BAIN MUSC 115

Music Theory I

Counterpoint Symbols

Harmonic intervals are traditionally classified as consonant (stable) or dissonant (unstable). What is more,
consonant intervals are classified as perfect (static) or imperfect (dynamic). Fig. 1 shows the traditional
categorization of musical intervals within the octave as consonant and dissonant.

Fig. 1. Harmonic intervals classified as consonant or dissonant

Consonant Dissonant
Perfect
P1 & P8
M7 & m7
P4
1

P5 M2 & m2
Imperfect
M3 & m3

All A and d intervals
M6 & m6

Using generic intervals in the place of specific intervals, Fig. 1 may be simplified to Fig. 2.

Fig. 2. Counterpoint symbols (1-8)

Consonant Dissonant
Perfect
1 & 8
7
4
5 2
Imperfect
3

All A and d intervals
6

We will use counterpoint symbols (1-8) to analyze two-voice counterpoint. As shown in Example 1, these symbols
indicate the interval progression created by the two voices.

Example 1. Interval progression analysis


Play or sing the examples above. Tones that form a dissonance are enclosed within parentheses to show their
ornamental function. Compound intervals greater the octave are collapsed to their octave equivalents: i.e. 9 to 2, 10
to 3, 11 to 4, 12 to 5, 13 to 6, 14 to 7, 15 to 8, etc, and the symbol 1 is reserved for the unison.

Sources: K/P 2013, p. 21 & Laitz 2012, pp. 15-16

1
The P4 is a special case. The P4 is considered to be consonant unless it is formed with the bass, or lowest, voice (see K/P 2013, p. 21). In two-
voice counterpoint, we always treat the 4 as a dissonance because it is always formed with the bass.