Counterpoint – Fifth Species

Fifth Species Counterpoint

https://www.youtube.com/watch?v=4fA0MgSUhjE

Counterpoint 5th Species – WKMT Lesson Video

INTRODUCTION

This is the end of the path for the species counterpoint.

The fifth species summarises all previous ones and adds some features that contribute to the melodic line’s complexity. They cannot be seen as a random combination of all previous species but as a multi-layered species that comprises all previous four.

The mixture of species serves to elaborate musical discourses with the imprints of each of the previously studied. It is an intermediate step to get to manifest counterpoints on free melodies.

Although they are free by themselves, we have not yet studied all the auxiliary that the contrapuntal discourses can contain.

The main goal here is to keep a balanced melodic flow throughout the exercise, keeping variety into unity.

RULES – SPECIES COUNTERPOINT

The most natural figuration in Counterpoint is the one that keeps the longer values on the strongest metric position, leaving the shortest ones to the weakest parts of the bar.

For example:

“Counterpoint in Composition and the study of voice leading” (Felix Salzer) p. 102

1. Example 5-2 above shows the most natural way in which the flow can manifest.

2. Example 5-3, the syncopation on the A note drawn too much attention to a single note, halting the flow and risking continuity.

3. Example 5-4, also interrupts the flow; the second half of the bar should lead into the next metric solid position. Coming after two short notes, the minim constitutes a static point in the discourse.

4. Example 5-5 is a betterment of the previous example, restoring the free flow of the line.

INTRODUCTION OF QUAVERS

The quavers are the shortest value presented so far in Counterpoint species.

They should be used sparingly, and they must happen in pairs (only one pair per bar), and only in the second or fourth beat in a quadruple meter. In ternary meters, on the third beat and in duple meters, on the second beat. (Always on the weakest parts of the bar)

Also, they always move in stepwise motion. This movement by steps favours the characteristic of the quavers as purely ornamental and decorative notes.

“Counterpoint in Composition and the study of voice leading” (Felix Salzer) p. 103

TREATMENT OF DISSONANCES

All the dissonances that belong to the previous species should follow their particular laws; nothing will be presented in this regard.

However, the new dissonances are related to the fourth species in the combination of the addition of the quaver rhythms.

Ornamented notes are allowed between the suspension and its resolution, either by dividing the minim into two crotchets, leaving the first note tied from the previous beat as the suspension itself, and the second crotchet as an ornament to the resolution note on the next beat. Here are some examples:

“Counterpoint in Composition and the study of voice leading” (Felix Salzer) p. 105

PARALLEL MOTION

As a general rule, they depend on the species to which that note belongs.

Octaves and fifths on successive first beats (accented ones) are valid as long as they are separated by three crotchets (in a 4/4-time signature, for example).

BEGINNINGS AND ENDINGS

The first species is reserved to the end (the last bar), although the penultimate bar usually uses the fourth species (this has historical influence)

The beginning of the Counterpoint can use any species. As we will see in these examples, we will follow specific surface rhythm acceleration; that is to say, it is preferable to start either with the second or fourth species.

RHYTHM

As discussed before, the acceleration of slowing down in the pace of a Counterpoint is given by the surface rhythm (the note values)

Below we can find some examples of Counterpoints in which we can observe the overall rhythm of the phrasing:

“Contrapunto y Polifonia” (Eduardo Checchi) P. 103

We can observe a pattern of acceleration and slow down of the surface rhythm in the example above. However, an interesting fact that should be taken into account when composing the Counterpoint is to consider as well how the acceleration or slowing down of the surface rhythm combines with the melodic patterns, more specifically if the melody consists of stepwise motion, skips or leaps (which we already know from the third species, are the ones who interrupt the musical discourse).

“Contrapunto y Polifonia” (Eduardo Checchi) pp. 104 and 105

In this example, there is no clear climax on the pitch, but a cascade of acceleration crotchets in bars 10 to 14. Notice that all the examples tend for longer values towards the cadence.

Finally, we can observe how rhythmic patterns are repeated but never accompanied by the same melodic patterns. The latter should be avoided at all costs in this species as well.