Fifth-Species Counterpoint

Fifth-species counterpoint, called "florid" counterpoint, combines all four previous species freely. The counterpoint may move in whole notes, half notes, quarter notes, or even eighth notes, and may incorporate passing tones, neighbor tones, and suspensions in any combination. The only constraint is that the rules governing each species still apply whenever that species' rhythmic values appear: downbeats must be consonant (or suspensions in the process of resolving), dissonant passing tones must be stepwise, and parallel perfect consonances are always forbidden.

The challenge of florid counterpoint is achieving an organic, expressive melody that sounds composed rather than assembled from rules. Good fifth-species writing balances rhythmic variety — mixing faster and slower note values — with melodic logic. Suspensions are particularly effective at climactic moments. Quarter-note passing motion provides momentum. Slower half notes and whole notes give the line room to breathe. The voice should have a clear shape: a single high point, directional momentum, and a satisfying cadential approach.

Fifth species is the culmination of the species method. A well-written florid counterpoint does not merely avoid errors; it achieves the qualities that define great polyphony — independence of voices, melodic interest in every part, and a coherent interplay of consonance and dissonance. Fux used florid counterpoint as the bridge from strict academic exercise to free composition in the style of Palestrina, and to this day it remains a powerful tool for developing compositional judgment.