How to Write Third Species Counterpoint: A Comprehensive Guide

/ Composition, Concepts of Music, Learning Resources
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Continuing from the foundational work in first and second species, third species counterpoint introduces a more intricate rhythmic structure by pairing four notes in the counterpoint against each note in the cantus firmus. This allows for greater melodic and harmonic development while still adhering to the strict rules that define counterpoint.

Table Of Contents
  1. Recapping First and Second Species Counterpoint
  2. Overview of  Third Species Counterpoint
  3. Key Definitions:
  4. Rules and Concepts
  5. Practical Tips for Writing Third Species Counterpoint
  6. Exercises and Examples
  7. Conclusion
  8. Sources (Counterpoint Books)

Recapping First and Second Species Counterpoint

In first species counterpoint, each note in the counterpoint is written against one note in the cantus firmus, creating a simple, note-against-note relationship. The primary focus is on achieving consonant intervals on every beat, with the melodic lines moving mostly by step to ensure smooth voice leading. Parallel fifths and octaves are strictly avoided, as are dissonances, which are not allowed in this species. Find our full article on writing first species counterpoint here.

Second species counterpoint introduces more rhythmic variety by allowing two notes in the counterpoint against each note in the cantus firmus. This species permits passing tones and neighbour tones—dissonances that occur between consonant intervals—as long as they are approached and left by step. The first note of each pair must still be consonant, maintaining the integrity of the harmonic structure, while the second note allows for more melodic freedom and movement. Find our full article on writing second species counterpoint here.

Overview of  Third Species Counterpoint

In third species counterpoint, you write four notes (typically crotchets) against each note (typically a semibreve) of the cantus firmus. The increased rhythmic activity of third species counterpoint creates more opportunities for melodic expression and harmonic interest but also introduces new challenges in maintaining smooth voice leading and correct use of dissonances across more notes.

Key Definitions:

  • Cantus Firmus / Canto Fermo (C.F.): The fixed, slower melody against which the counterpoint is written.
  • Accented Notes: The first and third crotchets in each group of four, which align more strongly with the beat. The first beat is the strongest, with the third beat being stronger than crotchets two and four.
  • Unaccented Notes: The second and fourth crotchets, which fall between the stronger beats and are treated with greater flexibility.

Rules and Concepts

1. Basic Structure:

Four Notes Per Semibreve: 

Write four crotchets for every semibreve of the cantus firmus. These crotchets will create a continuous melodic line that moves faster than the underlying cantus firmus.

A New Hierarchy of Accented vs. Unaccented Notes

In third species counterpoint, it is best to continue our thinking from second species counterpoint regarding Thesis and Arsis beats. The Thesis is the strongest, first beat of each bar, while the Arsis is now the third beat of the bar. However, rather than thinking of the Arsis as the unaccented note, it now becomes a secondary accented beat that is weaker than the Thesis but stronger than beats three and four of our new species.

Start on the Second Beat (Ideally)

Ideally, your third species counterpoint should begin on the 2nd crotchet beat.

2. Consonances and Dissonances:

The First Beat (Thesis) is Consonant

The first crotchets must form consonant intervals (such as unisons, octaves, perfect fifths, or thirds and sixths) with the cantus firmus.

Other Beats

The second, third and fourth crotchets can be dissonant, but these dissonances must be approached and resolved as they are in second species counterpoint. Dissonances, therefore, must connect two consonances by conjunct, stepwise melodic movement.

The Dissonance Loophole: Nota Cambiata

There is one exception to the previous rule regarding the approach and departure of a dissonance in a third species counterpoint. The changing note (Eng.) (nota cambiata, It.; weschel-note, Ger.) is a common figure in third species counterpoint. It typically involves a pattern where the second crotchet is dissonant and resolves by a leap, often a third, followed by a return to stepwise motion. The changing note pattern adds melodic and harmonic interest while still adhering to contrapuntal rules.

3. Voice Leading and Melodic Line

Smooth, Stepwise Motion

As in first and second species, the melodic line in third species should primarily move by step.

Leaps, Disjunct Motion

All the acceptable leaps taught in first and second species counterpoint, excluding the minor 6th, are acceptable in the third species. That said, larger leaps should be used infrequently and should always be compensated by stepwise motion in the opposite direction. Smaller leaps, a 5th and smaller can be used with greater frequency. Leaps are best used to invite more conjunct, stepwise movement.

Avoiding Repeated Notes 

Repeating the same note immediately is not allowed. Each note should contribute to the forward motion of the melody.

Avoiding Parallel Fifths and Octaves: 

As in all species, parallel fifths and octaves are forbidden. However, in the third species of counterpoint there are four instances where we must watch out for perfect parallels:

  1. Between the first beat/thesis notes of consecutive bars. (Red)
  2. Between the third beat/arsis notes of consecutive bars. (Pink)
  3. Between the third beat/arsis notes of one bar leading into the first beat/thesis of the next bar. (Green)
  4. Between the fourth beat of one bar leading into the first beat/thesis of the next bar. (Blue)

Avoid Simply Outlining the Cantus Firmus 

Try and vary the span between your counterpoint and the cantus firmus, inviting contrary motion between stronger, Thesis beats of each bar. A common trap students fall into is keeping the gap too similar between their counterpoint and the cantus firmus leading to uninspiring counterpoint.

Avoid outlining the tritone

The melody should not outline a tritone. The best way of avoiding this is to keep going in the same direction. Second to this, flattening the leading tone is also an option. However, I generally encourage the avoidance of using accidentals to avoid outlining a tritone in early studies of counterpoint.

4. True Cadences

Finish on an Octave or Unison

As in first and second species, cadences in third species counterpoint should resolve to an octave or unison. 

Duration of the Final Note

The final note of the counterpoint must be the same length as the last note of the cantus firmus, ensuring a strong and stable close.

Approaching the Final Note

The final note should be preceded by the leading tone. Using the leading tone should mean a 6th is formed between your counterpoint and the cantus firmus on the 4th beat of your penultimate bar.

Practical Tips for Writing Third Species Counterpoint

  1. Start with a Cadence formula: Begin your counterpoint at the end by writing the cadence first. The cadences need to follow a particular pattern in counterpoint practice, so it can be best/easiest to write these in first, so that you know where you are going.
  2. Check for Parallel Intervals: After writing your counterpoint, go back and check for any parallel fifths or octaves that may have slipped in. My advice is to circle parallel intervals, then you can check none of these fall on consecutive 1st or 3rd beats or on adjacent 3rd or 4th beats leading into the 1st beat of the next bar.
  3. Use Dissonance Sparingly: While third species allows for more dissonance, it should still be used sparingly and always resolved correctly. The dissonance should feel like a natural part of the melodic line, not a disruption.
  4. Hear the Interaction: Play or sing both lines together to ensure they interact smoothly. The counterpoint should complement the cantus firmus, creating a richer overall texture.
  5. Check out my course on counterpoint: “30 Days of Counterpoint.”

Exercises and Examples

To master third species counterpoint, practice writing against different cantus firmi in various modes. Start with simple exercises, focusing on maintaining smooth voice leading and avoiding dissonances. Gradually introduce more complexity by incorporating nota cambiata and syncopation.

Conclusion

Third Species Counterpoint offers a richer, more dynamic approach to contrapuntal writing. By following these rules and practicing regularly, you can develop a deeper understanding of melody and harmony, paving the way for more advanced contrapuntal techniques. Remember to maintain smooth voice leading, use dissonance carefully, and always strive for a balanced and engaging melodic line.

Sources (Counterpoint Books)

Perhaps unsurprisingly, many of the sources for this article are the same as last weeks. In preparing for creating my counterpoint course “30 Days of Counterpoint,” however, I have focussed on primarily two books: “The Rules of Counterpoint: Systematically Arranged for the Use of Young Students” by William Smyth Rockstro and Owen Swindale’s “Polyphonic Composition,” my favorite counterpoint book.

Here are counterpoint books I recommend, many available online for free. Links to both digital (free) and print versions (including affiliate Amazon links) are provided:

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