Lesson 2 - Simple Counterpoint in two parts - Second Species

[MaestroX]

SECOND SPECIES

Fig.17.


All rules for the first species must be observed.

Two notes are written in the counterpoint to one of the cantus firmus, except in the last measure. [Fig. 18a.] In the last measure but one the first species may sometimes be used. [Fig. 18b.]

Fig.18.


Repetition of a note in any but the first species is forbidden. [Fig. 19.]

Fig.19.


The counterpoint may begin on the first or the second half of the measure, preference being given to the second half. When it begins on the first half it must be a unison, fifth, or octave; when on the second half, it may be any consonance. [Fig. 20.]

Fig.20.


After the first measure the interval on the first beat should be an imperfect consonance, as in the first species, but the fifth, or octave, may be used occasionally.

In this and succeeding lessons, all notes in the measure not belonging to the harmony implied on the first beat, must be treated as dissonances, e.g., those belonging to the implied harmony may be left by a skip (a) or stepwise progression (b) unless dissonant with the cantus firmus; then avoid their use; if foreign [7] to it, whether consonant (c) with the C.F. or not (d), they must be treated as embellishments or passing-tones. [Fig. 21.]

Fig.21.


The embellishment may be used as follows: when above the principal tone, it may be a semitone (a) or a whole tone (b) distant from it; and when below, a semitone (c). [Fig. 22.]

Fig.22.


When the counterpoint is below the cantus firmus, the fifth of the chord needs special treatment. It is permitted on the weak beat when the lower is treated as an harmonic passing-tone.

An harmonic passing-tone is the second of three tones belonging to the same chord. [Fig. 23a.] While the third tone should be a member of the chord containing the fifth as an harmonic passing-tone, the chord above it may change as in Fig. 23b.

The fifth is permitted on the strong beat when it is only an implied fifth (six-four chord); that is, the third and fifth appear on the strong beat, and the root does not come in until the second half of the measure. [Fig. 23c.]

Fig.23.

The unison is permitted on the weak beat. [Fig. 24.]

Fig.24.


Avoid broken-chord effects, that is, do not use more than three tones belonging to the same chord in succession. [Fig. 25.]

Fig.25.


Avoid frequent skipping of parts. [Fig. 26.]

Fig.26.


Parts may cross occasionally, but should return immediately [Fig. 27.]

Fig.27.


Consecutive fifths or octaves on consecutive strong beats are bad; but they are good on the weak beats if the second fifth or octave is approached in the opposite direction from the first. [Fig. 28.]

Fig.28.

In minor the sixth degree may occasionally be raised on the strong beat, if it is desired to proceed upward to the raised seventh degree. [Fig. 29.]

Fig.29.


In the last measure but one, both the supertonic and leading tone should appear. [Fig. 30.]

Fig.30.


Three notes may be written to one of the cantus firmus, as in Fig. 31. For this no new rules are required.

Fig.31.


The cadences in Fig. 32 are good. It will be seen that the cadences of the first species may also be used.

Fig.32.