Theory III: Modal Counterpoint

This is where the music theory sequence shifts from pure tonal harmony into the older world of Renaissance polyphony — you learn to think horizontally, building independent melodic lines that combine into legal sixteenth-century counterpoint while still keeping the chromatic harmony skills from Theory II sharp. Most of your time goes to writing exercises: adding one and then two parts to a given cantus firmus through all five species in Palestrina's style, plus ear-training quizzes nearly every week. It builds the contrapuntal foundation you'll lean on for fugue, analysis, and any later composition or musicology work.