TREATISE ON COUNTERPOINT AND FUGUE (Parts 9 to 10)

The fourth species examines syncopation and suspensions as means of introducing structural dissonance through preparation, suspension, and resolution, highlighting expressive control, rhetorical function, and documented historical use, especially in vocal style. The fifth species, or florid counterpoint, integrates all previous species through controlled freedom, ornamentation, melodic fluency, and expressive dissonances, and analyzes its relationship to the fugue, its historical application, and its value as the pedagogical culmination of the study of Counterpoint.

PART IX – Fourth Species of Counterpoint

IX.1 Syncopation
IX.2 Suspensions
IX.3 Preparation, suspension, and resolution
IX.4 Expressive control
IX.5 Structural dissonance
IX.6 Musical rhetoric
IX.7 Oblique motion
IX.8 Documented historical use
IX.9 Practical examples
IX.10 Expressive function
IX.11 Technical complexity
IX.12 Relationship with vocal style
IX.13 Aesthetic value

PART X – Fifth Species of Counterpoint

X.1 Florid counterpoint
X.2 Combination of species
X.3 Controlled freedom
X.4 Ornamentation
X.5 Melodic fluency
X.6 Technical synthesis
X.7 Expressive dissonances
X.8 Real historical use
X.9 Complex examples
X.10 Technical mastery
X.11 Relationship with the fugue
X.12 Preparation for larger forms
X.13 Pedagogical culmination

Table of Counterpoint Characteristics: Fourth and Fifth Species

These two species of Counterpoint represent the advanced stages of the pedagogical method:

the fourth species introduces sustained structural dissonance,

the fifth species integrates all resources into a fluid and realistic musical language.

DEVELOPMENT OF COUNTERPOINT THEORY OF THE FOURTH AND FIFTH SPECIES

PART IX – Fourth Species of Counterpoint

IX.1 Syncopation

Syncopation defines the Fourth Species of Counterpoint through metrical ligature.
A note is prolonged from a weak beat into a strong beat.
Syncopated Counterpoint generates regulated tension.
Modal stability remains intact.

IX.2 Suspensions

Suspensions constitute the technical core of Fourth Species Counterpoint.
A prepared consonance transforms into structural dissonance.
Counterpoint strictly regulates metrical placement.
The suspension fulfills a formal function.

IX.3 Preparation, suspension, and resolution

Every valid suspension in Counterpoint presents three normative stages.
Preparation occurs in stable consonance.
Suspension appears on the strong beat.
Resolution proceeds by stepwise motion.
Counterpoint invalidates omissions.

IX.4 Expressive control

Syncopated Counterpoint introduces regulated expressivity.
Tension arises from structural dissonance.
It does not admit arbitrary subjectivity.
Counterpoint controls interval and duration.

IX.5 Structural dissonance

Dissonance in Fourth Species Counterpoint is functional.
Seconds, fourths, sevenths, and ninths are permitted, depending on voice disposition.
Dissonance exists in order to resolve.
Counterpoint forbids dissonant permanence.

IX.6 Musical rhetoric

The Fourth Species of Counterpoint connects with Renaissance musical rhetoric.
The suspension generates discursive expectation.
Counterpoint translates vocal inflection into sonic tension.
The rhetorical function is inherent.

IX.7 Oblique motion

Oblique motion predominates in Syncopated Counterpoint.
One voice remains static while another moves.
This design avoids forbidden parallels.
Counterpoint preserves vocal independence.

IX.8 Documented historical use

Fourth Species Counterpoint appears in sixteenth-century sacred repertoire.
Its practice precedes theory.
Pedagogical codification abstracts existing procedures.
Counterpoint reflects actual usage.

IX.9 Practical examples

A canonical example of Counterpoint employs a 4–3 suspension.
Other models include 7–6 and 9–8, depending on context.
Consonant preparation is mandatory.
Counterpoint requires stepwise resolution.

IX.10 Expressive function

The expressive function of Syncopated Counterpoint is deferred tension.
The listener anticipates resolution.
Temporal perception intensifies.
Counterpoint prolongs meaning.

IX.11 Technical complexity

The Fourth Species of Counterpoint requires advanced rhythmic control.
Ligature demands structural foresight.
Common errors affect resolution.
Counterpoint penalizes metrical ambiguity.

IX.12 Relationship with vocal style

Syncopated Counterpoint adapts naturally to human singing.
Ligature reflects natural breathing.
Stepwise resolution supports phrasing.
This explains its choral usage.

IX.13 Aesthetic value

The aesthetic value of Fourth Species Counterpoint lies in balance.
It combines normative rigor with contained expressivity.
Dissonance acquires structural meaning.
Counterpoint avoids artifice.

Conclusion of PART IX

The Fourth Species of Counterpoint introduces regulated structural dissonance.
It constitutes the decisive transition toward expressive fluency.
Its mastery is indispensable before Florid Counterpoint.

PART X – Fifth Species of Counterpoint

X.1 Florid Counterpoint

Florid Counterpoint constitutes the technical culmination of the species system.
It integrates rhythmic variety and melodic continuity.
Counterpoint abandons uniformity without losing normative control.

X.2 Combination of species

The Fifth Species of Counterpoint combines previous procedures.
It integrates note-against-note, two-against-one, and syncopations.
Counterpoint demands contextual discernment.
Not every combination is valid.

X.3 Controlled freedom

Freedom in Florid Counterpoint is hierarchical.
Each dissonance retains normative preparation.
Each consonance fulfills a formal function.
Counterpoint forbids arbitrary accumulation.

X.4 Ornamentation

Ornamentation in Florid Counterpoint is structural.
It is based on predominant stepwise motion.
It must not obscure the principal line.
Counterpoint prioritizes polyphonic clarity.

X.5 Melodic fluency

Melodic fluency defines the Fifth Species of Counterpoint.
The line is perceived as continuous and organic.
Counterpoint eliminates excessive rigidity.
Melody governs syntax.

X.6 Technical synthesis

Florid Counterpoint constitutes an integral synthesis.
It integrates rhythm, interval, and direction.
Technique becomes transparent.
Counterpoint demonstrates complete mastery.

X.7 Expressive dissonances

Expressive dissonances appear with greater controlled frequency.
Counterpoint admits passing tones, appoggiaturas, and suspensions.
Every dissonance resolves clearly.
The norm remains active.

X.8 Real historical use

Florid Counterpoint reflects sixteenth-century compositional practice.
It appears in masses, motets, and late madrigals.
It is not an artificial exercise.
Theory abstracts historical practice.

X.9 Complex examples

An example of Florid Counterpoint combines figuration and syncopation.
Voices alternate rhythmic density.
Each figure fulfills a structural function.
Counterpoint avoids chaotic superposition.

X.10 Technical mastery

Technical mastery manifests fully in this species.
Counterpoint requires global foresight.
Errors reveal incomplete understanding.
Skill is integral.

X.11 Relationship with the fugue

The Fifth Species of Counterpoint prepares skills necessary for the fugue.
It promotes independence, continuity, and implicit imitation.
Counterpoint is not yet fugue.
The relationship is pedagogical.

X.12 Preparation for larger forms

Florid Counterpoint enables extended structures.
It sustains prolonged thematic development.
Technique becomes architectural.
Counterpoint ceases to be local.

X.13 Pedagogical culmination

The Fifth Species of Counterpoint culminates the pedagogical system.
It integrates all prior learning.
Technique becomes internalized.
Autonomous polyphonic thinking emerges.

Conclusion of PART X

Florid Counterpoint represents the definitive synthesis of the species system.
Norm transforms into living language.
From here, the composer gains access to larger polyphonic forms.