This article applies a modified species-counterpoint model, entitled species counterpoint with a moveable tenor, or SCAMET, to demonstrate the comparison of species counterpoint and “real” music. The tenor cantus firmus or “hard song” becomes a “hard note,” the note of longest duration at any moment and in any voice part. The classic rhythmic relationships between cantus and counterpoint are observed in the comparison (note against note in first species, two counterpoint notes against one cantus note in second) but are adjusted in duration where necessary (as two quarters against a half note, or two eighths against a quarter, for example). The ultimate aim of the model is to render instruction in counterpoint vivid where it is often seen as arid. Excerpts by composers from Lasso to Shostakovich are examined.