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Makes sure to distinguish between true multi-voice counterpoint (polyphony) and counterpoint in homophonic style. In homophonic style parts function as bass, soprano, and inner-voices. … We can describe all that with the same terms and concepts from species counterpoint, but the combo isn't literally playing species counterpoint. …

It isn't a problem of combining counterpoint with styles other than Bach or Palestrina generally. But you specifically have to rethink the treatment of dissonance in traditional counterpoint. … The textures may be more on the homophonic side, but quartet writing also tends to highlight all four instruments so it balances homophony and counterpoint. …

Just adding a bit to @Richard's answer. You can try thinking in terms of harmonic rhythm not just beats. If the harmonic rhythm were slow, like two beats per chord, then your potential parallels would …

On the whole I would say the homophonic style gets a lot of its sensibilities regarding dissonance handling from counterpoint, but adds a lot of things not found in species counterpoint. … Back to the species counterpoint. We can no see two problems that come up using a homophonic melody like this for species counterpoint. …

Species counterpoint tries to idealize a Palestrina style which predated harmonic chord theory. You want to harmonically reduce... ...to this... ...but this is counterpoint. … But that isn't the point of species counterpoint exercises. No one writes species counterpoint as actual composition. It doesn't reflect modern musical styles. …

When you do species counterpoint exercises like this you should be working from a book which should give you the rules and guidelines. …

Is one octave above tonic also considered as tonic? Yes. The concepts and terms involved are pitch class and octave equivalency. after 7th degree we need to move 6 steps down to the 1st degre …

The purpose of counterpoint is more like harmonizing melodic lines where no melodic line is subordinate to another. … Horizontally, counterpoint seeks good, equally important melodic lines in each part. Vertically, counterpoint seeks variety of harmonic intervals. …

When the word counterpoint is used it connotes polyphony, multiple, independent, equally important lines, like a fugue. … The question isn't whether your music is counterpoint or harmony. The music has both elements simply because you have simultaneous pitches. …

I get the feeling the question is more along the lines of: is there counterpoint in homophonic music, or is a homophonic bass part a contrapuntal line? I think the answer is yes to both. … ...still sticks in my mind as making a muddle out of a simple idea: independence of contour and rhythm makes counterpoint. …

When you say "counterpoint rules" I immediately think "Fux" and species counterpoint. Species counterpoint is a teaching method. … From that perspective counterpoint "rules" are meant to teach you those aesthetics: what is consonant what is dissonant and proper handling of dissonance valuing musical variety harmonic stability/instability …

Early Mozart isn't normally considered contrapuntal, but the harmony did follow the old counterpoint voice leading conventions. … Parallel fifths weren't the norm for that early classical style as the style's harmony was still rooted in counterpoint. …

You mentioned cantus firmus which suggests 16th century counterpoint, modal scales, and the species counterpoint teaching of Fux. …

Fux's species counterpoint basically puts a limit of three on consecutive intervals. …

The problem is with how Joseph - the student - began his counterpoint... ...Aloysius - the teacher - explains that the counterpoint should have started on D. … The downside of learning counterpoint in this format is just what Aloysius apologizes for: the rules aren't outlined in a concise, logical manner at the beginning. …