2nd Species Counterpoint Quick Review - crb@rpi.edu 10/24/02
web page: http://www.listeningarts.com/music/general_theory/species/2nd.htm
Consonant Vertical Intervals
P5, P8, P12 (rare), M3, m3, M6, m6, and M10 and m10. Under exceptional circumstances, the compound
6th (M13 and m13) may be used.
Dissonant Vertical Intervals
2nd, 4th, 7th, 9th, and tritone.
2nd species counterpoint:
Most of the principles of first species still apply in second species. In writing two notes in the line of
counterpoint against each whole note in the cantus firmus, the first half note in each measure must be
consonant. Now, however, it is possible to introduce dissonance in the second half of the measure in the
form of passing tones, and thereby the energy and tension of the line of counterpoint can be greatly
enhanced.
The second half note in the counterpoint has several functions: consonant and dissonant passing tone; or to
change register quickly within the measure.
The second half note in the counterpoint can also be used to break a large leap into two smaller and less
obtrusive ones; and to avoid potential voice leading errors like parallel 5ths or 8ves.
1) Starting a 2nd Species Counterpoint
It is still necessary to begin on a perfect consonance, but now the line of counterpoint may begin
either on the first beat or it may begin with a half-note rest.
2) Ending a 2nd Species Counterpoint
The counterpoint will end on the note an octave or unison away from the final note in the cantus
firmus, as in first species, and the penultimate note must be the leading tone or seventh modal
degree. Occasionally a whole note may be used in the line of counterpoint in the penultimate
measure; in this case it will always be the leading tone or seventh modal.
3) Using Dissonant intervals
Passing Tones (P or PT)
Dissonant intervals, such as the 2nd, 4th, 7th, 9th, and tritone, can be used on the second half note
of a measure if the line of counterpoint moves up or down by step from one consonance to
another. A passing tone is a stepwise connection between two other tones a third apart.
Neighbor Notes (N)
The neighbor note (N -- a stepwise connection between two instances of the same note) may be
used if and only if it is consonant with the cantus firmus.
Never let the line of counterpoint leap into or out of a dissonant interval, since this effectively
leaves the dissonance hanging, unfulfilled and unresolved.
4) Leaps in Counterpoint
Leaps greater than a 3rd which cross over the barline (from 2nd beat to the subsequent strong beat)
are more problematic than leaps within the measure. If you must leap over the barline, follow the
leap with an immediate change of direction -- this will mitigate that dangling sensation.
Large leaps within the measure should also be followed with a change of direction ("recovered").
This keeps the line of counterpoint from extending its register too low or too high.
A large melodic interval (P5, major or minor 6th, or P8) can be broken into two smaller leaps; this
is a useful technique for slowing down registral expansion. A P5 can be traversed by using two
consecutive leaps of a 3rd; a 6th can be traversed by using two consecutive leaps of a 3rd and a
P4, or a P4 and a 3rd; and finally, a P8 can be traversed by leaping a P5 and a P4, or a P4 and a
P5.
Any other combination of consecutive leaps (P4 + P4, 3rd + P5, for example) will result in a
dissonant outline, and is therefore forbidden. As always with leaps, all intervals formed against the
cantus firmus must be consonant. When you use two smaller leaps to gain a larger interval, the
first of the two leaps should not be recovered. Once the goal is reached, however, an immediate
change of direction should occur.
5) NO parallel perfect intervals
Directly adjacent (parallel) P5s and P8s are, as before, forbidden under any circumstances
(example 8a). P5s and P8s on successive strong beats, mitigated by only one intervening half note,
are to be strenuously avoided (8b). P5s and P8s on successive weak beats, however, are
acceptable, as long as they do not form a sequence.
6) motion
The line of counterpoint may move by leap as long as both vertical intervals formed with the
cantus firmus are consonant .
The unison can now be used, but only on the second half of the measure, in the middle of an
exercise, and it must be left by step in the opposite direction from its approach. If you leave it
with a skip, it is as though the line of counterpoint has fallen temporarily into a black hole.
7) Changing register
The leap of a P8 or an ascending m6 (never a descending 6th, nor an ascending M6, since these
are relatively difficult to sing) will prove useful to change the counterpoint's register from time to
time in these exercises, especially when the voices are getting too close together.
8) General Rules
As in 1st species counterpoint, the 2nd species counterpoint line should achieve a unique
(unrepeated) climax which is not simultaneous with the high point of the cantus firmus.
It is always helpful to sketch in a possible climax when beginning to write the line of counterpoint;
this will help to avoid such common problems as painting oneself into a registral corner (being too
high or too low relative to the close of the exercise, with insufficient time to recover), and arriving
at a climactic point on a weak beat.
Repeated notes, tied notes, sequences, and repetitions of groups of notes are all off limits in 2nd
species.