Fourth and Fifth Species Counterpoint

Fourth Species Counterpoint


  •  the counterpoint line and cantus firmus both move only once every bar                                                     
  • Counterpoint line and cactus firmus are rhythmically offset from each other by a half note.              (syncopation used)                                                                                                                         
  • counterpoint line is written with only half notes, with each weak-beat      half note tied across the bar line to the following strong beat.                                                                                                                                                                  
  • the two lines always move in oblique motion.                                                     
  • introduces a new kind of dissonance called suspension.

Suspension-  accented dissonance, meaning it always occurs on strong beats.


  • the suspension is ALWAYS after and followed by harmonic consonances.

  • the preparation: a weak-beat note in the counterpoint that is consonant with the cantus. This note will be tied into the suspension

  • the suspension itself: a strong-beat note in the counterpoint that is dissonant with the cantus. This note is the same as the preparation.

  • the resolution: a weak-beat note in the counterpoint that is consonant with the cantus. It will always be a step lower than the suspended tone.

Fifth Species Counterpoint

  • No voice should make a leap larger than a fifth, except for the octave and ascending minor sixth
  • large leaps are not allowed between notes less than half the value of the c.f.'s notes.
  • quick notes must be stepwise/occur in stepwise motion.
  •  Avoid making successive same-direction leaps in the same voice unless they outline a triad. If they can't be avoided they should at least total less than an octave.
  • Leaps greater than a fifth should be compensated by stepwise movement in the opposite direction.
  • No voice should move by a chromatic interval
  •  Avoid repeating a pitch in the lowest voice. In the upper parts, you can repeat a pitch/note as many as three times successively if necessary. NEVER MORE THAN 3 TIMES IN THE UPPER VOICE


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