Species counterpoint rules
The rules that hold in every species of counterpoint: consonance and dissonance, parallel and direct fifths and octaves, leaps, the climax and the cadence, with examples you can hear.
Species counterpoint, step by step
A guide to the method Johann Joseph Fux set out in Gradus ad Parnassum (1725): first a cantus firmus, then five species in two voices, then three and four voices. Each page has the rules and short examples; Parnasso lets you practise each one with every rule checked as you write.
How to write a cantus firmus
How to write a cantus firmus in the style of Fux: begin and end on the final, approach it by step, mostly stepwise motion, one climax. With an example you can hear.
First species counterpoint
First species counterpoint, note against note: every interval consonant, no parallel fifths or octaves, and the cadence. Rules and examples, then practise online.
Second species counterpoint
Second species counterpoint, two notes against one: consonant downbeats, passing tones on the weak beat, and fifths on successive downbeats. Rules and examples.
Third species counterpoint
Third species counterpoint, four notes against one: passing tones, neighbour notes and the cambiata. Rules and examples you can hear.
Fourth species counterpoint
Fourth species counterpoint: syncopation and suspensions, 7–6, 4–3 and 2–3, resolving down by step, and breaking the species. Rules and examples.
Fifth species (florid) counterpoint
Fifth species or florid counterpoint: mixed rhythms, eighth notes, dotted notes and decorated suspensions. Rules and examples you can hear.
Three- and four-voice counterpoint
Counterpoint in three and four voices after Fux: chords heard from the bass, full triads, parallels between every pair of voices, and the cadence.
Practise in your browser
Free for the cantus and first species.