II. Counterpoint and Galant Schemas

Kris Shaffer and Mark Gotham

Key Takeaways

The fifth species of primarily involves combining the tricks we’ve learned so far into something that starts to resemble real music!

In fifth-species counterpoint, we combine the tricks developed in species 1–4 with only a few additions. As such, the fifth species starts to resemble real music in a way that none of the previous species did, and the challenge is to balance not only types of consonance but also types of counterpoint.

# Beginning and Ending

Once again, fifth-species counterpoint observes the now-familiar practice of handling of perfect consonances and reduced motion in the first and last measures. Begin with a and end with a .

# Embellishing Suspensions

While are a fourth-species consideration, in fifth-species counterpoint we add the option of decorating those suspensions with some common embellishments. Example 1 illustrates the main types, set out on a single chain of 7-6 suspensions.

Note that if you simplify the line by sustaining the first note of the measure for a half note, you get right back to unembellished fourth-species suspensions.

## Eighth notes

Note too that the last of the suspension embellishments in Example 1 introduces eighth-note motion for the first time. Fux introduces embellished suspensions and eighth-note motion “in between” fourth and fifth species. Apart from this “ with ” embellishment of a suspension, Fux also introduces the possibility of a pair of eighth notes. In all cases, these eighth notes come in pairs, and they occur on weak beats (filling the second or fourth quarter note of the measure).

Example 2 gives the complete examples of fifth-species counterpoint from Part I of Gradus ad Parnassum, annotated (as before) with the interval that the counterpoint line makes with the cantus firmus. For the complete examples from Gradus ad Parnassum as exercises, solutions, and annotations, see Gradus ad Parnassum Exercises.