Harmonia’s Default Settings for Species Counterpoint Analysis

The chart below shows Harmonia’s default settings used in species counterpoint analysis. These default settings are optimized for counterpoint scores with cantus firmi composed of 8 to 14 notes. While instructors can customize the settings to fit specific curricular needs (instructors see here for details), they should relay any changes made to their students. Otherwise, students can follow the guidelines below.

Melodic Rules

Harmonia’s Melodic Rules apply to any consecutive melodic motion between notes within a single part except for the first and last notes.

1. The maximum number of melodic unisons allowed is one.
2. The maximum number of melodic fourths allowed is three.
3. The maximum number of melodic fifths allowed is one.
4. The maximum number of melodic sixths allowed is one.
5. The maximum number of melodic octaves allowed is one.
6. The maximum number of leaps larger than a fourth allowed is two.
7. The maximum number of consecutive leaps of any kind allowed is two.
8. The smallest leap demanding reverse-step recovery is a fifth.
9. Dissonant neighbor tones are not allowed.

Vertical Rules

Harmonia’s Vertical Rules apply to all harmonic intervals between the two parts except for the first and last notes.

1. The maximum number of strong-beat vertical unisons allowed is one.
2. The maximum number of strong-beat vertical perfect fifths allowed is one.
3. The maximum number of strong-beat vertical octaves allowed is one.
4. The maximum number of strong-beat vertical unisons, fifths and octaves is two.
5. The maximum number of consecutive intervals allowed in similar motion is three.
6. The maximum number of number of consecutive parallel thirds or sixths allowed is three.
7. The maximum allowed distance between the bottom and top voice is two octaves.

Starting and Ending Rules

Harmonia’s Starting and Ending Rules apply to melodies and harmonies involving the first, penultimate (second-to-last), and final notes of the composition.

1. When the counterpoint is above the cantus the starting scale degree can be the tonic or dominant.
2. When the counterpoint is below the cantus the start scale degree must be the tonic.
3. The counterpoint's final note must be approached by stepwise motion.
4. The counterpoint's final note must be approached by contrary motion to the cantus.
5. In a minor-mode composition, when the counterpoint's penultimate note is the seventh scale degree, it must be raised (i.e., the leading tone).