" data-language-autonym="Български" data-language-local-name="Bulgarian" class="interlanguage-link-target"><span>Български</span></a></li><li class="interlanguage-link interwiki-ca badge-Q17437796 badge-featuredarticle mw-list-item" title="featured article badge"><a href="https://ca.wikipedia.org/wiki/Contrapunt" title="Contrapunt – Catalan" lang="ca" hreflang="ca" data-title="Contrapunt" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target"><span>Català</span></a></li><li class="interlanguage-link interwiki-cs mw-list-item"><a href="https://cs.wikipedia.org/wiki/Kontrapunkt" title="Kontrapunkt – Czech" lang="cs" hreflang="cs" data-title="Kontrapunkt" data-language-autonym="Čeština" data-language-local-name="Czech" class="interlanguage-link-target"><span>Čeština</span></a></li><li class="interlanguage-link interwiki-da mw-list-item"><a href="https://da.wikipedia.org/wiki/Kontrapunkt_(musikteori)" title="Kontrapunkt (musikteori) – Danish" lang="da" hreflang="da" data-title="Kontrapunkt (musikteori)" data-language-autonym="Dansk" data-language-local-name="Danish" class="interlanguage-link-target"><span>Dansk</span></a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Kontrapunkt" title="Kontrapunkt – German" lang="de" hreflang="de" data-title="Kontrapunkt" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target"><span>Deutsch</span></a></li><li class="interlanguage-link interwiki-et mw-list-item"><a href="https://et.wikipedia.org/wiki/Kontrapunkt" title="Kontrapunkt – Estonian" lang="et" hreflang="et" data-title="Kontrapunkt" data-language-autonym="Eesti" data-language-local-name="Estonian" class="interlanguage-link-target"><span>Eesti</span></a></li><li class="interlanguage-link interwiki-el mw-list-item"><a href="https://el.wikipedia.org/wiki/%CE%91%CE%BD%CF%84%CE%AF%CF%83%CF%84%CE%B9%CE%BE%CE%B7" title="Αντίστιξη – Greek" lang="el" hreflang="el" data-title="Αντίστιξη" data-language-autonym="Ελληνικά" data-language-local-name="Greek" class="interlanguage-link-target"><span>Ελληνικά</span></a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Contrapunto" title="Contrapunto – Spanish" lang="es" hreflang="es" data-title="Contrapunto" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target"><span>Español</span></a></li><li class="interlanguage-link interwiki-eo mw-list-item"><a href="https://eo.wikipedia.org/wiki/Kontrapunkto" title="Kontrapunkto – Esperanto" lang="eo" hreflang="eo" data-title="Kontrapunkto" data-language-autonym="Esperanto" data-language-local-name="Esperanto" class="interlanguage-link-target"><span>Esperanto</span></a></li><li class="interlanguage-link interwiki-eu mw-list-item"><a href="https://eu.wikipedia.org/wiki/Kontrapuntu" title="Kontrapuntu – Basque" lang="eu" hreflang="eu" data-title="Kontrapuntu" data-language-autonym="Euskara" data-language-local-name="Basque" class="interlanguage-link-target"><span>Euskara</span></a></li><li class="interlanguage-link interwiki-fa badge-Q17437798 badge-goodarticle mw-list-item" title="good article badge"><a href="https://fa.wikipedia.org/wiki/%DA%A9%D9%86%D8%AA%D8%B1%D9%BE%D9%88%D8%A7%D9%86" title="کنترپوان – Persian" lang="fa" hreflang="fa" data-title="کنترپوان" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target"><span>فارسی</span></a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Contrepoint_rigoureux" title="Contrepoint rigoureux – French" lang="fr" hreflang="fr" data-title="Contrepoint rigoureux" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target"><span>Français</span></a></li><li class="interlanguage-link interwiki-fur mw-list-item"><a href="https://fur.wikipedia.org/wiki/Cuintripont" title="Cuintripont – Friulian" lang="fur" hreflang="fur" data-title="Cuintripont" data-language-autonym="Furlan" data-language-local-name="Friulian" class="interlanguage-link-target"><span>Furlan</span></a></li><li class="interlanguage-link interwiki-ga mw-list-item"><a href="https://ga.wikipedia.org/wiki/Cuntraphointe" title="Cuntraphointe – Irish" lang="ga" hreflang="ga" data-title="Cuntraphointe" data-language-autonym="Gaeilge" data-language-local-name="Irish" class="interlanguage-link-target"><span>Gaeilge</span></a></li><li class="interlanguage-link interwiki-gl mw-list-item"><a href="https://gl.wikipedia.org/wiki/Contrapunto" title="Contrapunto – Galician" lang="gl" hreflang="gl" data-title="Contrapunto" data-language-autonym="Galego" data-language-local-name="Galician" class="interlanguage-link-target"><span>Galego</span></a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%EB%8C%80%EC%9C%84%EB%B2%95" title="대위법 – Korean" lang="ko" hreflang="ko" data-title="대위법" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target"><span>한국어</span></a></li><li class="interlanguage-link interwiki-hy mw-list-item"><a href="https://hy.wikipedia.org/wiki/%D4%BF%D5%B8%D5%B6%D5%BF%D6%80%D5%A1%D5%BA%D5%B8%D6%82%D5%B6%D5%AF%D5%BF" title="Կոնտրապունկտ – Armenian" lang="hy" hreflang="hy" data-title="Կոնտրապունկտ" data-language-autonym="Հայերեն" data-language-local-name="Armenian" class="interlanguage-link-target"><span>Հայերեն</span></a></li><li class="interlanguage-link interwiki-hr mw-list-item"><a href="https://hr.wikipedia.org/wiki/Kontrapunkt" title="Kontrapunkt – Croatian" lang="hr" hreflang="hr" data-title="Kontrapunkt" data-language-autonym="Hrvatski" data-language-local-name="Croatian" class="interlanguage-link-target"><span>Hrvatski</span></a></li><li class="interlanguage-link interwiki-io mw-list-item"><a href="https://io.wikipedia.org/wiki/Kontrapunto" title="Kontrapunto – Ido" lang="io" hreflang="io" data-title="Kontrapunto" data-language-autonym="Ido" data-language-local-name="Ido" class="interlanguage-link-target"><span>Ido</span></a></li><li class="interlanguage-link interwiki-id mw-list-item"><a href="https://id.wikipedia.org/wiki/Kontrapung" title="Kontrapung – Indonesian" lang="id" hreflang="id" data-title="Kontrapung" data-language-autonym="Bahasa Indonesia" data-language-local-name="Indonesian" class="interlanguage-link-target"><span>Bahasa Indonesia</span></a></li><li class="interlanguage-link interwiki-is mw-list-item"><a href="https://is.wikipedia.org/wiki/Kontrapunktur" title="Kontrapunktur – Icelandic" lang="is" hreflang="is" data-title="Kontrapunktur" data-language-autonym="Íslenska" data-language-local-name="Icelandic" class="interlanguage-link-target"><span>Íslenska</span></a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Contrappunto" title="Contrappunto – Italian" lang="it" hreflang="it" data-title="Contrappunto" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target"><span>Italiano</span></a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%A7%D7%95%D7%A0%D7%98%D7%A8%D7%A4%D7%95%D7%A0%D7%A7%D7%98" title="קונטרפונקט – Hebrew" lang="he" hreflang="he" data-title="קונטרפונקט" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target"><span>עברית</span></a></li><li class="interlanguage-link interwiki-kk mw-list-item"><a href="https://kk.wikipedia.org/wiki/%D0%9A%D0%BE%D0%BD%D1%82%D1%80%D0%B0%D0%BF%D1%83%D0%BD%D0%BA%D1%82" title="Контрапункт – Kazakh" lang="kk" hreflang="kk" data-title="Контрапункт" data-language-autonym="Қазақша" data-language-local-name="Kazakh" class="interlanguage-link-target"><span>Қазақша</span></a></li><li class="interlanguage-link interwiki-ky mw-list-item"><a href="https://ky.wikipedia.org/wiki/%D0%9A%D0%BE%D0%BD%D1%82%D1%80%D0%B0%D0%BF%D1%83%D0%BD%D0%BA%D1%82" title="Контрапункт – Kyrgyz" lang="ky" hreflang="ky" data-title="Контрапункт" data-language-autonym="Кыргызча" data-language-local-name="Kyrgyz" class="interlanguage-link-target"><span>Кыргызча</span></a></li><li class="interlanguage-link interwiki-hu mw-list-item"><a href="https://hu.wikipedia.org/wiki/Ellenpont" title="Ellenpont – Hungarian" lang="hu" hreflang="hu" data-title="Ellenpont" data-language-autonym="Magyar" data-language-local-name="Hungarian" class="interlanguage-link-target"><span>Magyar</span></a></li><li class="interlanguage-link interwiki-mk mw-list-item"><a href="https://mk.wikipedia.org/wiki/%D0%9A%D0%BE%D0%BD%D1%82%D1%80%D0%B0%D0%BF%D1%83%D0%BD%D0%BA%D1%82" title="Контрапункт – Macedonian" lang="mk" hreflang="mk" data-title="Контрапункт" data-language-autonym="Македонски" data-language-local-name="Macedonian" class="interlanguage-link-target"><span>Македонски</span></a></li><li class="interlanguage-link interwiki-ms mw-list-item"><a href="https://ms.wikipedia.org/wiki/Kaunterpoin" title="Kaunterpoin – Malay" lang="ms" hreflang="ms" data-title="Kaunterpoin" data-language-autonym="Bahasa Melayu" data-language-local-name="Malay" class="interlanguage-link-target"><span>Bahasa Melayu</span></a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Contrapunt" title="Contrapunt – Dutch" lang="nl" hreflang="nl" data-title="Contrapunt" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target"><span>Nederlands</span></a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E5%AF%BE%E4%BD%8D%E6%B3%95" title="対位法 – Japanese" lang="ja" hreflang="ja" data-title="対位法" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target"><span>日本語</span></a></li><li class="interlanguage-link interwiki-no mw-list-item"><a href="https://no.wikipedia.org/wiki/Kontrapunkt" title="Kontrapunkt – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="Kontrapunkt" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target"><span>Norsk bokmål</span></a></li><li class="interlanguage-link interwiki-nn mw-list-item"><a href="https://nn.wikipedia.org/wiki/Kontrapunkt" title="Kontrapunkt – Norwegian Nynorsk" lang="nn" hreflang="nn" data-title="Kontrapunkt" data-language-autonym="Norsk nynorsk" data-language-local-name="Norwegian Nynorsk" class="interlanguage-link-target"><span>Norsk nynorsk</span></a></li><li class="interlanguage-link interwiki-oc mw-list-item"><a href="https://oc.wikipedia.org/wiki/Contrapunt" title="Contrapunt – Occitan" lang="oc" hreflang="oc" data-title="Contrapunt" data-language-autonym="Occitan" data-language-local-name="Occitan" class="interlanguage-link-target"><span>Occitan</span></a></li><li class="interlanguage-link interwiki-uz mw-list-item"><a href="https://uz.wikipedia.org/wiki/Kontrapunkt" title="Kontrapunkt – Uzbek" lang="uz" hreflang="uz" data-title="Kontrapunkt" data-language-autonym="Oʻzbekcha / ўзбекча" data-language-local-name="Uzbek" class="interlanguage-link-target"><span>Oʻzbekcha / ўзбекча</span></a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Kontrapunkt_(muzyka)" title="Kontrapunkt (muzyka) – Polish" lang="pl" hreflang="pl" data-title="Kontrapunkt (muzyka)" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target"><span>Polski</span></a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Contraponto_(m%C3%BAsica)" title="Contraponto (música) – Portuguese" lang="pt" hreflang="pt" data-title="Contraponto (música)" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target"><span>Português</span></a></li><li class="interlanguage-link interwiki-ro mw-list-item"><a href="https://ro.wikipedia.org/wiki/Contrapunct" title="Contrapunct – Romanian" lang="ro" hreflang="ro" data-title="Contrapunct" data-language-autonym="Română" data-language-local-name="Romanian" class="interlanguage-link-target"><span>Română</span></a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%9A%D0%BE%D0%BD%D1%82%D1%80%D0%B0%D0%BF%D1%83%D0%BD%D0%BA%D1%82" title="Контрапункт – Russian" lang="ru" hreflang="ru" data-title="Контрапункт" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target"><span>Русский</span></a></li><li class="interlanguage-link interwiki-simple mw-list-item"><a href="https://simple.wikipedia.org/wiki/Counterpoint" title="Counterpoint – Simple English" lang="en-simple" hreflang="en-simple" data-title="Counterpoint" data-language-autonym="Simple English" data-language-local-name="Simple English" class="interlanguage-link-target"><span>Simple English</span></a></li><li class="interlanguage-link interwiki-sk mw-list-item"><a href="https://sk.wikipedia.org/wiki/Kontrapunkt" title="Kontrapunkt – Slovak" lang="sk" hreflang="sk" data-title="Kontrapunkt" data-language-autonym="Slovenčina" data-language-local-name="Slovak" class="interlanguage-link-target"><span>Slovenčina</span></a></li><li class="interlanguage-link interwiki-sl mw-list-item"><a href="https://sl.wikipedia.org/wiki/Kontrapunkt" title="Kontrapunkt – Slovenian" lang="sl" hreflang="sl" data-title="Kontrapunkt" data-language-autonym="Slovenščina" data-language-local-name="Slovenian" class="interlanguage-link-target"><span>Slovenščina</span></a></li><li class="interlanguage-link interwiki-ckb mw-list-item"><a href="https://ckb.wikipedia.org/wiki/%DA%A9%D8%A7%D9%88%D9%86%D8%AA%DB%95%D8%B1%D9%BE%DB%86%DB%8C%D9%86%D8%AA" title="کاونتەرپۆینت – Central Kurdish" lang="ckb" hreflang="ckb" data-title="کاونتەرپۆینت" data-language-autonym="کوردی" data-language-local-name="Central Kurdish" class="interlanguage-link-target"><span>کوردی</span></a></li><li class="interlanguage-link interwiki-sr mw-list-item"><a href="https://sr.wikipedia.org/wiki/Kontrapunkt" title="Kontrapunkt – Serbian" lang="sr" hreflang="sr" data-title="Kontrapunkt" data-language-autonym="Српски / srpski" data-language-local-name="Serbian" class="interlanguage-link-target"><span>Српски / srpski</span></a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/Kontrapunkti" title="Kontrapunkti – Finnish" lang="fi" hreflang="fi" data-title="Kontrapunkti" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target"><span>Suomi</span></a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Kontrapunkt" title="Kontrapunkt – Swedish" lang="sv" hreflang="sv" data-title="Kontrapunkt" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target"><span>Svenska</span></a></li><li class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/Kontrpuan" title="Kontrpuan – Turkish" lang="tr" hreflang="tr" data-title="Kontrpuan" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target"><span>Türkçe</span></a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/%D0%9A%D0%BE%D0%BD%D1%82%D1%80%D0%B0%D0%BF%D1%83%D0%BD%D0%BA%D1%82" title="Контрапункт – Ukrainian" lang="uk" hreflang="uk" data-title="Контрапункт" data-language-autonym="Українська" data-language-local-name="Ukrainian" class="interlanguage-link-target"><span>Українська</span></a></li><li class="interlanguage-link interwiki-wuu mw-list-item"><a href="https://wuu.wikipedia.org/wiki/%E5%AF%B9%E4%BD%8D%E6%B3%95" title="对位法 – Wu" lang="wuu" hreflang="wuu" data-title="对位法" data-language-autonym="吴语" data-language-local-name="Wu" class="interlanguage-link-target"><span>吴语</span></a></li><li class="interlanguage-link interwiki-zh-yue mw-list-item"><a href="https://zh-yue.wikipedia.org/wiki/%E5%B0%8D%E4%BD%8D%E6%B3%95" title="對位法 – Cantonese" lang="yue" hreflang="yue" data-title="對位法" data-language-autonym="粵語" data-language-local-name="Cantonese" class="interlanguage-link-target"><span>粵語</span></a></li><li class="interlanguage-link interwiki-zh mw-list-item"><a href="https://zh.wikipedia.org/wiki/%E5%AF%B9%E4%BD%8D%E6%B3%95" title="对位法 – Chinese" lang="zh" hreflang="zh" data-title="对位法" 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</div> </nav> <nav class="vector-appearance-landmark" aria-label="Appearance"> <div id="vector-appearance-pinned-container" class="vector-pinned-container"> <div id="vector-appearance" class="vector-appearance vector-pinnable-element"> <div class="vector-pinnable-header vector-appearance-pinnable-header vector-pinnable-header-pinned" data-feature-name="appearance-pinned" data-pinnable-element-id="vector-appearance" data-pinned-container-id="vector-appearance-pinned-container" data-unpinned-container-id="vector-appearance-unpinned-container" > <div class="vector-pinnable-header-label">Appearance</div> <button class="vector-pinnable-header-toggle-button vector-pinnable-header-pin-button" data-event-name="pinnable-header.vector-appearance.pin">move to sidebar</button> <button class="vector-pinnable-header-toggle-button vector-pinnable-header-unpin-button" data-event-name="pinnable-header.vector-appearance.unpin">hide</button> </div> </div> </div> </nav> </div> </div> <div id="bodyContent" class="vector-body" aria-labelledby="firstHeading" data-mw-ve-target-container> <div class="vector-body-before-content"> <div class="mw-indicators"> </div> <div id="siteSub" class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"><span class="mw-redirectedfrom">(Redirected from <a href="/w/index.php?title=Contrapuntal&redirect=no" class="mw-redirect" title="Contrapuntal">Contrapuntal</a>)</span></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Polyphonic music with separate melodies</div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable"><span>For other uses, see <a href="/wiki/Counterpoint_(disambiguation)" class="mw-disambig" title="Counterpoint (disambiguation)">Counterpoint (disambiguation)</a>.</span> <span>"Contrapuntal Forms" redirects here. For the sculpture, see <a href="/wiki/Contrapuntal_Forms_(Hepworth)" title="Contrapuntal Forms (Hepworth)">Contrapuntal Forms (Hepworth)</a>.</span></div> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output .side-box{margin:4px 0;box-sizing:border-box;border:1px solid #aaa;font-size:88%;line-height:1.25em;background-color:var(--background-color-interactive-subtle,#f8f9fa);display:flow-root}.mw-parser-output .side-box-abovebelow,.mw-parser-output .side-box-text{padding:0.25em 0.9em}.mw-parser-output .side-box-image{padding:2px 0 2px 0.9em;text-align:center}.mw-parser-output .side-box-imageright{padding:2px 0.9em 2px 0;text-align:center}@media(min-width:500px){.mw-parser-output .side-box-flex{display:flex;align-items:center}.mw-parser-output .side-box-text{flex:1;min-width:0}}@media(min-width:720px){.mw-parser-output .side-box{width:238px}.mw-parser-output .side-box-right{clear:right;float:right;margin-left:1em}.mw-parser-output .side-box-left{margin-right:1em}}</style><style data-mw-deduplicate="TemplateStyles:r1096940132">.mw-parser-output .listen .side-box-text{line-height:1.1em}.mw-parser-output .listen-plain{border:none;background:transparent}.mw-parser-output .listen-embedded{width:100%;margin:0;border-width:1px 0 0 0;background:transparent}.mw-parser-output .listen-header{padding:2px}.mw-parser-output .listen-embedded .listen-header{padding:2px 0}.mw-parser-output .listen-file-header{padding:4px 0}.mw-parser-output .listen .description{padding-top:2px}.mw-parser-output .listen .mw-tmh-player{max-width:100%}@media(max-width:719px){.mw-parser-output .listen{clear:both}}@media(min-width:720px){.mw-parser-output .listen:not(.listen-noimage){width:320px}.mw-parser-output .listen-left{overflow:visible;float:left}.mw-parser-output .listen-center{float:none;margin-left:auto;margin-right:auto}}</style><div class="side-box side-box-right listen noprint"><style data-mw-deduplicate="TemplateStyles:r1126788409">.mw-parser-output .plainlist ol,.mw-parser-output .plainlist ul{line-height:inherit;list-style:none;margin:0;padding:0}.mw-parser-output .plainlist ol li,.mw-parser-output .plainlist ul li{margin-bottom:0}</style> <div class="side-box-flex"> <div class="side-box-image"><figure class="mw-halign-center" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Gnome-mime-audio-openclipart.svg/50px-Gnome-mime-audio-openclipart.svg.png" decoding="async" width="50" height="50" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Gnome-mime-audio-openclipart.svg/75px-Gnome-mime-audio-openclipart.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Gnome-mime-audio-openclipart.svg/100px-Gnome-mime-audio-openclipart.svg.png 2x" data-file-width="160" data-file-height="160" /></span><figcaption></figcaption></figure></div> <div class="side-box-text plainlist"><div class="listen-header"><figure class="mw-default-size mw-halign-center" typeof="mw:File/Frameless"><a href="/wiki/File:BachFugueBar.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/a/a6/BachFugueBar.png/220px-BachFugueBar.png" decoding="async" width="220" height="181" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/a6/BachFugueBar.png/330px-BachFugueBar.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/a6/BachFugueBar.png/440px-BachFugueBar.png 2x" data-file-width="719" data-file-height="592" /></a><figcaption></figcaption></figure></div> <div class="haudio"> <div class="listen-file-header"><a href="/wiki/File:BachBWV862Bar.mid" title="File:BachBWV862Bar.mid">Sample of counterpoint</a></div> <div><span typeof="mw:File"><span><audio id="mwe_player_0" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="232" style="width:232px;" data-durationhint="5" data-mwtitle="BachBWV862Bar.mid" data-mwprovider="wikimediacommons"><source src="//upload.wikimedia.org/wikipedia/commons/4/43/BachBWV862Bar.mid" type="audio/midi" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/4/43/BachBWV862Bar.mid/BachBWV862Bar.mid.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/4/43/BachBWV862Bar.mid/BachBWV862Bar.mid.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /></audio></span></span></div> <div class="description">Extract from <a href="/wiki/Fugue" title="Fugue">Fugue</a> no. 17 in A-flat major, <a href="/wiki/BWV" class="mw-redirect" title="BWV">BWV</a> 862, from book 1 of <i><a href="/wiki/The_Well-Tempered_Clavier" title="The Well-Tempered Clavier">The Well-Tempered Clavier</a></i> by <a href="/wiki/Johann_Sebastian_Bach" title="Johann Sebastian Bach">Bach</a></div></div></div></div> <div class="side-box-abovebelow"><hr /><i class="selfreference">Problems playing this file? See <a href="/wiki/Help:Media" title="Help:Media">media help</a>.</i></div> </div> <p>In <a href="/wiki/Music_theory" title="Music theory">music theory</a>, <b>counterpoint</b> is the relationship of two or more simultaneous <a href="/wiki/Part_(music)" title="Part (music)">musical lines</a> (also called voices) that are <a href="/wiki/Harmonically" class="mw-redirect" title="Harmonically">harmonically</a> interdependent yet independent in <a href="/wiki/Rhythm" title="Rhythm">rhythm</a> and <a href="/wiki/Pitch_contour" title="Pitch contour">melodic contour</a>.<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> The term originates from the <a href="/wiki/Latin" title="Latin">Latin</a> <i>punctus contra punctum</i> meaning "point against point", i.e. "note against note". <a href="/wiki/John_Rahn" title="John Rahn">John Rahn</a> describes counterpoint as follows: </p> <style data-mw-deduplicate="TemplateStyles:r1244412712">.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 32px}.mw-parser-output .templatequotecite{line-height:1.5em;text-align:left;margin-top:0}@media(min-width:500px){.mw-parser-output .templatequotecite{padding-left:1.6em}}</style><blockquote class="templatequote"><p>It is hard to write a beautiful song. It is harder to write several individually beautiful songs that, when sung simultaneously, sound as a more beautiful polyphonic whole. The internal structures that create each of the voices separately must contribute to the emergent structure of the polyphony, which in turn must reinforce and comment on the structures of the individual voices. The way that is accomplished in detail is ... 'counterpoint'.<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p></blockquote> <p>Counterpoint has been most commonly identified in the <a href="/wiki/Classical_music" title="Classical music">European classical tradition</a>, strongly developing during the <a href="/wiki/Renaissance_music" title="Renaissance music">Renaissance</a> and in much of the <a href="/wiki/Common_practice_period" title="Common practice period">common practice period</a>, especially in the <a href="/wiki/Baroque_music" title="Baroque music">Baroque period</a>. In Western <a href="/wiki/Music_education" title="Music education">pedagogy</a>, counterpoint is taught through a system of species (see below). </p><p>There are several different forms of counterpoint, including imitative counterpoint and free counterpoint. Imitative counterpoint involves the repetition of a main melodic idea across different vocal parts, with or without variation. Compositions written in free counterpoint often incorporate non-traditional harmonies and chords, <a href="/wiki/Chromaticism" title="Chromaticism">chromaticism</a> and <a href="/wiki/Consonance_and_dissonance" title="Consonance and dissonance">dissonance</a>. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="General_principles">General principles</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Counterpoint&action=edit&section=1" title="Edit section: General principles"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The term "counterpoint" has been used to designate a voice or even an entire composition.<sup id="cite_ref-FOOTNOTESachsDahlhaus2001_3-0" class="reference"><a href="#cite_note-FOOTNOTESachsDahlhaus2001-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> Counterpoint focuses on melodic interaction—only secondarily on the harmonies produced by that interaction. </p><p>Work initiated by <a href="/wiki/Guerino_Mazzola" title="Guerino Mazzola">Guerino Mazzola</a> (born 1947) has given counterpoint theory a mathematical foundation. In particular, Mazzola's model gives a structural (and not psychological) foundation of forbidden parallels of fifths and the dissonant fourth. Octavio Agustin has extended the model to <a href="/wiki/Microtonal_music" class="mw-redirect" title="Microtonal music">microtonal</a> contexts.<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> Another theorist who has tried to incorporate mathematical principles in his study of counterpoint is <a href="/wiki/Sergei_Taneyev" title="Sergei Taneyev">Sergei Taneyev</a> (1856-1915). Inspired by <a href="/wiki/Baruch_Spinoza" title="Baruch Spinoza">Spinoza</a>,<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> Taneyev developed a theory which covers and generalizes a wide range of advanced contrapuntal phenomena, including what is known to the english-speaking theorists as <a href="/wiki/Invertible_counterpoint" class="mw-redirect" title="Invertible counterpoint">invertible counterpoint</a> (although he describes them mainly using his own, custom-built terminology), by means of linking them to simple algebraic procedures.<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> </p><p>In counterpoint, the <i>functional independence</i> of voices is the prime concern. The violation of this principle leads to special effects, which are avoided in counterpoint. In organ registers, certain interval combinations and chords are activated by a single key so that playing a melody results in parallel voice leading. These voices, losing independence, are fused into one and the parallel chords are perceived as single tones with a new timbre. This effect is also used in orchestral arrangements; for instance, in <a href="/wiki/Ravel" class="mw-redirect" title="Ravel">Ravel</a>'s Bolero #5 the parallel parts of flutes, horn and celesta resemble the sound of an electric organ. In counterpoint, parallel voices are prohibited because they violate the homogeneity of musical texture when independent voices occasionally disappear turning into a new timbre quality and vice versa.<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Development">Development</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Counterpoint&action=edit&section=2" title="Edit section: Development"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Some examples of related compositional techniques include: the <a href="/wiki/Round_(music)" title="Round (music)">round</a> (familiar in folk traditions), the <a href="/wiki/Canon_(music)" title="Canon (music)">canon</a>, and perhaps the most complex contrapuntal convention: the <a href="/wiki/Fugue" title="Fugue">fugue</a>. All of these are examples of <a href="/wiki/Imitation_(music)" title="Imitation (music)">imitative counterpoint</a>. </p> <div class="mw-heading mw-heading2"><h2 id="Examples_from_the_repertoire">Examples from the repertoire</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Counterpoint&action=edit&section=3" title="Edit section: Examples from the repertoire"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>There are many examples of song melodies that are harmonically interdependent yet independent in rhythm and melodic contour. For example, "<a href="/wiki/Fr%C3%A8re_Jacques" title="Frère Jacques">Frère Jacques</a>" and "<a href="/wiki/Three_Blind_Mice" title="Three Blind Mice">Three Blind Mice</a>" combine euphoniously when sung together. A number of popular songs that share the same <a href="/wiki/Chord_progression" title="Chord progression">chord progression</a> can also be sung together as counterpoint. A well-known pair of examples is "<a href="/wiki/My_Way" title="My Way">My Way</a>" combined with "<a href="/wiki/Life_on_Mars_(song)" title="Life on Mars (song)">Life on Mars</a>".<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> </p> <p><a href="/wiki/Johann_Sebastian_Bach" title="Johann Sebastian Bach">Johann Sebastian Bach</a> is revered as one of the greatest masters of counterpoint. For example the harmony implied in the opening subject of the <a href="/wiki/Fugue" title="Fugue">Fugue</a> in <a href="/wiki/G-sharp_minor" title="G-sharp minor">G-sharp minor</a> from Book II of <i><a href="/wiki/The_Well-Tempered_Clavier" title="The Well-Tempered Clavier">the Well-Tempered Clavier</a></i> is heard anew in a subtle way when a second voice is added. "The counterpoint in bars 5-8... sheds an unexpected light on the tonality of the Subject."<sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup>:</p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_1" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="22" data-mwtitle="Bach_prelude_in_G_sharp_minor_from_WTC_Book_2.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Bach_prelude_in_G_sharp_minor_from_WTC_Book_2.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/1/13/Bach_prelude_in_G_sharp_minor_from_WTC_Book_2.wav/Bach_prelude_in_G_sharp_minor_from_WTC_Book_2.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/1/13/Bach_prelude_in_G_sharp_minor_from_WTC_Book_2.wav/Bach_prelude_in_G_sharp_minor_from_WTC_Book_2.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/1/13/Bach_prelude_in_G_sharp_minor_from_WTC_Book_2.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Bach fugue in G-sharp minor from WTC Book 2</figcaption></figure> <figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Bach_prelude_in_G_sharp_minor_from_WTC_Book_3.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/07/Bach_prelude_in_G_sharp_minor_from_WTC_Book_3.png/500px-Bach_prelude_in_G_sharp_minor_from_WTC_Book_3.png" decoding="async" width="500" height="194" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/07/Bach_prelude_in_G_sharp_minor_from_WTC_Book_3.png/750px-Bach_prelude_in_G_sharp_minor_from_WTC_Book_3.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/07/Bach_prelude_in_G_sharp_minor_from_WTC_Book_3.png/1000px-Bach_prelude_in_G_sharp_minor_from_WTC_Book_3.png 2x" data-file-width="2205" data-file-height="857" /></a><figcaption>Bach fugue in G-sharp minor from WTC Book 2</figcaption></figure> <p><a href="/wiki/Johann_Sebastian_Bach" title="Johann Sebastian Bach">Bach</a>'s 3-part <a href="/wiki/Inventions_and_Sinfonias_(Bach)" class="mw-redirect" title="Inventions and Sinfonias (Bach)">Invention in F minor</a> combines three independent melodies: </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_2" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="20" data-mwtitle="Bach_3-part_Invention_BWV_795,_bars_7-9.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Bach_3-part_Invention_BWV_795,_bars_7-9.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/9/97/Bach_3-part_Invention_BWV_795%2C_bars_7-9.wav/Bach_3-part_Invention_BWV_795%2C_bars_7-9.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/9/97/Bach_3-part_Invention_BWV_795%2C_bars_7-9.wav/Bach_3-part_Invention_BWV_795%2C_bars_7-9.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/9/97/Bach_3-part_Invention_BWV_795%2C_bars_7-9.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Bach 3-part Invention BWV 795, bars 7–9</figcaption></figure> <figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Bach_3-part_Invention_BWV_795,_bars_7-9.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Bach_3-part_Invention_BWV_795%2C_bars_7-9.png/500px-Bach_3-part_Invention_BWV_795%2C_bars_7-9.png" decoding="async" width="500" height="127" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Bach_3-part_Invention_BWV_795%2C_bars_7-9.png/750px-Bach_3-part_Invention_BWV_795%2C_bars_7-9.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Bach_3-part_Invention_BWV_795%2C_bars_7-9.png/1000px-Bach_3-part_Invention_BWV_795%2C_bars_7-9.png 2x" data-file-width="2087" data-file-height="530" /></a><figcaption>Bach 3-part Invention BWV 795, bars 7–9</figcaption></figure> <p>According to pianist <a href="/wiki/Andr%C3%A1s_Schiff" title="András Schiff">András Schiff</a>, Bach's counterpoint influenced the composing of both <a href="/wiki/Wolfgang_Amadeus_Mozart" title="Wolfgang Amadeus Mozart">Mozart</a> and <a href="/wiki/Ludwig_van_Beethoven" title="Ludwig van Beethoven">Beethoven</a>. In the <a href="/wiki/Development_section" class="mw-redirect" title="Development section">development section</a> of the opening movement of Beethoven's <a href="/wiki/Piano_Sonata_No._27_(Beethoven)" title="Piano Sonata No. 27 (Beethoven)">Piano Sonata in E minor</a>, Beethoven demonstrates this influence by adding "a wonderful counterpoint" to one of the main themes.<sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_3" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="13" data-mwtitle="Beethoven_Piano_Sonata_Op._90,_first_movement_bars_110-113.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Beethoven_Piano_Sonata_Op._90,_first_movement_bars_110-113.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/e/ee/Beethoven_Piano_Sonata_Op._90%2C_first_movement_bars_110-113.wav/Beethoven_Piano_Sonata_Op._90%2C_first_movement_bars_110-113.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/e/ee/Beethoven_Piano_Sonata_Op._90%2C_first_movement_bars_110-113.wav/Beethoven_Piano_Sonata_Op._90%2C_first_movement_bars_110-113.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/e/ee/Beethoven_Piano_Sonata_Op._90%2C_first_movement_bars_110-113.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Beethoven Piano Sonata Op. 90, first movement bars 110–113</figcaption></figure> <figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Beethoven_Piano_Sonata_Op._90,_first_movement_bars_110-113.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/6/69/Beethoven_Piano_Sonata_Op._90%2C_first_movement_bars_110-113.png/500px-Beethoven_Piano_Sonata_Op._90%2C_first_movement_bars_110-113.png" decoding="async" width="500" height="85" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/69/Beethoven_Piano_Sonata_Op._90%2C_first_movement_bars_110-113.png/750px-Beethoven_Piano_Sonata_Op._90%2C_first_movement_bars_110-113.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/69/Beethoven_Piano_Sonata_Op._90%2C_first_movement_bars_110-113.png/1000px-Beethoven_Piano_Sonata_Op._90%2C_first_movement_bars_110-113.png 2x" data-file-width="2102" data-file-height="359" /></a><figcaption>Beethoven Piano Sonata Op. 90, first movement bars 110–113</figcaption></figure> <p>A further example of fluid counterpoint in late Beethoven may be found in the first orchestral variation on the "<a href="/wiki/Ode_to_Joy" title="Ode to Joy">Ode to Joy</a>" theme in the last movement of Beethoven's <a href="/wiki/Symphony_No._9_(Beethoven)" title="Symphony No. 9 (Beethoven)">Symphony No. 9</a>, bars 116–123. The famous theme is heard on the <a href="/wiki/Viola" title="Viola">violas</a> and <a href="/wiki/Cello" title="Cello">cellos</a>, while "the <a href="/wiki/Double_bass" title="Double bass">basses</a> add a bass-line whose sheer unpredictability gives the impression that it is being spontaneously improvised. Meantime a solo <a href="/wiki/Bassoon" title="Bassoon">bassoon</a> adds a counterpoint that has a similarly impromptu quality."<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_4" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="25" data-mwtitle="Beethoven,_Symphony_No._9,_finale,_bars_116-123.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Beethoven,_Symphony_No._9,_finale,_bars_116-123.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/68/Beethoven%2C_Symphony_No._9%2C_finale%2C_bars_116-123.wav/Beethoven%2C_Symphony_No._9%2C_finale%2C_bars_116-123.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/68/Beethoven%2C_Symphony_No._9%2C_finale%2C_bars_116-123.wav/Beethoven%2C_Symphony_No._9%2C_finale%2C_bars_116-123.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/6/68/Beethoven%2C_Symphony_No._9%2C_finale%2C_bars_116-123.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Beethoven, Symphony No. 9, finale, bars 116–123</figcaption></figure> <figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Beethoven,_Symphony_No._9,_finale,_bars_116-123.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/dd/Beethoven%2C_Symphony_No._9%2C_finale%2C_bars_116-123.png/500px-Beethoven%2C_Symphony_No._9%2C_finale%2C_bars_116-123.png" decoding="async" width="500" height="255" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/dd/Beethoven%2C_Symphony_No._9%2C_finale%2C_bars_116-123.png/750px-Beethoven%2C_Symphony_No._9%2C_finale%2C_bars_116-123.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/dd/Beethoven%2C_Symphony_No._9%2C_finale%2C_bars_116-123.png/1000px-Beethoven%2C_Symphony_No._9%2C_finale%2C_bars_116-123.png 2x" data-file-width="2095" data-file-height="1070" /></a><figcaption>Beethoven, Symphony No. 9, finale, bars 116–123</figcaption></figure> <p>In the Prelude to <a href="/wiki/Richard_Wagner" title="Richard Wagner">Richard Wagner</a>'s opera <i><a href="/wiki/Die_Meistersinger_von_N%C3%BCrnberg" title="Die Meistersinger von Nürnberg">Die Meistersinger von Nürnberg</a></i>, three themes from the opera are combined simultaneously. According to <a href="/wiki/Gordon_Jacob" title="Gordon Jacob">Gordon Jacob</a>, "This is universally and justly acclaimed as an extraordinary feat of virtuosity."<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> However, <a href="/wiki/Donald_Tovey" title="Donald Tovey">Donald Tovey</a> points out that here "the combination of themes ... unlike classical counterpoint, really do not of themselves combine into complete or euphonious harmony."<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_5" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="15" data-mwtitle="Wagner_Meistersinger_Vorspiel_bars_158-161.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Wagner_Meistersinger_Vorspiel_bars_158-161.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/d/d5/Wagner_Meistersinger_Vorspiel_bars_158-161.wav/Wagner_Meistersinger_Vorspiel_bars_158-161.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/d/d5/Wagner_Meistersinger_Vorspiel_bars_158-161.wav/Wagner_Meistersinger_Vorspiel_bars_158-161.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/d/d5/Wagner_Meistersinger_Vorspiel_bars_158-161.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Wagner Meistersinger Vorspiel bars 158–161</figcaption></figure> <figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Wagner_Meistersinger_Vorspiel_bars_158-161.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/20/Wagner_Meistersinger_Vorspiel_bars_158-161.png/500px-Wagner_Meistersinger_Vorspiel_bars_158-161.png" decoding="async" width="500" height="119" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/20/Wagner_Meistersinger_Vorspiel_bars_158-161.png/750px-Wagner_Meistersinger_Vorspiel_bars_158-161.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/20/Wagner_Meistersinger_Vorspiel_bars_158-161.png/1000px-Wagner_Meistersinger_Vorspiel_bars_158-161.png 2x" data-file-width="1756" data-file-height="418" /></a><figcaption>Wagner Meistersinger Vorspiel bars 158–161</figcaption></figure> <p>One spectacular example of 5-voice counterpoint can be found in the finale to Mozart's <a href="/wiki/Symphony_No._41_(Mozart)" title="Symphony No. 41 (Mozart)">Symphony No 41</a> ("Jupiter" Symphony). Here five tunes combine simultaneously in "a rich tapestry of dialogue":<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_6" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="14" data-mwtitle="Mozart_Jupiter_Finale_final_section,_bars_389-397_all_five_themes_together.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Mozart_Jupiter_Finale_final_section,_bars_389-397_all_five_themes_together.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/8/89/Mozart_Jupiter_Finale_final_section%2C_bars_389-397_all_five_themes_together.wav/Mozart_Jupiter_Finale_final_section%2C_bars_389-397_all_five_themes_together.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/8/89/Mozart_Jupiter_Finale_final_section%2C_bars_389-397_all_five_themes_together.wav/Mozart_Jupiter_Finale_final_section%2C_bars_389-397_all_five_themes_together.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/8/89/Mozart_Jupiter_Finale_final_section%2C_bars_389-397_all_five_themes_together.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Mozart Symphony No. 41 Finale, bars 389–396</figcaption></figure> <figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Mozart_Jupiter_Finale_final_section,_bars_389-396_all_five_themes_together.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Mozart_Jupiter_Finale_final_section%2C_bars_389-396_all_five_themes_together.png/600px-Mozart_Jupiter_Finale_final_section%2C_bars_389-396_all_five_themes_together.png" decoding="async" width="600" height="459" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Mozart_Jupiter_Finale_final_section%2C_bars_389-396_all_five_themes_together.png/900px-Mozart_Jupiter_Finale_final_section%2C_bars_389-396_all_five_themes_together.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Mozart_Jupiter_Finale_final_section%2C_bars_389-396_all_five_themes_together.png/1200px-Mozart_Jupiter_Finale_final_section%2C_bars_389-396_all_five_themes_together.png 2x" data-file-width="1966" data-file-height="1505" /></a><figcaption>Mozart Symphony No. 41 Finale, bars 389–396</figcaption></figure> <p>See also <a href="/wiki/Invertible_counterpoint" class="mw-redirect" title="Invertible counterpoint">Invertible counterpoint</a>. </p> <div class="mw-heading mw-heading2"><h2 id="Species_counterpoint">Species counterpoint</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Counterpoint&action=edit&section=4" title="Edit section: Species counterpoint"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="center"><div class="thumb tnone" style=""><div class="thumbinner" style="width:-moz-fit-content; width:fit-content;"><div class="thumbimage noresize" style="width:auto;"> <div class="mw-ext-score noresize" data-midi="//upload.wikimedia.org/score/9/a/9a29g1xsj9e5kx6nfnzeo431k11fbfa/9a29g1xs.midi"><img src="//upload.wikimedia.org/score/9/a/9a29g1xsj9e5kx6nfnzeo431k11fbfa/9a29g1xs.png" width="587" height="115" alt="
\new PianoStaff <<
 \new Staff \relative c' { d4 e f g | a b c d | e d c b | a b c a | g a b cis | d1 | }
 \new Staff \relative c' { d1 | f | g | f | e | d | \bar "|." }
>>
" /><div style="margin-top: 3px;"><audio controls=""><source src="//upload.wikimedia.org/score/9/a/9a29g1xsj9e5kx6nfnzeo431k11fbfa/9a29g1xs.mp3" type="audio/mpeg" /><div>Audio playback is not supported in your browser. You can <a href="//upload.wikimedia.org/score/9/a/9a29g1xsj9e5kx6nfnzeo431k11fbfa/9a29g1xs.mp3">download the audio file</a>.</div></audio></div></div></div><div class="thumbcaption">Example of "third species" counterpoint</div></div></div></div> <p>Species counterpoint was developed as a pedagogical tool in which students progress through several "species" of increasing complexity, with a very simple part that remains constant known as the <a href="/wiki/Cantus_firmus" title="Cantus firmus">cantus firmus</a> (Latin for "fixed melody"). Species counterpoint generally offers less freedom to the composer than other types of counterpoint and therefore is called a "strict" counterpoint. The student gradually attains the ability to write <i>free</i> counterpoint (that is, less rigorously constrained counterpoint, usually without a cantus firmus) according to the given rules at the time.<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> The idea is at least as old as 1532, when Giovanni Maria Lanfranco described a similar concept in his <i>Scintille di musica</i> (Brescia, 1533). The 16th-century <a href="/wiki/Venetian_School_(music)" title="Venetian School (music)">Venetian</a> theorist <a href="/wiki/Gioseffe_Zarlino" class="mw-redirect" title="Gioseffe Zarlino">Zarlino</a> elaborated on the idea in his influential <i>Le institutioni harmoniche</i>, and it was first presented in a codified form in 1619 by <a href="/wiki/Lodovico_Zacconi" title="Lodovico Zacconi">Lodovico Zacconi</a> in his <i>Prattica di musica</i>. Zacconi, unlike later theorists, included a few extra contrapuntal techniques, such as <a href="/wiki/Inversion_(music)#Counterpoint" title="Inversion (music)">invertible counterpoint</a>. </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Fux-Gradus-ad-Parnassum.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/03/Fux-Gradus-ad-Parnassum.jpg/220px-Fux-Gradus-ad-Parnassum.jpg" decoding="async" width="220" height="321" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/03/Fux-Gradus-ad-Parnassum.jpg/330px-Fux-Gradus-ad-Parnassum.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/03/Fux-Gradus-ad-Parnassum.jpg/440px-Fux-Gradus-ad-Parnassum.jpg 2x" data-file-width="663" data-file-height="968" /></a><figcaption><i>Gradus ad Parnassum</i> (1725) by Johann Joseph Fux defines the modern system of teaching counterpoint</figcaption></figure> <p>In 1725 <a href="/wiki/Johann_Joseph_Fux" title="Johann Joseph Fux">Johann Joseph Fux</a> published <i><a href="/wiki/Gradus_ad_Parnassum" title="Gradus ad Parnassum">Gradus ad Parnassum</a></i> (Steps to Parnassus), in which he described five species: </p> <ol><li>Note against note;</li> <li>Two notes against one;</li> <li>Four notes against one;</li> <li>Notes offset against each other (as <a href="/wiki/Nonchord_tone" title="Nonchord tone">suspensions</a>);</li> <li>All the first four species together, as "florid" counterpoint.</li></ol> <p>A succession of later theorists quite closely imitated Fux's seminal work, often with some small and idiosyncratic modifications in the rules. Many of Fux's rules concerning the purely linear construction of melodies have their origin in <a href="/wiki/Solfeggio" class="mw-redirect" title="Solfeggio">solfeggio</a>. Concerning the common practice era, alterations to the melodic rules were introduced to enable the function of certain harmonic forms. The combination of these melodies produced the basic harmonic structure, the <a href="/wiki/Figured_bass" title="Figured bass">figured bass</a>.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (August 2018)">citation needed</span></a></i>]</sup> </p> <div class="mw-heading mw-heading3"><h3 id="Considerations_for_all_species">Considerations for all species</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Counterpoint&action=edit&section=5" title="Edit section: Considerations for all species"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The following rules apply to melodic writing in each species, for each part: </p> <ol><li>The <a href="/wiki/Mode_(music)#Western_Church" title="Mode (music)">final</a> note must be approached by <a href="/wiki/Steps_and_skips" title="Steps and skips">step</a>. If the final is approached from below, then the <a href="/wiki/Leading_tone" title="Leading tone">leading tone</a> must be raised in a minor key (Dorian, <a href="/wiki/Hypodorian" class="mw-redirect" title="Hypodorian">Hypodorian</a>, Aeolian, <a href="/wiki/Hypoaeolian" class="mw-redirect" title="Hypoaeolian">Hypoaeolian</a>), but not in Phrygian or Hypophrygian mode. Thus, in the Dorian mode on D, a C<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-sharp">♯</span></span> is necessary at the <a href="/wiki/Cadence" title="Cadence">cadence</a>.<sup id="cite_ref-FOOTNOTESalzerSchachter1989[[Category:Wikipedia_articles_needing_page_number_citations_from_October_2015]]<sup_class="noprint_Inline-Template_"_style="white-space:nowrap;">&#91;<i>[[Wikipedia:Citing_sources|<span_title="This_citation_requires_a_reference_to_the_specific_page_or_range_of_pages_in_which_the_material_appears.&#32;(October_2015)">page&nbsp;needed</span>]]</i>&#93;</sup>_18-0" class="reference"><a href="#cite_note-FOOTNOTESalzerSchachter1989[[Category:Wikipedia_articles_needing_page_number_citations_from_October_2015]]<sup_class="noprint_Inline-Template_"_style="white-space:nowrap;">&#91;<i>[[Wikipedia:Citing_sources|<span_title="This_citation_requires_a_reference_to_the_specific_page_or_range_of_pages_in_which_the_material_appears.&#32;(October_2015)">page&nbsp;needed</span>]]</i>&#93;</sup>-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup></li> <li>Permitted melodic intervals are the perfect unison, fourth, fifth, and octave, as well as the major and minor second, major and minor third, and ascending minor sixth. The ascending minor sixth must be immediately followed by motion downwards.</li> <li>If writing two <a href="/wiki/Steps_and_skips" title="Steps and skips">skips</a> in the same direction—something that must be only rarely done—the second must be smaller than the first, and the interval between the first and the third note may not be dissonant. The three notes should be from the same triad; if this is impossible, they should not outline more than one octave. In general, do not write more than two skips in the same direction.</li> <li>If writing a skip in one direction, it is best to proceed after the skip with step-wise motion in the other direction.</li> <li>The interval of a <a href="/wiki/Tritone" title="Tritone">tritone</a> in three notes should be avoided (for example, an ascending melodic motion F–A–B<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-natural">♮</span></span>)<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> as is the interval of a seventh in three notes.</li> <li>There must be a climax or high point in the line countering the <a href="/wiki/Cantus_firmus" title="Cantus firmus">cantus firmus</a>. This usually occurs somewhere in the middle of exercise and must occur on a strong beat.</li> <li>An outlining of a seventh is avoided within a single line moving in the same direction.</li></ol> <p>And, in all species, the following rules govern the combination of the parts: </p> <ol><li>The counterpoint must begin and end on a perfect <a href="/wiki/Consonance_and_dissonance" title="Consonance and dissonance">consonance</a>.</li> <li><a href="/wiki/Contrary_motion" class="mw-redirect" title="Contrary motion">Contrary motion</a> should dominate.</li> <li>Perfect consonances must be approached by oblique or contrary motion.</li> <li>Imperfect consonances may be approached by any type of motion.</li> <li>The interval of a tenth should not be exceeded between two adjacent parts unless by necessity.</li> <li>Build from the bass, upward.</li></ol> <div class="mw-heading mw-heading3"><h3 id="First_species">First species</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Counterpoint&action=edit&section=6" title="Edit section: First species"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In <i>first species</i> counterpoint, each note in every added part (parts being also referred to as <i>lines</i> or <i>voices</i>) sounds against one note in the cantus firmus. Notes in all parts are sounded simultaneously, and move against each other simultaneously. Since all notes in First species counterpoint are whole notes, rhythmic independence is not available.<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> </p><p>In the present context, a "step" is a melodic interval of a half or whole step. A "skip" is an interval of a third or fourth. (See <a href="/wiki/Steps_and_skips" title="Steps and skips">Steps and skips</a>.) An interval of a fifth or larger is referred to as a "leap". </p><p>A few further rules given by Fux, by study of the Palestrina style, and usually given in the works of later counterpoint pedagogues,<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> are as follows. </p> <div class="thumb tright" style=""><div class="thumbinner" style="width:394px"><div class="thumbimage noresize" style="width:392px;"> <div class="mw-ext-score noresize" data-midi="//upload.wikimedia.org/score/9/e/9ealfnluvv061ogjb5i58aada4u6h6y/9ealfnlu.midi"><img src="//upload.wikimedia.org/score/9/e/9ealfnluvv061ogjb5i58aada4u6h6y/9ealfnlu.png" width="392" height="115" alt="
\relative c'' {
 <<
 \new Staff { \clef "treble" d1 a b d cis d }
 \new Staff { \clef "treble" d,1 f g f e d }
 >>
}
" /><div style="margin-top: 3px;"><audio controls=""><source src="//upload.wikimedia.org/score/9/e/9ealfnluvv061ogjb5i58aada4u6h6y/9ealfnlu.mp3" type="audio/mpeg" /><div>Audio playback is not supported in your browser. You can <a href="//upload.wikimedia.org/score/9/e/9ealfnluvv061ogjb5i58aada4u6h6y/9ealfnlu.mp3">download the audio file</a>.</div></audio></div></div></div><div class="thumbcaption">Short example of "first species" counterpoint</div></div></div> <ol><li>Begin and end on either the unison, octave, or fifth, unless the added part is underneath, in which case begin and end only on unison or octave.</li> <li>Use no unisons except at the beginning or end.</li> <li>Avoid <a href="/wiki/Consecutive_fifths" title="Consecutive fifths">parallel fifths or octaves</a> between any two parts; and avoid <a href="/wiki/Consecutive_fifths#Hidden_consecutives" title="Consecutive fifths">"hidden" parallel fifths or octaves</a>: that is, movement by <a href="/wiki/Contrary_motion" class="mw-redirect" title="Contrary motion">similar motion</a> to a perfect fifth or octave, unless one part (sometimes restricted to the <i>higher</i> of the parts) moves by step.</li> <li>Avoid moving in parallel fourths. (In practice Palestrina and others frequently allowed themselves such progressions, especially if they do not involve the lowest of the parts.)</li> <li>Do not use an interval more than three times in a row.</li> <li>Attempt to use up to three parallel thirds or sixths in a row.</li> <li>Attempt to keep any two adjacent parts within a tenth of each other, unless an exceptionally pleasing line can be written by moving outside that range.</li> <li>Avoid having any two parts move in the same direction by skip.</li> <li>Attempt to have as much contrary motion as possible.</li> <li>Avoid dissonant intervals between any two parts: major or minor second, major or minor seventh, any augmented or diminished interval, and perfect fourth (in many contexts).</li></ol> <p>In the adjacent example in two parts, the cantus firmus is the lower part. (The same cantus firmus is used for later examples also. Each is in the <a href="/wiki/Dorian_mode" title="Dorian mode">Dorian mode</a>.) </p> <div class="mw-heading mw-heading3"><h3 id="Second_species">Second species</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Counterpoint&action=edit&section=7" title="Edit section: Second species"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In <i>second species</i> counterpoint, two notes in each of the added parts work against each longer note in the given part. </p> <div class="thumb tright" style=""><div class="thumbinner" style="width:-moz-fit-content; width:fit-content;"><div class="thumbimage noresize" style="width:auto;"> <div class="mw-ext-score noresize" data-midi="//upload.wikimedia.org/score/j/q/jqev82zyb0am3twy0muc50za7wno5fx/jqev82zy.midi"><img src="//upload.wikimedia.org/score/j/q/jqev82zyb0am3twy0muc50za7wno5fx/jqev82zy.png" width="459" height="115" alt=" {
# (set-global-staff-size 15)
\relative c' {
<< \new Staff {
r2 a' d c b e d a b cis d1
\bar "|." }
\new Staff {
d,1 f g f e d} >>
}
}
" /><div style="margin-top: 3px;"><audio controls=""><source src="//upload.wikimedia.org/score/j/q/jqev82zyb0am3twy0muc50za7wno5fx/jqev82zy.mp3" type="audio/mpeg" /><div>Audio playback is not supported in your browser. You can <a href="//upload.wikimedia.org/score/j/q/jqev82zyb0am3twy0muc50za7wno5fx/jqev82zy.mp3">download the audio file</a>.</div></audio></div></div> <br />Short example of "second species" counterpoint</div></div></div> <p>Additional considerations in second species counterpoint are as follows, and are in addition to the considerations for first species: </p> <ol><li>It is permissible to begin on an upbeat, leaving a half-rest in the added voice.</li> <li>The accented beat must have only consonance (perfect or imperfect). The unaccented beat may have dissonance, but only as a passing tone, i.e. it must be approached and left by step in the same direction.</li> <li>Avoid the interval of the unison except at the beginning or end of the example, except that it may occur on the unaccented portion of the bar.</li> <li>Use caution with successive accented perfect fifths or octaves. They must not be used as part of a sequential pattern. The example shown is weak due to similar motion in the second measure in both voices. A good rule to follow: if one voice skips or jumps try to use step-wise motion in the other voice or at the very least contrary motion.</li></ol> <div class="mw-heading mw-heading3"><h3 id="Third_species">Third species</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Counterpoint&action=edit&section=8" title="Edit section: Third species"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="thumb tright" style=""><div class="thumbinner" style="width:-moz-fit-content; width:fit-content;"><div class="thumbimage noresize" style="width:auto;"> <div class="mw-ext-score noresize" data-midi="//upload.wikimedia.org/score/f/3/f3u08kdhsqfcijfeg71n0hadomdgxvs/f3u08kdh.midi"><img src="//upload.wikimedia.org/score/f/3/f3u08kdhsqfcijfeg71n0hadomdgxvs/f3u08kdh.png" width="587" height="115" alt=" {
# (set-global-staff-size 16)
\relative c' {
\new PianoStaff <<
\new Staff {
d e f g a b c d
e d c b a b c a g a b cis d1
\bar "|." }
\new Staff {
d,1 f g f e d
}
>>
}
}
" /><div style="margin-top: 3px;"><audio controls=""><source src="//upload.wikimedia.org/score/f/3/f3u08kdhsqfcijfeg71n0hadomdgxvs/f3u08kdh.mp3" type="audio/mpeg" /><div>Audio playback is not supported in your browser. You can <a href="//upload.wikimedia.org/score/f/3/f3u08kdhsqfcijfeg71n0hadomdgxvs/f3u08kdh.mp3">download the audio file</a>.</div></audio></div></div> <br />Short example of "third species" counterpoint</div></div></div> <p>In <i>third species</i> counterpoint, four (or three, etc.) notes move against each longer note in the given part. </p><p>Three special figures are introduced into third species and later added to fifth species, and ultimately outside the restrictions of <i>species writing</i>. There are three figures to consider: The <i>nota <a href="/wiki/Cambiata" title="Cambiata">cambiata</a></i>, <i>double neighbor tones</i>, and <i>double passing tones</i>. </p><p>Double neighbor tones: the figure is prolonged over four beats and allows special dissonances. The upper and lower tones are prepared on beat 1 and resolved on beat 4. The fifth note or downbeat of the next measure should move by step in the same direction as the last two notes of the double neighbor figure. Lastly a double passing tone allows two dissonant passing tones in a row. The figure would consist of 4 notes moving in the same direction by step. The two notes that allow dissonance would be beat 2 and 3 or 3 and 4. The dissonant interval of a fourth would proceed into a diminished fifth and the next note would resolve at the interval of a sixth.<sup id="cite_ref-FOOTNOTESalzerSchachter1989[[Category:Wikipedia_articles_needing_page_number_citations_from_October_2015]]<sup_class="noprint_Inline-Template_"_style="white-space:nowrap;">&#91;<i>[[Wikipedia:Citing_sources|<span_title="This_citation_requires_a_reference_to_the_specific_page_or_range_of_pages_in_which_the_material_appears.&#32;(October_2015)">page&nbsp;needed</span>]]</i>&#93;</sup>_18-1" class="reference"><a href="#cite_note-FOOTNOTESalzerSchachter1989[[Category:Wikipedia_articles_needing_page_number_citations_from_October_2015]]<sup_class="noprint_Inline-Template_"_style="white-space:nowrap;">&#91;<i>[[Wikipedia:Citing_sources|<span_title="This_citation_requires_a_reference_to_the_specific_page_or_range_of_pages_in_which_the_material_appears.&#32;(October_2015)">page&nbsp;needed</span>]]</i>&#93;</sup>-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Ascending_Double_Passing_Tone.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/1/15/Ascending_Double_Passing_Tone.jpg/220px-Ascending_Double_Passing_Tone.jpg" decoding="async" width="220" height="165" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/15/Ascending_Double_Passing_Tone.jpg/330px-Ascending_Double_Passing_Tone.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/15/Ascending_Double_Passing_Tone.jpg/440px-Ascending_Double_Passing_Tone.jpg 2x" data-file-width="1127" data-file-height="843" /></a><figcaption>Example of a double passing tone in which the two middle notes are a dissonant interval from the cantus firmus, a fourth and a diminished fifth</figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Descending_Double_Neighbor_Figure.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/a/ae/Descending_Double_Neighbor_Figure.jpg/220px-Descending_Double_Neighbor_Figure.jpg" decoding="async" width="220" height="98" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/ae/Descending_Double_Neighbor_Figure.jpg/330px-Descending_Double_Neighbor_Figure.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/ae/Descending_Double_Neighbor_Figure.jpg/440px-Descending_Double_Neighbor_Figure.jpg 2x" data-file-width="1879" data-file-height="840" /></a><figcaption>Example of a descending double neighbor figure against a cantus firmus</figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Ascending_Double_Neighbor_Figure.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/df/Ascending_Double_Neighbor_Figure.jpg/220px-Ascending_Double_Neighbor_Figure.jpg" decoding="async" width="220" height="103" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/df/Ascending_Double_Neighbor_Figure.jpg/330px-Ascending_Double_Neighbor_Figure.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/df/Ascending_Double_Neighbor_Figure.jpg/440px-Ascending_Double_Neighbor_Figure.jpg 2x" data-file-width="1860" data-file-height="873" /></a><figcaption>Example of an ascending double neighbor figure (with an interesting tritone leap at the end) against a cantus firmus</figcaption></figure> <div class="mw-heading mw-heading3"><h3 id="Fourth_species">Fourth species</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Counterpoint&action=edit&section=9" title="Edit section: Fourth species"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In <i>fourth species</i> counterpoint, some notes are sustained or <i>suspended</i> in an added part while notes move against them in the given part, often creating a <a href="/wiki/Consonance_and_dissonance" title="Consonance and dissonance">dissonance</a> on the beat, followed by the suspended note then changing (and "catching up") to create a subsequent <a href="/wiki/Consonance_and_dissonance" title="Consonance and dissonance">consonance</a> with the note in the given part as it continues to sound. As before, fourth species counterpoint is called <i>expanded</i> when the added-part notes vary in length among themselves. The technique requires chains of notes sustained across the boundaries determined by beat, and so creates <a href="/wiki/Syncopation" title="Syncopation">syncopation</a>. A dissonant interval is allowed on beat 1 because of the syncopation created by the suspension. While it is not incorrect to start with a half note, it is also common to start 4th species with a half rest. </p> <div class="mw-ext-score noresize" data-midi="//upload.wikimedia.org/score/a/z/azgcb4rkppjq905qfpzovvq9x4u9t87/azgcb4rk.midi"><img src="//upload.wikimedia.org/score/a/z/azgcb4rkppjq905qfpzovvq9x4u9t87/azgcb4rk.png" width="489" height="115" alt="
\relative c' {
\new PianoStaff <<
\new Staff {
\set Staff.explicitKeySignatureVisibility = #all-invisible
a'2 d~ d c~ c bes~
\key d \minor bes
a b cis d1 \bar "|."
}
\new Staff {
d, f g f e d \bar "|."
}
>>
}
" /><div style="margin-top: 3px;"><audio controls=""><source src="//upload.wikimedia.org/score/a/z/azgcb4rkppjq905qfpzovvq9x4u9t87/azgcb4rk.mp3" type="audio/mpeg" /><div>Audio playback is not supported in your browser. You can <a href="//upload.wikimedia.org/score/a/z/azgcb4rkppjq905qfpzovvq9x4u9t87/azgcb4rk.mp3">download the audio file</a>.</div></audio></div></div><p>Short example of "fourth species" counterpoint </p><div class="mw-heading mw-heading3"><h3 id="Fifth_species_(florid_counterpoint)"><span id="Fifth_species_.28florid_counterpoint.29"></span>Fifth species (florid counterpoint)</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Counterpoint&action=edit&section=10" title="Edit section: Fifth species (florid counterpoint)"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In <i>fifth species</i> counterpoint, sometimes called <i>florid counterpoint</i>, the other four species of counterpoint are combined within the added parts. In the example, the first and second bars are second species, the third bar is third species, the fourth and fifth bars are third and embellished fourth species, and the final bar is first species. In florid counterpoint it is important that no one species dominates the composition. </p> <div class="mw-ext-score noresize" data-midi="//upload.wikimedia.org/score/a/k/akvqm4xhy81ykpxuvtft6pg2km0s90p/akvqm4xh.midi"><img src="//upload.wikimedia.org/score/a/k/akvqm4xhy81ykpxuvtft6pg2km0s90p/akvqm4xh.png" width="524" height="115" alt="
\relative c' {
\new PianoStaff <<
\new Staff {
r2 a' d c b4 c d e f e d2~ d4 cis8 b cis2 d1 \bar "|."
}
\new Staff {
d, f g f e d \bar "|."
}
>>
}
" /><div style="margin-top: 3px;"><audio controls=""><source src="//upload.wikimedia.org/score/a/k/akvqm4xhy81ykpxuvtft6pg2km0s90p/akvqm4xh.mp3" type="audio/mpeg" /><div>Audio playback is not supported in your browser. You can <a href="//upload.wikimedia.org/score/a/k/akvqm4xhy81ykpxuvtft6pg2km0s90p/akvqm4xh.mp3">download the audio file</a>.</div></audio></div></div> <p>Short example of "Florid" counterpoint </p> <div class="mw-heading mw-heading2"><h2 id="Contrapuntal_derivations">Contrapuntal derivations</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Counterpoint&action=edit&section=11" title="Edit section: Contrapuntal derivations"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Since the <a href="/wiki/Renaissance_music" title="Renaissance music">Renaissance</a> period in European music, much contrapuntal music has been written in imitative counterpoint. In imitative counterpoint, two or more voices enter at different times, and (especially when entering) each voice repeats some version of the same melodic element. The <a href="/wiki/Fantasia_(music)" class="mw-redirect" title="Fantasia (music)">fantasia</a>, the <a href="/wiki/Ricercar" title="Ricercar">ricercar</a>, and later, the <a href="/wiki/Canon_(music)" title="Canon (music)">canon</a> and <a href="/wiki/Fugue" title="Fugue">fugue</a> (the contrapuntal form <i>par excellence</i>) all feature imitative counterpoint, which also frequently appears in <a href="/wiki/Choir" title="Choir">choral</a> works such as <a href="/wiki/Motet" title="Motet">motets</a> and <a href="/wiki/Madrigal_(music)" class="mw-redirect" title="Madrigal (music)">madrigals</a>. Imitative counterpoint spawned a number of devices, including: </p> <dl><dt><a href="/wiki/Melodic_inversion" class="mw-redirect" title="Melodic inversion">Melodic inversion</a></dt> <dd>The inverse of a given fragment of melody is the fragment turned upside down—so if the original fragment has a rising major third (see <a href="/wiki/Interval_(music)" title="Interval (music)">interval</a>), the inverted fragment has a falling major (or perhaps minor) third, etc. (Compare, in <a href="/wiki/Twelve-tone_technique" title="Twelve-tone technique">twelve-tone technique</a>, the inversion of the tone row, which is the so-called prime series turned upside down.) (Note: in <i>invertible counterpoint</i>, including <i>double</i> and <i>triple counterpoint</i>, the term <i>inversion</i> is used in a different sense altogether. At least one pair of parts is switched, so that the one that was higher becomes lower. See <a href="/wiki/Inversion_(music)#Counterpoint" title="Inversion (music)">Inversion in counterpoint</a>; it is not a kind of imitation, but a rearrangement of the parts.)</dd> <dt><a href="/wiki/Retrograde_(music)" title="Retrograde (music)">Retrograde</a></dt> <dd>Whereby an imitative voice sounds the melody backwards in relation to the leading voice.</dd> <dt><a href="/wiki/Retrograde_inversion" title="Retrograde inversion">Retrograde inversion</a></dt> <dd>Where the imitative voice sounds the melody backwards and upside-down at once.</dd> <dt><a href="/wiki/Augmentation_(music)" title="Augmentation (music)">Augmentation</a></dt> <dd>When in one of the parts in imitative counterpoint the note values are extended in duration compared to the rate at which they were sounded when introduced.</dd> <dt><a href="/wiki/Diminution" title="Diminution">Diminution</a></dt> <dd>When in one of the parts in imitative counterpoint the note values are reduced in duration compared to the rate at which they were sounded when introduced.</dd></dl> <div class="mw-heading mw-heading2"><h2 id="Free_counterpoint">Free counterpoint</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Counterpoint&action=edit&section=12" title="Edit section: Free counterpoint"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Broadly speaking, due to the development of harmony, from the Baroque period on, most contrapuntal compositions were written in the style of free counterpoint. This means that the general focus of the composer had shifted away from how the intervals of added melodies related to a <i><a href="/wiki/Cantus_firmus" title="Cantus firmus">cantus firmus</a></i>, and more toward how they related to each other.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (August 2018)">citation needed</span></a></i>]</sup><sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> </p><p>Nonetheless, according to <a href="/wiki/Kent_Kennan" title="Kent Kennan">Kent Kennan</a>: "....actual teaching in that fashion (free counterpoint) did not become widespread until the late nineteenth century."<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> Young composers of the eighteenth and nineteenth centuries, such as <a href="/wiki/Mozart" class="mw-redirect" title="Mozart">Mozart</a>, <a href="/wiki/Beethoven" class="mw-redirect" title="Beethoven">Beethoven</a>, and <a href="/wiki/Robert_Schumann" title="Robert Schumann">Schumann</a>, were still educated in the style of "strict" counterpoint, but in practice, they would look for ways to expand on the traditional concepts of the subject.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (August 2018)">citation needed</span></a></i>]</sup> </p><p>Main features of free counterpoint: </p> <ol><li>All forbidden chords, such as second-inversion, seventh, ninth etc., can be used freely as long as they resolve to a consonant triad</li> <li>Chromaticism is allowed</li> <li>The restrictions about rhythmic-placement of dissonance are removed. It is possible to use passing tones on the accented beat</li> <li>Appoggiatura is available: dissonance tones can be approached by leaps.</li></ol> <div class="mw-heading mw-heading2"><h2 id="Linear_counterpoint">Linear counterpoint</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Counterpoint&action=edit&section=13" title="Edit section: Linear counterpoint"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div><p><sup class="noprint Inline-Template" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:AUDIENCE" class="mw-redirect" title="Wikipedia:AUDIENCE"><span title="An editor has requested that an example be provided. (April 2018)">example needed</span></a></i>]</sup> </p><p><b>Linear counterpoint</b> is "a purely horizontal technique in which the integrity of the individual melodic lines is not sacrificed to harmonic considerations. "Its distinctive feature is rather the concept of melody, which served as the starting-point for the adherents of the 'new objectivity' when they set up linear counterpoint as an anti-type to the Romantic harmony."<sup id="cite_ref-FOOTNOTESachsDahlhaus2001_3-1" class="reference"><a href="#cite_note-FOOTNOTESachsDahlhaus2001-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> The voice parts move freely, irrespective of the effects their combined motions may create."<sup id="cite_ref-Katz_24-0" class="reference"><a href="#cite_note-Katz-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> In other words, either "the domination of the horizontal (linear) aspects over the vertical"<sup id="cite_ref-Ulrich_25-0" class="reference"><a href="#cite_note-Ulrich-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> is featured or the "harmonic control of lines is rejected."<sup id="cite_ref-Cunningham_26-0" class="reference"><a href="#cite_note-Cunningham-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> </p><p>Associated with <a href="/wiki/Neoclassicism_(music)" title="Neoclassicism (music)">neoclassicism</a>,<sup id="cite_ref-Ulrich_25-1" class="reference"><a href="#cite_note-Ulrich-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> the technique was first used in <a href="/wiki/Igor_Stravinsky" title="Igor Stravinsky">Igor Stravinsky</a>'s <i><a href="/wiki/Octet_(Stravinsky)" title="Octet (Stravinsky)">Octet</a></i> (1923),<sup id="cite_ref-Katz_24-1" class="reference"><a href="#cite_note-Katz-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> inspired by <a href="/wiki/J._S._Bach" class="mw-redirect" title="J. S. Bach">J. S. Bach</a> and <a href="/wiki/Giovanni_Pierluigi_da_Palestrina" title="Giovanni Pierluigi da Palestrina">Giovanni Palestrina</a>. However, according to <a href="/wiki/Knud_Jeppesen" title="Knud Jeppesen">Knud Jeppesen</a>: "Bach's and Palestrina's points of departure are antipodal. Palestrina starts out from lines and arrives at chords; Bach's music grows out of an ideally harmonic background, against which the voices develop with a bold independence that is often breath-taking."<sup id="cite_ref-Katz_24-2" class="reference"><a href="#cite_note-Katz-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> </p><p>According to Cunningham, linear harmony is "a frequent approach in the 20th century...[in which lines] are combined with almost careless abandon in the hopes that new 'chords' and 'progressions'...will result." It is possible with "any kind of line, diatonic or <a href="/wiki/Twelve-tone_technique" title="Twelve-tone technique">duodecuple</a>".<sup id="cite_ref-Cunningham_26-1" class="reference"><a href="#cite_note-Cunningham-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Dissonant_counterpoint">Dissonant counterpoint</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Counterpoint&action=edit&section=14" title="Edit section: Dissonant counterpoint"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div><p><sup class="noprint Inline-Template" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:AUDIENCE" class="mw-redirect" title="Wikipedia:AUDIENCE"><span title="An editor has requested that an example be provided. (April 2018)">example needed</span></a></i>]</sup> </p><p><b>Dissonant counterpoint</b> was originally theorized by <a href="/wiki/Charles_Seeger" title="Charles Seeger">Charles Seeger</a> as "at first purely a school-room discipline," consisting of species counterpoint but with all the traditional rules reversed. First species counterpoint must be all dissonances, establishing "dissonance, rather than consonance, as the rule," and consonances are "resolved" through a skip, not step. He wrote that "the effect of this discipline" was "one of purification". Other <a href="/wiki/Aspects_of_music" class="mw-redirect" title="Aspects of music">aspects of composition</a>, such as rhythm, could be "dissonated" by applying the same principle.<sup id="cite_ref-27" class="reference"><a href="#cite_note-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> </p><p>Seeger was not the first to employ dissonant counterpoint, but was the first to theorize and promote it. Other composers who have used dissonant counterpoint, if not in the exact manner prescribed by Charles Seeger, include <a href="/wiki/Johanna_Beyer" title="Johanna Beyer">Johanna Beyer</a>, <a href="/wiki/John_Cage" title="John Cage">John Cage</a>, <a href="/wiki/Ruth_Crawford_Seeger" title="Ruth Crawford Seeger">Ruth Crawford-Seeger</a>, <a href="/wiki/Vivian_Fine" title="Vivian Fine">Vivian Fine</a>, <a href="/wiki/Carl_Ruggles" title="Carl Ruggles">Carl Ruggles</a>, <a href="/wiki/Henry_Cowell" title="Henry Cowell">Henry Cowell</a>, <a href="/wiki/Carlos_Ch%C3%A1vez" title="Carlos Chávez">Carlos Chávez</a>, <a href="/wiki/John_J._Becker" title="John J. Becker">John J. Becker</a>, <a href="/wiki/Henry_Brant" title="Henry Brant">Henry Brant</a>, <a href="/wiki/Lou_Harrison" title="Lou Harrison">Lou Harrison</a>, <a href="/wiki/Wallingford_Riegger" title="Wallingford Riegger">Wallingford Riegger</a>, and <a href="/w/index.php?title=Frank_Wigglesworth&action=edit&redlink=1" class="new" title="Frank Wigglesworth (page does not exist)">Frank Wigglesworth</a>.<sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Counterpoint&action=edit&section=15" title="Edit section: See also"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239009302">.mw-parser-output .portalbox{padding:0;margin:0.5em 0;display:table;box-sizing:border-box;max-width:175px;list-style:none}.mw-parser-output .portalborder{border:1px solid var(--border-color-base,#a2a9b1);padding:0.1em;background:var(--background-color-neutral-subtle,#f8f9fa)}.mw-parser-output .portalbox-entry{display:table-row;font-size:85%;line-height:110%;height:1.9em;font-style:italic;font-weight:bold}.mw-parser-output .portalbox-image{display:table-cell;padding:0.2em;vertical-align:middle;text-align:center}.mw-parser-output .portalbox-link{display:table-cell;padding:0.2em 0.2em 0.2em 0.3em;vertical-align:middle}@media(min-width:720px){.mw-parser-output .portalleft{clear:left;float:left;margin:0.5em 1em 0.5em 0}.mw-parser-output .portalright{clear:right;float:right;margin:0.5em 0 0.5em 1em}}</style><ul role="navigation" aria-label="Portals" class="noprint portalbox portalborder portalright"> <li class="portalbox-entry"><span class="portalbox-image"><span class="noviewer" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/f/ff/GClef.svg/10px-GClef.svg.png" decoding="async" width="10" height="28" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/ff/GClef.svg/15px-GClef.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/ff/GClef.svg/20px-GClef.svg.png 2x" data-file-width="15" data-file-height="41" /></span></span></span><span class="portalbox-link"><a href="/wiki/Portal:Music" title="Portal:Music">Music portal</a></span></li></ul> <ul><li><a href="/wiki/Counter-melody" title="Counter-melody">Counter-melody</a></li> <li><a href="/wiki/Hauptstimme" title="Hauptstimme">Hauptstimme</a></li> <li><a href="/wiki/Polyphony" title="Polyphony">Polyphony</a></li> <li><a href="/wiki/Polyrhythm" title="Polyrhythm">Polyrhythm</a></li> <li><a href="/wiki/Voice_leading" title="Voice leading">Voice leading</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Counterpoint&action=edit&section=16" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFLaitz2008" class="citation book cs1">Laitz, Steven G. (2008). <i>The Complete Musician</i> (2nd ed.). New York: Oxford University Press, Inc. p. 96. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-530108-3" title="Special:BookSources/978-0-19-530108-3"><bdi>978-0-19-530108-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Complete+Musician&rft.place=New+York&rft.pages=96&rft.edition=2nd&rft.pub=Oxford+University+Press%2C+Inc.&rft.date=2008&rft.isbn=978-0-19-530108-3&rft.aulast=Laitz&rft.aufirst=Steven+G.&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACounterpoint" class="Z3988"></span></span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRahn2000" class="citation book cs1"><a href="/wiki/John_Rahn" title="John Rahn">Rahn, John</a> (2000). <i>Music Inside Out: Going Too Far in Musical Essays</i>. intro. and comment. by <a href="/wiki/Benjamin_Boretz" title="Benjamin Boretz">Benjamin Boretz</a>. Amsterdam: G+B Arts International. p. 177. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/90-5701-332-0" title="Special:BookSources/90-5701-332-0"><bdi>90-5701-332-0</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/154331400">154331400</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Music+Inside+Out%3A+Going+Too+Far+in+Musical+Essays&rft.place=Amsterdam&rft.pages=177&rft.pub=G%2BB+Arts+International&rft.date=2000&rft_id=info%3Aoclcnum%2F154331400&rft.isbn=90-5701-332-0&rft.aulast=Rahn&rft.aufirst=John&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACounterpoint" class="Z3988"></span></span> </li> <li id="cite_note-FOOTNOTESachsDahlhaus2001-3"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTESachsDahlhaus2001_3-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTESachsDahlhaus2001_3-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFSachsDahlhaus2001">Sachs & Dahlhaus 2001</a>.</span> </li> <li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMazzola2017" class="citation journal cs1">Mazzola, Guerino (2017). <a rel="nofollow" class="external text" href="https://dx.doi.org/10.1007/978-3-319-64364-9">"The Topos of Music I: Theory"</a>. <i>Computational Music Science</i>. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1007%2F978-3-319-64364-9">10.1007/978-3-319-64364-9</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3-319-64363-2" title="Special:BookSources/978-3-319-64363-2"><bdi>978-3-319-64363-2</bdi></a>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/1868-0305">1868-0305</a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:4399053">4399053</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Computational+Music+Science&rft.atitle=The+Topos+of+Music+I%3A+Theory&rft.date=2017&rft_id=info%3Adoi%2F10.1007%2F978-3-319-64364-9&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A4399053%23id-name%3DS2CID&rft.issn=1868-0305&rft.isbn=978-3-319-64363-2&rft.aulast=Mazzola&rft.aufirst=Guerino&rft_id=http%3A%2F%2Fdx.doi.org%2F10.1007%2F978-3-319-64364-9&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACounterpoint" class="Z3988"></span></span> </li> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMozzalo2017" class="citation book cs1">Mozzalo, Guerino (2017). <i>The Topos of Music I: Theory : Geometric Logic, Classification, Harmony, Counterpoint, Motives, Rhythm</i>. New York: Springer International Publishing.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Topos+of+Music+I%3A+Theory+%3A+Geometric+Logic%2C+Classification%2C+Harmony%2C+Counterpoint%2C+Motives%2C+Rhythm&rft.place=New+York&rft.pub=Springer+International+Publishing&rft.date=2017&rft.aulast=Mozzalo&rft.aufirst=Guerino&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACounterpoint" class="Z3988"></span></span> </li> <li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGrove1999" class="citation book cs1">Grove, Paul Richard (1999). <a rel="nofollow" class="external text" href="https://repository.arizona.edu/handle/10150/283986"><i>Sergei Ivanovich Taneev's "Doctrine of the Canon": A translation and commentary</i></a>. p. 24.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Sergei+Ivanovich+Taneev%27s+%22Doctrine+of+the+Canon%22%3A+A+translation+and+commentary&rft.pages=24&rft.date=1999&rft.aulast=Grove&rft.aufirst=Paul+Richard&rft_id=https%3A%2F%2Frepository.arizona.edu%2Fhandle%2F10150%2F283986&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACounterpoint" class="Z3988"></span></span> </li> <li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCollins2018" class="citation journal cs1">Collins, Dennis (2018). <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/26663520">"Approaching Renaissance music using Taneyev's theories of Movable counterpoint"</a>. <i>Acta Musicologica</i>. <b>90</b> (8): 181–183. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/26663520">26663520</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Acta+Musicologica&rft.atitle=Approaching+Renaissance+music+using+Taneyev%27s+theories+of+Movable+counterpoint&rft.volume=90&rft.issue=8&rft.pages=181-183&rft.date=2018&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F26663520%23id-name%3DJSTOR&rft.aulast=Collins&rft.aufirst=Dennis&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F26663520&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACounterpoint" class="Z3988"></span></span> </li> <li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTangian1993" class="citation book cs1"><a href="/wiki/Andranik_Tangian" title="Andranik Tangian">Tangian, Andranick</a> (1993). <i>Artificial Perception and Music Recognition</i>. 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F. (1924, p. 127, Bach 48 Preludes and Fugues, Book II. London, Associated Boards of the Royal Schools of Music. </span> </li> <li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text"><a href="/wiki/Andr%C3%A1s_Schiff" title="András Schiff">Schiff, A.</a> (2006) <a rel="nofollow" class="external text" href="http://download.guardian.co.uk/sys-audio/Arts/Culture/2006/12/13/01-27_emin_op90.mp3">"<i>Guardian</i> Lecture on Beethoven Piano Sonata in E minor, Op. 90</a>, accessed 8 August 2019</span> </li> <li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text"><a href="/wiki/Antony_Hopkins" title="Antony Hopkins">Hopkins, Antony</a> (1981, p. 275) <i>The Nine Symphonies of Beethoven.</i> London, Heinemann.</span> </li> <li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text"><a href="/wiki/Gordon_Jacob" title="Gordon Jacob">Jacob, Gordon</a> (1953, p. 14) Wagner Overture <i>Die Meistersinger</i>. Harmondsworth, Penguin</span> </li> <li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text"><a href="/wiki/Donald_Tovey" title="Donald Tovey">Tovey, Donald Francis</a> (1936, p. 127) <i>Essays in Musical Analysis</i>, Volume IV. Oxford University Press.</span> </li> <li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text"><a href="/wiki/Simon_P._Keefe" title="Simon P. Keefe">Keefe, Simon P.</a> (2003, p. 104) <i>The Cambridge Companion to Mozart</i>. Cambridge University Press.</span> </li> <li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFJeppesen1992" class="citation book cs1"><a href="/wiki/Knud_Jeppesen" title="Knud Jeppesen">Jeppesen, Knud</a> (1992) [1939]. <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/counterpointpoly0000jepp"><i>Counterpoint: the polyphonic vocal style of the sixteenth century</i></a></span>. trans. by <a href="/wiki/Glen_Haydon" title="Glen Haydon">Glen Haydon</a>, with a new foreword by Alfred Mann. New York: Dover. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-486-27036-X" title="Special:BookSources/0-486-27036-X"><bdi>0-486-27036-X</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Counterpoint%3A+the+polyphonic+vocal+style+of+the+sixteenth+century&rft.place=New+York&rft.pub=Dover&rft.date=1992&rft.isbn=0-486-27036-X&rft.aulast=Jeppesen&rft.aufirst=Knud&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fcounterpointpoly0000jepp&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACounterpoint" class="Z3988"></span></span> </li> <li id="cite_note-FOOTNOTESalzerSchachter1989[[Category:Wikipedia_articles_needing_page_number_citations_from_October_2015]]<sup_class="noprint_Inline-Template_"_style="white-space:nowrap;">&#91;<i>[[Wikipedia:Citing_sources|<span_title="This_citation_requires_a_reference_to_the_specific_page_or_range_of_pages_in_which_the_material_appears.&#32;(October_2015)">page&nbsp;needed</span>]]</i>&#93;</sup>-18"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTESalzerSchachter1989[[Category:Wikipedia_articles_needing_page_number_citations_from_October_2015]]<sup_class="noprint_Inline-Template_"_style="white-space:nowrap;">&#91;<i>[[Wikipedia:Citing_sources|<span_title="This_citation_requires_a_reference_to_the_specific_page_or_range_of_pages_in_which_the_material_appears.&#32;(October_2015)">page&nbsp;needed</span>]]</i>&#93;</sup>_18-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTESalzerSchachter1989[[Category:Wikipedia_articles_needing_page_number_citations_from_October_2015]]<sup_class="noprint_Inline-Template_"_style="white-space:nowrap;">&#91;<i>[[Wikipedia:Citing_sources|<span_title="This_citation_requires_a_reference_to_the_specific_page_or_range_of_pages_in_which_the_material_appears.&#32;(October_2015)">page&nbsp;needed</span>]]</i>&#93;</sup>_18-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFSalzerSchachter1989">Salzer & Schachter1989</a>, p. <sup class="noprint Inline-Template" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citing_sources" title="Wikipedia:Citing sources"><span title="This citation requires a reference to the specific page or range of pages in which the material appears. (October 2015)">page needed</span></a></i>]</sup>.</span> </li> <li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFArnold,_Denis.Scholes,_Percy_A.1983" class="citation book cs1"><a href="/wiki/Denis_Arnold" title="Denis Arnold">Arnold, Denis.</a>; <a href="/wiki/Percy_Scholes" title="Percy Scholes">Scholes, Percy A.</a> (1983). <i><a href="/wiki/The_New_Oxford_Companion_to_Music" class="mw-redirect" title="The New Oxford Companion to Music">The New Oxford Companion to Music</a></i>. Oxford: Oxford University Press. pp. 1877–1958. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0193113163" title="Special:BookSources/0193113163"><bdi>0193113163</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/10096883">10096883</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+New+Oxford+Companion+to+Music&rft.place=Oxford&rft.pages=1877-1958&rft.pub=Oxford+University+Press&rft.date=1983&rft_id=info%3Aoclcnum%2F10096883&rft.isbn=0193113163&rft.au=Arnold%2C+Denis.&rft.au=Scholes%2C+Percy+A.&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACounterpoint" class="Z3988"></span></span> </li> <li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAnon." class="citation web cs1">Anon. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20181023092047/https://finearts.uvic.ca/music/current/theory_materials/Counterpoint%20online.pdf">"Species Counterpoint"</a> <span class="cs1-format">(PDF)</span>. Faculty of Fine Arts, University of Victoria, Canada. Archived from <a rel="nofollow" class="external text" href="https://finearts.uvic.ca/music/current/theory_materials/Counterpoint%20online.pdf">the original</a> <span class="cs1-format">(PDF)</span> on 23 October 2018<span class="reference-accessdate">. Retrieved <span class="nowrap">16 May</span> 2020</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Species+Counterpoint&rft.pub=Faculty+of+Fine+Arts%2C+University+of+Victoria%2C+Canada&rft.au=Anon.&rft_id=https%3A%2F%2Ffinearts.uvic.ca%2Fmusic%2Fcurrent%2Ftheory_materials%2FCounterpoint%2520online.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACounterpoint" class="Z3988"></span> (archive from 23 October 2018)</span> </li> <li id="cite_note-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-21">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFux1965" class="citation book cs1">Fux, Johann Joseph 1660–1741 (1965). <a rel="nofollow" class="external text" href="https://catalyst.library.jhu.edu/catalog/bib_275485"><i>The study of counterpoint from Johann Joseph Fux's Gradus ad parnassum</i></a>. The Norton library, N277 (Rev. ed.). New York: W. W. Norton.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+study+of+counterpoint+from+Johann+Joseph+Fux%27s+Gradus+ad+parnassum&rft.place=New+York&rft.series=The+Norton+library%2C+N277&rft.edition=Rev.&rft.pub=W.+W.+Norton&rft.date=1965&rft.aulast=Fux&rft.aufirst=Johann+Joseph+1660%E2%80%931741&rft_id=https%3A%2F%2Fcatalyst.library.jhu.edu%2Fcatalog%2Fbib_275485&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACounterpoint" class="Z3988"></span><span class="cs1-maint citation-comment"><code class="cs1-code">{{<a href="/wiki/Template:Cite_book" title="Template:Cite book">cite book</a>}}</code>: CS1 maint: numeric names: authors list (<a href="/wiki/Category:CS1_maint:_numeric_names:_authors_list" title="Category:CS1 maint: numeric names: authors list">link</a>)</span><sup class="noprint Inline-Template"><span style="white-space: nowrap;">[<i><a href="/wiki/Wikipedia:Link_rot" title="Wikipedia:Link rot"><span title=" Dead link tagged December 2023">permanent dead link</span></a></i><span style="visibility:hidden; color:transparent; padding-left:2px">‍</span>]</span></sup></span> </li> <li id="cite_note-22"><span class="mw-cite-backlink"><b><a href="#cite_ref-22">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKornfeld" class="citation web cs1">Kornfeld, Jono. <a rel="nofollow" class="external text" href="http://www.jkornfeld.net/free.pdf">"Free Counterpoint, Two Parts"</a> <span class="cs1-format">(PDF)</span><span class="reference-accessdate">. Retrieved <span class="nowrap">6 February</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Free+Counterpoint%2C+Two+Parts&rft.aulast=Kornfeld&rft.aufirst=Jono&rft_id=http%3A%2F%2Fwww.jkornfeld.net%2Ffree.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACounterpoint" class="Z3988"></span></span> </li> <li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKennan1999" class="citation book cs1"><a href="/wiki/Kent_Kennan" title="Kent Kennan">Kennan, Kent</a> (1999). <i>Counterpoint</i> (fourth ed.). Upper Saddle River, New Jersey: Prentice-Hall. p. 4. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-13-080746-X" title="Special:BookSources/0-13-080746-X"><bdi>0-13-080746-X</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Counterpoint&rft.place=Upper+Saddle+River%2C+New+Jersey&rft.pages=4&rft.edition=fourth&rft.pub=Prentice-Hall&rft.date=1999&rft.isbn=0-13-080746-X&rft.aulast=Kennan&rft.aufirst=Kent&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACounterpoint" class="Z3988"></span></span> </li> <li id="cite_note-Katz-24"><span class="mw-cite-backlink">^ <a href="#cite_ref-Katz_24-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Katz_24-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Katz_24-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text">Katz, Adele (1946). <i>Challenge to Musical Tradition: A New Concept of Tonality</i> (New York: A. A. Knopf), p. 340. Reprinted New York: Da Capo Press, 1972; reprinted n.p.: Katz Press, 2007, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-4067-5761-6" title="Special:BookSources/1-4067-5761-6">1-4067-5761-6</a>.</span> </li> <li id="cite_note-Ulrich-25"><span class="mw-cite-backlink">^ <a href="#cite_ref-Ulrich_25-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Ulrich_25-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Ulrich, Homer (1962). <i>Music: a Design for Listening</i>, second edition (New York: Harcourt, Brace & World), p. 438.</span> </li> <li id="cite_note-Cunningham-26"><span class="mw-cite-backlink">^ <a href="#cite_ref-Cunningham_26-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Cunningham_26-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Cunningham, Michael (2007). <i>Technique for Composers</i>, p. 144. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-4259-9618-3" title="Special:BookSources/1-4259-9618-3">1-4259-9618-3</a>.</span> </li> <li id="cite_note-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-27">^</a></b></span> <span class="reference-text"><a href="/wiki/Charles_Seeger" title="Charles Seeger">Charles Seeger</a>, "On Dissonant Counterpoint," <i>Modern Music</i> 7, no. 4 (June–July 1930): 25–26.</span> </li> <li id="cite_note-28"><span class="mw-cite-backlink"><b><a href="#cite_ref-28">^</a></b></span> <span class="reference-text">Spilker, John D., <a rel="nofollow" class="external text" href="http://etd.lib.fsu.edu/theses/available/etd-04032010-120836/unrestricted/Spilker_J_Dissertation_2010.pdf"><i>"Substituting a New Order": Dissonant Counterpoint, Henry Cowell, and the network of ultra-modern composers</i></a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20110815203847/http://etd.lib.fsu.edu/theses/available/etd-04032010-120836/unrestricted/Spilker_J_Dissertation_2010.pdf">Archived</a> 2011-08-15 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, Ph.D. dissertation, <a href="/wiki/Florida_State_University_College_of_Music" title="Florida State University College of Music">Florida State University College of Music</a>, 2010.</span> </li> </ol></div></div> <p><b>Sources</b> </p> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSachsDahlhaus2001" class="citation book cs1">Sachs, Klaus-Jürgen; <a href="/wiki/Carl_Dahlhaus" title="Carl Dahlhaus">Dahlhaus, Carl</a> (2001). "Counterpoint". In <a href="/wiki/Stanley_Sadie" title="Stanley Sadie">Stanley Sadie</a>; <a href="/wiki/John_Tyrrell_(musicologist)" title="John Tyrrell (musicologist)">John Tyrrell</a> (eds.). <i><a href="/wiki/The_New_Grove_Dictionary_of_Music_and_Musicians" title="The New Grove Dictionary of Music and Musicians">The New Grove Dictionary of Music and Musicians</a></i> (second ed.). London: Macmillan Publishers.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Counterpoint&rft.btitle=The+New+Grove+Dictionary+of+Music+and+Musicians&rft.place=London&rft.edition=second&rft.pub=Macmillan+Publishers&rft.date=2001&rft.aulast=Sachs&rft.aufirst=Klaus-J%C3%BCrgen&rft.au=Dahlhaus%2C+Carl&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACounterpoint" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSalzerSchachter1989" class="citation book cs1"><a href="/wiki/Felix_Salzer" title="Felix Salzer">Salzer, Felix</a>; <a href="/wiki/Carl_Schachter" title="Carl Schachter">Schachter, Carl</a> (1989). <i>Counterpoint in Composition: The Study of Voice Leading</i>. New York: Stanley Persky, City University of New York. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/023107039X" title="Special:BookSources/023107039X"><bdi>023107039X</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Counterpoint+in+Composition%3A+The+Study+of+Voice+Leading&rft.place=New+York&rft.pub=Stanley+Persky%2C+City+University+of+New+York&rft.date=1989&rft.isbn=023107039X&rft.aulast=Salzer&rft.aufirst=Felix&rft.au=Schachter%2C+Carl&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACounterpoint" class="Z3988"></span></li></ul> <div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Counterpoint&action=edit&section=17" title="Edit section: Further reading"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li>Kurth, Ernst (1991). "Foundations of Linear Counterpoint". In <i>Ernst Kurth: Selected Writings</i>, selected and translated by Lee Allen Rothfarb, foreword by Ian Bent, p. 37–95. Cambridge Studies in Music Theory and Analysis 2. Cambridge and New York: Cambridge University Press. Paperback reprint 2006. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-521-35522-2" title="Special:BookSources/0-521-35522-2">0-521-35522-2</a> (cloth); <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-521-02824-8" title="Special:BookSources/0-521-02824-8">0-521-02824-8</a> (pbk)</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation book cs1">Agustín-Aquino, Octavio Alberto; Junod, Julien; Mazzola, Guerino (2015). <i>Computational Counterpoint Worlds: Mathematical Theory, Software, and Experiments</i>. Cham: Springer. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1007%2F978-3-319-11236-7">10.1007/978-3-319-11236-7</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3-319-11235-0" title="Special:BookSources/978-3-319-11235-0"><bdi>978-3-319-11235-0</bdi></a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:7203604">7203604</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Computational+Counterpoint+Worlds%3A+Mathematical+Theory%2C+Software%2C+and+Experiments&rft.place=Cham&rft.pub=Springer&rft.date=2015&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A7203604%23id-name%3DS2CID&rft_id=info%3Adoi%2F10.1007%2F978-3-319-11236-7&rft.isbn=978-3-319-11235-0&rft.aulast=Agust%C3%ADn-Aquino&rft.aufirst=Octavio+Alberto&rft.au=Junod%2C+Julien&rft.au=Mazzola%2C+Guerino&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACounterpoint" class="Z3988"></span></li> <li>Prout, Ebenezer (1890). <i>Counterpoint: Strict and Free</i>. London: Augener & Co.</li> <li>Spalding, Walter Raymond (1904). <i>Tonal Counterpoint: Studies in Part-writing</i>. Boston, New York: A. P. Schmidt.</li> <li>Mann, Alfred (1965). <i>The Study of Counterpoint: from Johann Joseph Fux's "Gradus ad Parnassum".</i> W.W. Norton.</li></ul> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Counterpoint&action=edit&section=18" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1235681985"><style data-mw-deduplicate="TemplateStyles:r1237033735">@media print{body.ns-0 .mw-parser-output .sistersitebox{display:none!important}}@media screen{html.skin-theme-clientpref-night .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}</style><div class="side-box side-box-right plainlinks sistersitebox"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1126788409"> <div class="side-box-flex"> <div class="side-box-image"><span class="noviewer" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/38px-Wikisource-logo.svg.png" decoding="async" width="38" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/57px-Wikisource-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/76px-Wikisource-logo.svg.png 2x" data-file-width="410" data-file-height="430" /></span></span></div> <div class="side-box-text plainlist"><a href="/wiki/Wikisource" title="Wikisource">Wikisource</a> has the text of the <a href="/wiki/Encyclop%C3%A6dia_Britannica_Eleventh_Edition" title="Encyclopædia Britannica Eleventh Edition">1911 <i>Encyclopædia Britannica</i></a> article "<span style="font-weight:bold;"><a href="https://en.wikisource.org/wiki/1911_Encyclop%C3%A6dia_Britannica/Counterpoint" class="extiw" title="wikisource:1911 Encyclopædia Britannica/Counterpoint">Counterpoint</a></span>".</div></div> </div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1235681985"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1237033735"><div class="side-box side-box-right plainlinks sistersitebox"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1126788409"> <div class="side-box-flex"> <div class="side-box-image"><span class="noviewer" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/38px-Wikisource-logo.svg.png" decoding="async" width="38" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/57px-Wikisource-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/76px-Wikisource-logo.svg.png 2x" data-file-width="410" data-file-height="430" /></span></span></div> <div class="side-box-text plainlist"><a href="/wiki/Wikisource" title="Wikisource">Wikisource</a> has the text of the <a href="/wiki/Encyclop%C3%A6dia_Britannica_Eleventh_Edition" title="Encyclopædia Britannica Eleventh Edition">1911 <i>Encyclopædia Britannica</i></a> article "<span style="font-weight:bold;"><a href="https://en.wikisource.org/wiki/1911_Encyclop%C3%A6dia_Britannica/Contrapuntal_Forms" class="extiw" title="wikisource:1911 Encyclopædia Britannica/Contrapuntal Forms">Contrapuntal Forms</a></span>".</div></div> </div> <ul><li><a rel="nofollow" class="external text" href="http://www.lindsaydavidson.co.uk/counterpoint/">An explanation and teach yourself method for Species Counterpoint</a></li> <li><a rel="nofollow" class="external text" href="http://ntoll.org/article/species-counterpoint">ntoll.org: Species Counterpoint</a> by Nicholas H. Tollervey</li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20030823070750/http://www.o-art.org/history/early/Seeger.html">Orima: The History of Experimental Music in Northern California: On Dissonant Counterpoint</a> by David Nicholls from his <i>American Experimental Music: 1890–1940</i></li> <li><a rel="nofollow" class="external text" href="http://dictionary.onmusic.org/terms/1104-dissonant_counterpoint">Virginia Tech Multimedia Music Dictionary: Dissonant counterpoint examples and definition</a></li> <li><a rel="nofollow" class="external text" href="http://www.ars-nova.com/cpmanual">Counterpointer:Software tutorial for the study of counterpoint</a> by Jeffrey Evans</li> <li><a rel="nofollow" class="external text" href="http://whybach.crosstownbooks.com/chapter.html">"Bach as Contrapuntist"</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20201112013705/http://whybach.crosstownbooks.com/chapter.html">Archived</a> 2020-11-12 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> by Dan Brown, music critic from Cornell University, from his web book <i>Why Bach?</i></li> <li><a rel="nofollow" class="external text" href="http://www.maison-de-contrapuntal.com">"contrapuntal—a collaborative arts project by Benjamin Skepper"</a></li> <li><a rel="nofollow" class="external text" href="https://alanbelkinmusic.com/site/en/index.php/">Principles of Counterpoint</a><sup class="noprint Inline-Template"><span style="white-space: nowrap;">[<i><a href="/wiki/Wikipedia:Link_rot" title="Wikipedia:Link rot"><span title=" Dead link tagged September 2024">permanent dead link</span></a></i><span style="visibility:hidden; color:transparent; padding-left:2px">‍</span>]</span></sup>, by Alan Belkin</li></ul> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist 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href="https://catalogue.bnf.fr/ark:/12148/cb119570415">France</a></span></span></li><li><span class="uid"><span class="rt-commentedText tooltip tooltip-dotted" title="Contrepoint"><a rel="nofollow" class="external text" href="https://data.bnf.fr/ark:/12148/cb119570415">BnF data</a></span></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://id.ndl.go.jp/auth/ndlna/00572521">Japan</a></span></li><li><span class="uid"><span class="rt-commentedText tooltip tooltip-dotted" title="kontrapunkt"><a rel="nofollow" class="external text" href="https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=ph121819&CON_LNG=ENG">Czech Republic</a></span></span></li><li><span class="uid"><span class="rt-commentedText tooltip tooltip-dotted" title="Contrapunto"><a rel="nofollow" class="external text" href="http://catalogo.bne.es/uhtbin/authoritybrowse.cgi?action=display&authority_id=XX524740">Spain</a></span></span></li><li><span class="uid"><a rel="nofollow" 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