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Fifth Species Counterpoint

Fifth species counterpoint is the combination of second, third, and fourth species in the same exercise.
We have a mix of rhythmic values, now including eighth notes, against whole notes in the CF.

Rhythm
Each measure will have either the same note values or mixed note values.
Same note values will be either 2 half notes or 4 quarter notes
Mixed note values will be certain combinations of half notes, quarter notes, and eighth notes

Mixed note values:

Longer rhythmic values should occur on strong beats, shorter values on weak beats. For example, half-
quarter-quarter on beats 1, 3, and 4; or quarter-eighth-eighth on beats 1 and 2.

Half notes:
A half note may not occur on beat 2.
A half note may not occur on beat 3 unless there is also a half note on beat 1, or the half note on
beat 3 is tied over the following bar line (except at the cadence).
Not more than one untied half note in the mid-portion between the second and second-to-last
measures

Eighth notes:
They must occur in pairs (two at a time) with only one pair per measure
They must occur only on the second or fourth quarter of the measure
They must have only a step between them
They must be approached and left by stepthat is, a step to the first eighth note, a step between
the first and second eighth notes, and a step away from the second eighth note

Some general rules:

Avoid repeating the same mixed-value rhythmic pattern in consecutive measures.
Avoid more than two measures in a row of a same-value rhythmic pattern.

Summary of note values (except at beginning and cadence)

Beat 1 may be a quarter note, a tied quarter note, a half note, or a tied half note
Beat 2 may be a quarter note or two eighth notes
Beat 3 may be a quarter note, or a half note tied to the next measure
Beat 4 may be a quarter note or two eighth notes

Illustration of all possible rhythmic patterns (except at beginning and cadence):

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Dissonance treatment
Each note value is governed by the rules of the species to which it belongs:
Half notes belong to second speciesmust be consonant on beat 1; may be dissonant on beat 3
only if written as a passing tone
Quarter notes belong to third speciesmust be consonant on beat 1; may be dissonant on beats
2, 3, or 4 only if written as a passing tone, neighbor note, double neighbor, or nota cambiata
Only one double neighbor or one nota cambiata per exercise
Eighth notes: either the first or the second note of the pair may be dissonant if written as a
passing tone or a neighbor note (at least one of the two must be consonant)
Suspensions: 7-6 suspensions after the second measure should be decorated as described below;
4-3 and 9-8 suspensions are the same as in fourth species except that the resolution on beat three
may be a quarter note.

Decorated resolution of 7-6 suspensions

A suspension now consists of a half note on beat 3 tied to a quarter note on beat 1 of the next measure.
The resolution still occurs on beat 3. Beat 2 is used in between to decorate the resolution.

The decoration on beat 2 may be either two eighth notes or one quarter note, in six possible patterns (see
examples below):

1. Pair of eighth notes passing to lower neighbor of resolution

2. Pair of eighth notes passing from upper neighbor of suspension
3. Quarter note as incomplete lower neighbor of resolution
4. Quarter note as incomplete upper neighbor of suspension
5. Quarter note as anticipation of resolution
6. Quarter note as downward leap to a consonance (down a P5 th, then up a P4th)

1. 2. 3. 4. 5. 6.

7(6 5)6 7 (8 7) 6 7 (5) 6 7 (8) 6 7 (6) 6 7 (3) 6

The note of resolution must ALWAYS occur on the third beat, not the second beat.

If the resolution is a half note on beat 3, it must be tied to the next downbeat (except at the
cadence). This is not shown in the examples above.

If the resolution is a quarter note on beat 3, the next quarter note on beat 4 must comply with third
species. Some examples:
a. b. c.

7 (3) 6 7 3 7 (6 5) 6 7 10 7 (8) 6 10 10

IMPORTANT: All 7-6 suspensions (except in m. 2) must be decorated.

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NO PERFECT INTERVALS ON DOWNBEATS, except tied notes and the last measure.

Consecutive perfect intervals: Since there are no perfect intervals on downbeats, this will only come up in
a 4th-species context, i.e. tied half or quarter notes on consecutive downbeats, or half notes on consecutive
third beats:
Consecutive downbeats: Not allowed except 5ths that are tied; max of 2 in a row
Consecutive third beats: Allowed if the intervening strong beat is consonant; max of 2 in a row.

Unisons: Allowed on beat 1 only if tied; allowed on other beats if followed by stepwise motion

The beginning: only two possibilities

a half rest and a half note tied to another half note on the downbeat of m. 2
a half rest and a half note followed by another half note (not tied) on the downbeat of m. 2

The cadence:
The same as in fourth species, except that the final 7-6 suspension in the next-to-last measure
should be decorated with a Type 1 decoration (see above, p. 2)
The resolution is a half note, not tied, and the last measure is a whole note on the tonic

Rhythm:
In general, the rhythm should start slowly, speed up in the middle, and slow down (with
suspensions) toward the cadence.
Not more than one half note in the mid-portion (between the second and second-to-last measures)
except those that are tied
See the handout called Fifth Species Examples for illustrations

Leaps:
1. NO LEAPS OVER THE BAR LINE, INCLUDING THIRDS, with one exception: A 3rd down
followed by a 4th up over the bar line, followed by step in the opposite direction. For example:

2. RhythmOctave leaps only from strong beat to weak beat. Other leaps may occur between any
two beats within the measure.

3. Octave leaps may be preceded or followed (not both) by one step in the same direction, but there
must be a change of direction both before and after the step-octave or octave-step.

4. No double leaps (two in the same direction), even if they outline a triad.

APART FROM THESE CHANGES, ALL RULES OF FIRST SPECIES AND GOOD MELODY STILL
APPLY.