Second
species counterpoint can be composed in both binary and ternary meter. In binary meter, second species counterpoint
is a style of polyphonic writing that consists of two notes of counterpoint
against every one note of the cantus firmus.
This means that each measure consists of two equal parts: the downbeat
and the upbeat. This is usually depicted
as two half notes of counterpoint set against each whole note of the cantus
firmus. One of these half notes exists
on the downbeat, and the other exists on the upbeat. This allows for the existence of dissonance
between the cantus firmus and the counterpoint in this species.
The first half note exists on the
downbeat of the measure. Because of
this, it must be consonant with the cantus firmus. The second half note exists on the upbeat. Because of this, it may be dissonant with the
cantus firmus if we both approach and leave it by stepwise motion. If the upbeat is approached or left by a
skip, the pitch must be consonant with the cantus firmus. Thus, the only dissonance that can exist in
this species is diminution. Diminution
is filling in the space between two notes that are a melodic third apart from
each other.
Works of second species (binary
meter) will always resolve in a specific way.
If the counterpoint resolves to an octave, the penultimate measure will
contain a 5th followed by a major 6th in relation to the cantus firmus (except
when the diatonic 5th is a tritone). If
the counterpoint resolves to a unison, the penultimate measure will contain a
5th followed by a minor 3rd in relation to the cantus firmus (except when the
diatonic 5th is a tritone). The final
pitch of the counterpoint must match the rhythm of the cantus firmus (in our
case, it will be a whole note).
There are several additional
rules that must be observed when composing in second species. One such rule is that successive strong beats
may not contain parallel fifths or octaves unless the weak beat contains a leap
of a 4th or greater. Leaps of a third
between successive strong beat parallelism are not substantial enough to erase
the strong beat parallel motion from our tonal memory. Another is that a half rest can be used in
place of the first note. In this case
the upbeat pitch must be consonant with the cantus firmus. Finally, a leap of a minor sixth or an octave
may be used to avoid issues in a place where it is impossible to achieve
contrary motion.
In ternary meter, second species
counterpoint is a style of polyphonic writing that consists of three notes of
counterpoint against every one note of the cantus firmus. In this meter, the middle note may be
dissonant if it is approached and left by stepwise motion. Some music theorists also allow the third
note to be dissonant if it is approached and left by stepwise motion. However, Fux applied the strict approach of
only allowing the middle note to be dissonant.
Other than these differences (due to the difference in meter), all the
other rules of second species remain the same.
The
rules covered above reflect the differences between second and first species
counterpoint. Other than these
differences, all the other rules of first species counterpoint apply to second
species counterpoint. In addition, the
same melodic rules for composing a good cantus firmus apply to composing a good
work of second species counterpoint. I
would also recommend the same tips for composing that I gave in the lesson on
first species. For this reason, it is
essential to study this topic in the proper sequence in order to gain a proper
understanding. If you have not done so
already, please refer to the previous lessons on counterpoint (parts 1-3) to
aid in your understand of this lesson.
Based on the rules and tips
presented in this lesson, you should be prepared to compose your own second
species counterpoint exercises. For more
guidance, please refer to the end of the accompanying video where I compose an
example of second species counterpoint both in binary and ternary meter. Continued practice will grant you valuable
insight into the nature of melodic motion and the way multiple melodies react harmonically.
This Learning Music With Ray video discusses the topic of second species
counterpoint. In this video I discuss
the rules that govern composing a work of second species counterpoint. I also provide some helpful tips that will
make your experience composing second species counterpoint easier. Finally, I compose a line of second species
counter point both in binary and ternary meter in order to provide a live
demonstration of the principles discussed in the video.
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