Fig.55.


The suggestions given for writing second species in both parts apply here, except that when both parts move degreewise, any interval may come on the second and fourth quarters, preferably a consonance. The third quarter is treated the same as the second half when writing the second species in both parts.

The augmented fourth, and diminished fifth and seventh, may be approached in similar motion. [Fig. 56.]

Fig.56.


The augmented fourth following the perfect fourth, as in Fig. 56a, is good.
The minor seventh, and the major and minor ninth of a chord, may be used freely on any but the first quarter, but must be consonant with the other part. [Fig. 57.]

Fig.57.


The first and third species may be mixed, as in Fig. 58.

Fig.58.


The second species may be used in one part and the third in the other, also six notes in one part and two in the other, and six in one and three in the other. All tones appearing simultaneously, must comply with the suggestions for tones appearing on the weak beat given in previous lessons, where both parts have other than the first species. [Fig. 59.]

Fig.59.


The cadences in Fig. 60 are good, and will suggest others.

Fig.60.