MSC 271, Counterpoint Module / Handout 01 — Cantus firmi by Jeppesen

prepared by Yiğit Aydın / page 1 of 4

Cantus firmi by Jeppesen

for the study of the Sixteenth-century Polyphony
Cantus firmi numbers 1, 6, 20 by Fux, all the others by K. Jeppesen himself
in: Counterpoint (Dover, 1992), pp. 107-8.

The melodies given below serve as cantus firmi. They may be transposed a fourth up or a fifth down (with a
key signature of one flat) and also to the upper or lower octave, acording to whether they are put in a higher
or lower part.

Dorian
1

Notes on Dorian:
(a) As final chord, if its third is not omitted, major triad can be used in place of the minor. In that case F is raised to F #.
(b) In descending progressions or in figures that turn back from B, B b is used instead of B. similarly, B b is introduced to avoid
dissonant intervals such as F-B. These usages apply in other modes as well. (c) To introduce the leading-tone cadence at the end,
i.e. to use a major third in the dominant triad, C is raised to C #.
 MSC 271, Counterpoint Module / Handout 01 — Cantus firmi by Jeppesen
prepared by Yiğit Aydın / page 2 of 4

Phrygian
6

10

Notes on Phrygian:
(a) As in the case of Dorian, the third in the final chord is raised, i.e. G-G #, which makes the raising of the second degree as well
necessary, i.e. F-F #, to avoid an augmented second in the melodic line. (b) The usage of flat is less common. (c) The natural
seventh degree, i.e. D, is retained and its raising to a leading-tone is only exceptional.

Mixolydian
11

12
 MSC 271, Counterpoint Module / Handout 01 — Cantus firmi by Jeppesen
prepared by Yiğit Aydın / page 3 of 4

13

14

Notes on Mixolydian:
(a) In Mixolydian as well as in other modes, if the F has the tendency to go to the G, it is often changed to F #. This typically results
in a leading-tone cadence at the end, for Mixolydian. (b) The usage of flat is frequent, which ends up with a Mixolydian mode
hovering between major and minor.

Aeolian
15

16

17

18

Notes on Aeolian:
(a) As in the case of Dorian and of Phrygian, the third in the final chord is raised, i.e. C-C #. (b) As in the case of Dorian and
of Mixolydian, to introduce the leading-tone cadence at the end, i.e. to use a major third in the dominant triad, G is raised to G #.
 MSC 271, Counterpoint Module / Handout 01 — Cantus firmi by Jeppesen
prepared by Yiğit Aydın / page 4 of 4

Ionian
19

20

21

22

Note on Ionian:
(a) B is frequently lowered to B b.