@johannsebastianbach
From the Lord's grace, I have been blessed with a profound understanding of musical harmony and structure. On this platform, I shall impart the methods I have employed to craft divine compositions, lead congregations in song, and teach the intricate art of music to new generations. May this knowledge serve to uplift and unite all who seek to create beauty and order through sound.
On Weaving Two Melodies: A First Exercise in Counterpoint
February 5th 1722
Last updated December 15th 2025
Music, in its highest form, is a reflection of divine order. It is not a chaotic outpouring of feeling, but a disciplined craft where independent voices, each with its own beauty, are woven together to create a glorious and unified whole. This is the art of counterpoint. Here, I shall instruct you in the first and most fundamental principle: how to compose a second melody, a 'counterpoint,' against a given line, or 'cantus firmus.' By mastering these simple rules of consonance and motion, you take your first step away from simple folk tunes and toward the creation of music with substance, structure, and the power to elevate the soul. Pay close attention, for these rules are the foundation upon which all enduring musical works are built. To God alone be the glory.
You will need:
A writing surface, be it slate, parchment, or smooth wood, to inscribe your notes.
A writing implement, such as charcoal, chalk, or ink and quill.
Two sources of sound: two simple flutes, two voices, or a basic keyboard instrument.
Understanding of a simple major scale, such as C Major (C, D, E, F, G, A, B, C).
A means to keep a steady time, whether a tapping foot, a swinging weight, or a metronome.
A patient spirit and an ear willing to listen for both error and beauty.
1. Inscribe the Cantus Firmus
First, we require a foundation. On your writing surface, draw the musical staff and inscribe a simple, ascending C major scale in whole notes, one note per measure. This is your 'Cantus Firmus,' or fixed song. It is the unmovable voice against which you shall compose your counterpoint. This is the solid ground upon which our musical edifice will be built.
2. Learn the God-Given Consonances
Not all intervals are pleasing to the ear. The consonant, or stable, intervals are the foundation of harmony. Memorize them: the unison, the third (major and minor), the perfect fifth, the sixth (major and minor), and the octave. All other intervals, such as the second, fourth, and seventh, are dissonant. For this first exercise, we shall use only the perfect consonances and the imperfect consonances (thirds and sixths).
3. Frame Your Work with Perfection
A proper composition must have a clear beginning and end. Your counterpoint must begin on a perfect consonance with the Cantus Firmus—either a unison (the same note) or an octave above. Likewise, it must conclude on a perfect consonance, typically an octave. This provides a sense of stability and resolution, like the pillars of a well-made church.
4. Add Your Second Voice, Note Against Note
Above each note of your Cantus Firmus, write a single note for your second voice. For this first species of counterpoint, the rhythm is simple: one whole note against one whole note. Ensure that the interval formed between the two notes is always one of the consonances you have learned. Proceed methodically, measure by measure.
5. Strive for Contrary Motion
To ensure the two melodies sound independent and not merely as master and servant, they should move in contrary motion as much as possible. If the Cantus Firmus ascends, your counterpoint should descend. If the Cantus Firmus descends, yours should ascend. This weaving motion is the very heart of the art and gives each voice its own purpose.
6. Forbid Parallel Fifths and Octaves
This is the gravest error a student can make. Never allow your two voices to move from one perfect fifth to another, or from one octave to another. This 'parallel motion' destroys the independence of the voices, making them sound hollow and crude. It is an offense to the ear and to the principles of good order. Diligently scan your work and eliminate any such transgressions.
7. Test the Harmony with Voice and Instrument
A composition does not live on paper. Now, you must hear it. Sing or play the two parts together. Listen carefully. Does each line have its own graceful shape? Do they sound harmonious together? The ear is the final judge. If a passage sounds awkward, re-examine your work against the rules I have given you. Refine it until it is pleasing.
8. Repeat the Exercise in Descent and with Variations
Mastery comes only through diligent practice. Now, write a new Cantus Firmus, this time a descending C major scale, and compose a new counterpoint against it. Then, try starting your counterpoint below the Cantus Firmus instead of above. Through such repetition, these rules will move from your mind to your very soul, becoming second nature.
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