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Counterpoint (Kontrapunkt in the original German) is the second volume of Heinrich Schenker's New Musical Theories and Fantasies (the first is Harmony and the third is Free Composition). It is divided into two "Books", the first published in 1910, and the second in 1922. The subject matter of the work is species counterpoint.
Two-voice counterpoint remains for Schenker the model of strict writing. Free composition is a freer usage of the laws of strict counterpoint. One of the aims of the analysis is to trace how the work remains subject to these laws at the deepest level, despite the freedom taken at subsequent levels. [17]
4th chapter of ITT is devoted to species counterpoint, an old western tradition of composing music consisting of simple lines with uniform rhythm. Westergaard presented formal grammars to construct/parse species lines. According to him, there are three types of lines: primary line, generic line, and the bass line.
In fifth species counterpoint, sometimes called florid counterpoint, the other four species of counterpoint are combined within the added parts. In the example, the first and second bars are second species, the third bar is third species, the fourth and fifth bars are third and embellished fourth species, and the final bar is first species.
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(Occasionally, in modern counterpoint textbooks, the third and fourth species are reversed with suspensions being taught before four notes against one.) Fux expressed the intention of adding sections on how to write counterpoint for more than four parts, indicating that rules in this area were to be "less rigorously observed".
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"The study of voice leading is the study of the principles that govern the progression of the component voices of a composition both separately and in combination. In the Schenkerian tradition, this study begins with strict species counterpoint." [21] Vordergrund. See Foreground.