MU182: Theory II

R. Vigil

Fourth Species: Two-Part Counterpoint

Compiled with reference to:

Fux, The Study of Counterpoint, trans. and ed. Alfred Mann (Norton, 1971);
Felix Salzer and Carl Schachter, Counterpoint in Composition (Columbia UP, 1989);
Janet Schmalfeldt, Guidelines for Composing a Two-Part Counterpoint in Fourth
Species;
Arnold Schoenberg, Preliminary Exercises in Counterpoint (Faber & Faber, 1963).

General

In fourth-species counterpoint a line of tied half notes is added to the whole notes of a cantus
firmus. While the rhythmic relationship of the two parts is one-to-one, the counterpoint is
displaced so that the notes change on the upbeat as opposed to the downbeat. This rhythmic
displacement is known as syncopation.

The basic principles and restrictions concerning melodic motion still apply to the construction of
the counterpoint in fourth species. In particular, the counterpoint should be balanced and varied;
it must not include any dissonant leaps or repeated climaxes; outlined dissonances should be
avoided; and care should be taken with all leaps larger than a third.

All upbeats must be consonant with the cantus firmus.

The Suspension

The process of tying a note over from a preceding measure creates what is know as a
suspension. A suspension may be either consonant or dissonant.

Consonant Suspensions occur when the tied note in the counterpoint is consonant with the
cantus firmus on the downbeat of the next measure. Consonant suspensions may be used freely
and carry no restrictions for continuation – i.e., they may proceed by step or consonant leap.

Dissonant Suspensions occur when the tied note creates a dissonance with the cantus firmus.
Dissonant suspensions are the only opportunity for dissonance in fourth species.

The dissonant suspension is made up of three components:

Preparation – on the upbeat of the preceding measure; must be consonant;
Suspension – the dissonance on the ensuing downbeat;
Resolution – the motion into the next upbeat; dissonant suspensions must resolve down
by step into a consonance.
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Preferred Dissonant Suspensions – into an imperfect consonance; creates the strongest sense of
fluidity and forward motion

In the upper voice: 7-6

4-3

In the lower voice: 2-3

9-10

Less Preferred Dissonant Suspensions – into perfect consonances; creates less of a sense of
forward motion

In the upper voice: 9-8

2-1

In the lower voice: 4-5

NB: dissonant suspensions into perfect intervals must never be used in a series (see below).

Forbidden: 7-8 suspension in the lower voice.

Series of Suspensions

Those suspensions that resolve into imperfect consonances can be strung together to create a
sense of motion comparable to parallel thirds or sixths in first species. However, in order to
stress the independence of the voices, a similar restriction must be put in place: such series
should not continue for more than three measures.

Possible suspensions in a series:

Upper voice: 5-6, 7-6, 4-3 (6-5 acceptable but less preferred)
Lower voice: 5-6, 2-3, 9-10 (6-5 acceptable but less preferred)

Perfect Intervals

“If two fifths, octaves, or unisons appear in consecutive measures, separated by a dissonant
suspension, the voice leading is unacceptable.”(Salzer & Schachter, p. 84)

Dissonant suspensions rely on the surrounding consonances for proper treatment. When
the preparation and resolution form consecutive fifths, octaves, or unisons with the cantus
firmus the dissonant suspension does not sufficiently mitigate the sense of parallelism.

Fifths, octaves, and unisons separated by a consonant interval are perfectly acceptable; however,
no more than two such progressions should proceed in a row.
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Unisons should be avoided as points of resolution (i.e., the 2-1 suspension). Because of the
strong sense of independent parts created by the constant rhythmic displacement, unisons are
generally more acceptable in fourth species than the preceding species.

Interruption of Syncopation – Reversion to Second Species

For reasons of melodic variety it is sometimes desirable to “break the species” and temporarily
(for one measure) revert to second species (motion in half notes). When this is done the
counterpoint must obey the rules governing that species. This expedient should not be overused
– a short exercise (8-12 notes) should not need to “break the species” more than twice.

Beginning: The counterpoint will always begin with a rest. The available intervals for the
first note are an octave or fifth in the upper voice, and a unison or an octave in the lower voice.

Ending (cadence): As always, the last measure will contain a whole note. Assuming the
cantus ends with a descending step, the penultimate tone in the counterpoint must be the leading
tone. The most common and satisfying way to bring this about is through a dissonant suspension
in the penultimate bar (7-6 when the counterpoint is in the upper voice, 2-3 when the
counterpoint is in the lower voice).

In the rare event that the cantus ends with an ascending step the penultimate tone in the
counterpoint must be scale degree 2.