1. Second species Counterpoint

3. Second Species in 30 Seconds
counterpt.
c.f.
Rhythmic Values: Wholes in cantus firmus/halves in
Counterpoint
Downbeats MUST be consonances
Weak beats can be consonance or dissonance
*If weak-beat = dissonance it must = a Passing Tone
PT=a tone that connects framing notes a third apart
PT=a tone approached and left by step in the same direction

5. Calculate all the intervals in this 2nd species exercise.
1. Team Exercise:
Calculate all the intervals in this 2nd species exercise.

6.
Answer

7. Calculate all the intervals in this 2nd species exercise.
1. Team Exercise:
Calculate all the intervals in this 2nd species exercise.
1b. Team Exercise: Sing the counterpoint.

8. Individual Questions

9. 2. In 2nd species, the cantus firmus moves in whole notes; the counterpoint,
or added voice, generally moves in ___________________ .

10. In the first bar of a 2nd species example, you may write two half notes or
___________________.

11. 4. Another exception to the “all-half-note-in-the-counterpoint rule” comes in the
next-to-last bar of a 2nd species counterpoint, where you can write either the
normal two half notes per bar, or
________________________.
N.B. All species counterpoint examples have whole notes in the final bar.

12.
5. In second species only ____________ intervals occur on the downbeats.

13. by note number and give interval).
6a. Team Question: How many dissonance(s) in the example above (identify
by note number and give interval).

14.
6b. The only type of dissonance permitted in 2nd species is the ____________.
Note: Textbook mentions dissonant Neighbor Notes (not normal species practice)

15.
7. In 2nd species, dissonant passing tones occur only on ______________ beats.

16. 8. Are consonant passing tones permitted in 2nd species?
8. Are consonant passing tones permitted in 2nd species?
9. Find a CPT in the above example.

17. * *
Team question: There is only one consonant passing tone combination in
each direction:
Ascending __________ and descending ______________.
(give 2 intervals) (give 2 intervals)

18. * +
11. There are two additional “legal” possibilities for the second half of the bar, in addition to those above (diss. PT + cons. PT):
One is shown at the asterisk: __________________________________________
The second is shown at the + _______________________________

19. 12. Repeated notes (tied across a bar) are permitted in ____ species but not in

20. 13. As with first species, the final cadence is formed by __________ (a, b, and c):
describe the motion in both voices in terms of scale degree:
“One voice moves from ^__ to ^___; the other from ^__ to ^___.”
b) describe the two intervals (general and specific names):
“A [interval] in the penultimate bar moves to a [interval] in the last bar”
c) type of melodic motion (stepwise/skip) and
(parallel/similar/contrary/oblique) motion:
“The two voices move by (skip/step) and in (parallel/similar/contrary) motion”

21. 14. In minor keys, you _________ the _______ at cadences.

22. * In minor keys, when the melodic line ascends 6, 7 , 8, you must
not only raise the LT, but also ______________________
15b. Why?

23. Team Exercises: Find the Mistakes in the example (numbers show the offending notes):

24. Team Exercise: Write a Counterpoint to the cantus firmus on the back of the handout.

27. 16. Placing “our” example in minor causes an error not present in
16. Placing “our” example in minor causes an error not present in
major. Identify the error.