MUS 1203 · Counterpoint: Species and Dissonance

Led by Johann Joseph Fux Simulacrum

The five species taught honestly — what they genuinely illuminate about dissonance, and what they miss about style. With corrections from Jeppesen.

1. Module 1

   The Five Species: What They Teach

   Led by Johann Joseph Fux Simulacrum

   The question

   The five species add complexity one layer at a time: consonance, then passing tones, then syncopation, then florid combination. What does each layer genuinely teach — and what does none of them teach?

   Outcome

   The student can write first and fourth species exercises and explain the pedagogical purpose of each species.

   Sub-units

   1. ○ 1.1 First Species in Two Voices Open this unit → ✓ ↻
   2. ○ 1.2 Fourth Species: The Suspension Open this unit → ✓ ↻
   Begin the course → Print certificate of completion
2. Module 2

   Dissonance: The Life of the Music

   Led by Johann Joseph Fux Simulacrum

   The question

   Passing tone, neighbour tone, suspension, anticipation — each is defined by its rhythmic position and its resolution. Why does the strong-beat dissonance (the suspension) carry more emotional weight than the weak-beat dissonance (the passing tone)?

   Outcome

   The student can identify all four types of non-harmonic tones in polyphonic repertoire.

   Sub-units

   1. ○ 2.1 Non-Harmonic Tone Identification Open this unit → ✓ ↻
   Open this module → Print certificate of completion
3. Module 3

   Jeppesen's Corrections

   Led by Johann Joseph Fux Simulacrum

   The question

   Jeppesen applied statistical analysis to Palestrina in 1931 and discovered a correlation between melodic contour and metric position that nobody had noticed in 300 years of listening. What does this tell us about Fux — and what does it tell us about the limits of careful listening?

   Outcome

   The student can apply both Fux's rules and Jeppesen's corrections to the same passage.

   Sub-units

   1. ○ 3.1 Fux and Jeppesen on the Same Passage Open this unit → ✓ ↻
   Open this module → Print certificate of completion
4. Module 4

   Species in Context: The Improvised Tradition

   Led by Johann Joseph Fux Simulacrum

   The question

   The Gradus was written for Imperial prestige. The Neapolitan conservatories taught counterpoint by singing it, not by writing exercises. What is the difference between the Gradus as published and counterpoint as it was actually practiced?

   Outcome

   The student can attempt improvised two-voice counterpoint and explain the difference between improvised and written traditions.

   Sub-units

   1. ○ 4.1 Improvise a Second Voice Open this unit → ✓ ↻
   Open this module → Print certificate of completion
5. Module 5

   What Species Counterpoint Is Actually For

   Led by Johann Joseph Fux Simulacrum

   The question

   Species counterpoint is not the beginning of counterpoint education — it cannot be, because students who don't know the style learn rules without understanding what they describe. What is it for? And should every musician study it?

   Outcome

   The student can place species counterpoint in a full curriculum and argue for both its irreplaceable value and its limits.

   Sub-units

   1. ○ 5.1 Final Essay: What Is Species Counterpoint For? Open this unit → ✓ ↻
   Open this module → Print certificate of completion