Editing Counterpoint (section)

=== First species ===
In ''first species'' counterpoint, each note in every added part (parts being also referred to as ''lines'' or ''voices'') 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.<ref>
{{cite web | url=https://finearts.uvic.ca/music/current/theory_materials/Counterpoint%20online.pdf | archive-url=https://web.archive.org/web/20181023092047/https://finearts.uvic.ca/music/current/theory_materials/Counterpoint%20online.pdf | url-status=dead | archive-date=23 October 2018 |author=Anon. |title=Species Counterpoint | publisher=Faculty of Fine Arts, University of Victoria, Canada | access-date=16 May 2020}} (archive from 23 October 2018)</ref>

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 [[Steps and skips]].) An interval of a fifth or larger is referred to as a "leap".

A few further rules given by Fux, by study of the Palestrina style, and usually given in the works of later counterpoint pedagogues,<ref>{{Cite book|last=Fux|first=Johann Joseph 1660–1741|url=https://catalyst.library.jhu.edu/catalog/bib_275485|archive-url=https://web.archive.org/web/20201003205348/https://catalyst.library.jhu.edu/catalog/bib_275485|url-status=dead|archive-date=October 3, 2020|title=The study of counterpoint from Johann Joseph Fux's Gradus ad parnassum|series=The Norton library, N277|date=1965|publisher=W. W. Norton|edition=Rev.|location=New York}}</ref><!--Who says that most later counterpoint teachers give these rules?--> are as follows.
{{Image frame|width=392|content=<score sound="1">
\relative c'' {
  <<
    \new Staff { \clef "treble" d1 a b d cis d }
    \new Staff { \clef "treble" d,1 f g f e d }
  >>
}
</score>|caption=Short example of "first species" counterpoint}}
# 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.
# Use no unisons except at the beginning or end.
# Avoid [[Consecutive fifths|parallel fifths or octaves]] between any two parts; and avoid [[Consecutive fifths#Hidden consecutives|"hidden" parallel fifths or octaves]]: that is, movement by [[Contrary motion|similar motion]] to a perfect fifth or octave, unless one part (sometimes restricted to the ''higher'' of the parts) moves by step.
# 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.)
# Do not use an interval more than three times in a row.
# Attempt to use up to three parallel thirds or sixths in a row.
# 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.
# Avoid having any two parts move in the same direction by skip.
# Attempt to have as much contrary motion as possible.
# 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).

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 [[Dorian mode]].)