Species Counterpoint: Species Ii

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music theory for musicians and normal people by toby w. rush
Species Counterpoint: Species II
C
Ó
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&
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second species
counterpoint adds a
touch more
w
w
?
w
complexity:
C
w
there are two notes
against every one in
the cantus firmus.
fortunately, that doesn’t make it twice as difficult: in fact, most of the previous rules
still apply without any changes.
there are only a few exceptions:
species i
species ii
rule:
rule:
leaps are still fine, but don’t leap to a new high point on a downbeat.
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the a in the third measure is a
no leaps
new high point for the line,
larger than
so leaping to it on the
a perfect
w
?
w
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w
downbeat puts a lot of weight
fifth*
on that one note, making it
stick out of the texture.
*excepting, of course, ascending minor sixths and perfect octaves, but you already knew that.
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still true... for downbeats. for the
unaccented beats, dissonant intervals
are fine, as long as they happen as
w
only use
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w
6
7
10
8
C
passing tones: notes that fill in a
consonant
third created by surrounding notes.
intervals.
oh, and notice how dissonant intervals
have their numbers circled? nice, huh. You should do it too.
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unisons
can only
unisons can be used on unaccented
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be used
w
8
7
3
1
notes... just be careful about
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C
on the
crossing or overlapping voices!
first and
last notes.
this rule still applies: if you use a perfect interval on a downbeat,
you need to use contrary motion from the immediately preceding
approach
notes, and at least one voice must move by step.
perfect
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intervals
however, you must also be careful not
using
to have the same perfect interval on
contrary
two successive downbeats. This is
w
w
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8
10
8
6
motion
called parallel perfect intervals
C
with at least
and it’s going to be a no-no for a
one voice
good long time.
moving
(in fact, it’s also not okay to have parallel perfect intervals from
by step.
the unaccented beat to the downbeat, but if you are approaching
with contrary motion, that wouldn’t happen anyway .)
not too bad, is it? yeah! bring on third species!
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