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Fourth Species Counterpoint

We use tied half notes, which create suspensions. The suspensions produce syncopation.

1. Suspensions have three stages:

a. Preparation a consonant note occurs on the weak beat
b. Suspension the note is tied over the bar line and becomes dissonant on the next strong
beat
c. Resolution the dissonant note must move down by step to a consonant interval

2. THE WEAK BEAT MUST ALWAYS BE CONSONANT . No passing or neighbor tones.

3. IF THE STRONG BEAT IS DISSONANT, IT MUST BE A SUSPENSION.

4. If the strong beat is consonant, it may move by step or leap, upward or downward, but only to
another consonant note on the weak beat.

5. Above the CF, the main dissonant suspensions are 7-6 and 4-3.
9-8 should be used sparingly and never more than one at a time; 2-1 is not used.

6. Below the CF, the dissonant suspensions are 2-3 and 9-10.
o5-6 may be used below only, but not more than once; 4-5 and 7-8 are not used.

7. A series of 7-6 or 4-3 suspensions above, or a series of 2-3 or 9-10 suspensions below, is good.
Maximum of three same-type suspensions in a row.

8. A consonant tied note on the strong beat is allowed when necessary.

It may be left by step or leap, upward or downward, to another consonant note.
Consonant suspensions 6-5 and 5-6 may occur; rarely used in upper counterpoint.
There should be as many dissonant suspensions as possible.

9. It is possible to not have a tied note on the strong beat, called breaking the species.
The strong beat must be consonant, and approached by step or 3rd over the bar line.
Breaking the species should only occur when necessary, never more than one at a time.
Max of two in a CF of 9 or10 notes; max of three in a CF of 11 or 12 notes.
There should be as many tied notes as possible.

10. Unisons:
Allowed on weak beats only if the strong beat in that measure is consonant
Allowed on strong beats only if the strong beat is tied

11. Consecutive 8ves, 5ths, and unisons:

Consecutive strong beats: Not allowed except 5ths that are tied; max of 2 in a row
Consecutive weak beats: Allowed if the intervening strong beat is consonant; max of 2 in
a row
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12. Beginning and cadence:

The first measure starts with a half-note rest; the first half note should always be tied.
The last measure must be a whole note on the tonic.
The next-to-last measure:
ABOVE: must be two half notes that form a 7-6 suspension, with the leading
tone on the weak beat. The third-to-last measure has the tonic on the weak beat.
BELOW: must be two half notes that form a 2-3 or 9-10 suspension, with the
leading tone on the weak beat. The third-to-last measure has the tonic on the
weak beat.

13. Leaps:
Leaps of a 4th or larger may occur upward only, and only from strong beat to weak
beat. The upper note must then be tied.
Leaps of a 4th, 5th, or 6th:
Must be preceded by step or 3rd down or by one step up
Must be followed after the tie by step or 3rd down
Leaps of an 8ve:
Must be preceded by a step down
Upper note must be tied
Must be followed after the tie either by a step down, or by one step up and then a
step down.
Maximum of one per exercise.
Avoid leaping away from and back to the same note, even with leaps of a 3rd.
Double leap is allowed, but only with two 3rds that spell a major or minor triad. Must be
followed by change of direction.

14. Repeated notes:

No repeated notes within a measure, except an octave leap.
No repeated notes between consecutive weak beats.
No repeated notes between consecutive strong beats unless the first one is tied and there
is only a step between them.

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