For this piece, I picked a modal melody outside the common C major, C minor, and A minor scales wanted something a bit different and interesting. I turned it into a Cantus Firmus, but not boring old whole notes: I gave it some 16th-century-style rhythmic variety, so it flows naturally and keeps things lively.
Then I wrote a Counterline against it, making both lines active and independent, creating a florid:florid counterpoint. Basically, both the cantus and counterpoint get to show off their own rhythms and melodies while still sounding harmonious together. The final texture feels free, intricate, and alive like the kind of contrapuntal interplay that would make a 16th-century composer smile.
