SECOND SPECIES COUNTERPOINT

● In second species counterpoint: the cantus firmus is written in whole notes, the
counterpoint line will be written in half notes. Second species counterpoint is in a 2:1
rhythmic ratio
● Second species introduces harmonic dissonance. It also introduces strong and weak beats.
Dissonance will occur only on the weak beats.
● Like first species, characteristics of a good melody should be followed. The counterpoint
should be singable, and have a good contour. Second species will also be more
dominated by stepwise motion, because of the significant increase in the amount of notes.
The counterpoint line should have a climax or focal point, as in first species. However, in
second species the counterpoint line may also have one or two secondary climaxes or
focal points, lower than the primary climax.
● Beginning a second species counterpoint:
○ Just as in first species: When writing a counterpoint ​above ​a cantus firmus​: ​begin
with a perfect consonance, a P1, P5, or P8 , or 10th above the given note.
○ When writing a counterpoint ​below ​a cantus firmus​: ​begin with a P1 or P8 below
the given note.
○ In second species, you may begin with a rest, and it is usually advisable to do so,
as it both helps to define the rhythm, and is easier to write.
● Ending a second species counterpoint:
○ Just as in first species: The final note ​above ​or ​below​ will always be scale degree
1 (P1 or P8)
○ If the cantus firmus ends ​7-1, ​the counterpoint should end with ​2-1,​ and vice
versa.
● Consonance and Dissonance:
○ All strong beats should feature consonant intervals.
○ Dissonance should only occur on a weak beat, and ​should only appear as a
passing tone​ (approached/left via stepwise motion in the same direction.
● Other considerations:
○ Similar rules to first species counterpoint.
○ Keep the range within an octave, only go to a tenth when absolutely necessary,
and never exceed a twelfth
○ Use of a unison is acceptable on a weak beat.
○ Never use parallel fifths or octaves. This can now occur between both the strong
beat of a measure and the next strong beat, or between any two adjacent strong
and weak beats.
○ Do not use more than three thirds or sixths in a row at the beginning of a bar.
○ Do not outline a dissonant melodic in consecutive downbeats (with the exception
of outlining a seventh, if the counterpoint leaps an octave from strong to weak
beats).