Give each line
a life of its own.
Write one counterpoint line against a bass cantus, or switch to the four-voice SATB room to edit every part on a grand staff. Both views check strict ranges and spell interval qualities precisely. These original exercises are separate from AP free-response scoring; see the scoring guide for official AP part-writing criteria.
Vertical and melodic intervals are named precisely: perfect unison, fifth, octave, and compound twelfth; minor/major seconds, thirds, sixths, and sevenths; plus augmented and diminished spellings such as A4 and d5. In first-species counterpoint, seconds, fourths, sevenths, and augmented/diminished intervals are dissonant. SATB V⁷ chords intentionally include a seventh, which must resolve down by step.
Choose one whole note per bar using the selectors or the text field. C4 is middle C. Notes on the staff show all accidentals explicitly; no key signature is implied.
Connection map
| Bar | Lower | Upper | Interval | Motion into bar |
|---|
Written intervals, consonances, crossings, overlaps, consecutive perfect intervals (including contrary motion), direct perfect intervals, unequal fifths, melodic leaps, leading-tone motion, and the stated opening/closing pattern. Strict mode adds the species constraints below. Feedback is educational, not an AP score. Rhythm is fixed; harmony, inner voices, suspensions, and harmonic context require separate review.
Write bass, tenor, alto, and soprano.
Spell a short chorale in a major or minor key. Octaves, voice ranges, chord membership, spacing, crossings, parallels, the leading tone, and the dominant seventh all count.
Use exact note spellings with octaves. Ranges: bass E2–C4 · tenor C3–A4 · alto F3–D5 · soprano C4–A5.
Vertical interval map
Every pair is named, including perfect octaves, major/minor sixths and sevenths, and compound intervals.
Rule checks are an educational checklist for this fixed progression; they do not replace a full AP Music Theory free-response rubric or a teacher’s review.