@IAN TANG Hi Ian, somehow I missed the notification for this post. You can use imperfect consonances (3rds, 6ths) as much as you like without breaking any rules.

Too much repetition can cause the listener to tune out. When we hear repetition of imperfect consonances in early music, it is usually in a supporting role (accompanying parts, figured bass etc.); or the main parts might be doing something interesting with those repeating imperfect consonances to keep the listener engaged.

Variation is very valuable in our context with only 1 line and the restrictions imposed on us. But if your ears guide you to repeating 6ths, you are not breaking any formal rules that I have read.

In summary, I think both versions are equally correct (nice use of contrary motion, too).

What's up. Mind if I punctuate some things? You would like to exercise counterpoint writing using a cantus firmus on a given tonality, so you start and end the exercise on what would be the tonic and the penultimate note being part of the V chord. It's also interesting to avoid sequences, like the D5, E5, F5 sequence on the last six bars. This kind of repetition cause a monotonous effect... by listening it for the second time, naturally the ear starts loosing interest: it is like he had kept it's focus on the melody only to receive what just had been given to it, what also makes us so inconciously feel that we are about to hear it again, and then it starts letting being a melody to became a motive, something what you wouldn't like to deal with on the first steps on counterpoint . The cantus firmus have something that I would avoid in writing the counterpoint, which is arpeggiated notes, since they induce a harmony, and that create some restraints on leading the other voice . There is a D minor and a F major over there.

If you don't mind my saying so, it's quite a long Cantus Firmus for starting practicing counterpoint. Repeated sequences leads to monotony, but it is not the only factor that we would like to avoid to keep the melody interesting. One would like to avoid staying for a long time in the range of a 4th or a 5th. Feel free to jump an octave when you have to repeat notes (remembering to change direction when doing so).

Anyway, i've just started studying counterpoint (not from Fux, though, although I have the book and once started translating it to my mother language), and I wanted to give a little hand while helping myself! Thanks!

I am ever so confused. I am trying to play by the rules, even though the results sound boring to me.

Well, on the first species of counterpoint on two voices there isn't much room for variety, there are enough restrains to keep melodies from being interesting. So it is expected that the more you train, and master it, it will becoming more boring. That's something that advocates for starting and finishing on a tonic of a major scale.

I am studying from Preliminary Exercises on Counterpoint, from Schoenberg. He even asks for the students to keep in mind forming harmonies on the consonances encounters that fulfill this objective, the 5th, the 3rd and the 6th. So, if you have a F, for example, in one point of the cantus firmus that shall be considered on the lower voice, and another F a few bars laters, you would like to foresee where you could use a A or a C (which would give you elements of the F major triad), or a D (which would induce a D minor).

Schoenberg stated in his writings on counterpoint:

The counterpoint theory will not be considered at all a theory, but a training method, whose main purpose will be to teach the student in order to make them able to later use their knowledge when composing.

Counterpoint is neither aesthetics nor theory, but a pedagogical medium of training.
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So I think it's worth the effort on training counterpoint. And thinking on a tonal center will help make the practice more interesting. Actually, I believe that using other tonics on natural notes, what would give you D Dorian, E phrygian, F lydian and so on, will prove itself counter-productive when you find yourself ahead on harmony and counterpoint studies, when these modes and their implications will be properly studied, practiced and understood.

Thank you. It all seems to complex and profound :)

Well, I also do think it is complex and profound. I highly recommend Arnold Schoenberg's books on music. I would say that music simple, although it's hard to master. By the way, congratulations for your score on Tone Gym and for your compositions! I've checked your youtube account. I can see you are very talented and creative!

I'm a begginer on composition and counterpoint for my part. It's been a tough journey, but I have been enjoying the process. I hope you keep going forward, I'm looking forward to hear your new creations! Go all the way!

@IAN TANG Your compositions are indeed stunning! I hadn't noticed the link. The playing is exquisite, too. Are you a concert pianist? I've very impressed by the way you balance control and expression.

Your music is as pure as that of Mozart, and I can also hear that you have a very tonal way of thinking. If you want to master counterpoint, be sure to listen to lots of renaissance and baroque music and practise it at the keyboard also. You will develop a feel for moving organically between tonal centres.

@igor reis which of his books would you recommend starting with?

Hi Hugo, when I was 6 or so an aunt brought a music teacher and assessed me. He wanted to come back to meet my parents to make sure I got a musical education. Typical of some Chinese parents, who only want their children to become lawyers, or doctors etc, they did everything to deny me access to music. I( had someone else to play it for me. He did not want his name associated with the tracks.) I bought my own piano at age 21, and there was no birthday...........Long story. I am trying to catch up now. I was working on a Theme and Variations......but I have no excuse not to complete it. My education is mostly made of youtube and it seems I don't seem to have it all come together........ but I want to learn. I am glad there is tone gym.

@IAN TANG There is much to learn from the scores of great composers, if you want to draw inspiration from the classical tradition. YouTube and ToneGym have their place - I would say for general knowledge and also ToneGym has the daily exercises - but there's a greater wealth of knowledge to be found in the scores. With your talent, who knows what could happen...

Thanks for being so supportive. I will go one step at a time and have fun. No goal, less stress!