Two Part Counterpoint: Second Species

[WattsUrizen]

Overview:

So now we come to the second stage of counterpoint. There are two significant introductions here: Firstly, the rhythmic differentiation of the cantus firmus and the counterpoint; Secondly, dissonance.

 

Rhythm:

In second species the counterpoint consists of half notes, so that we have two to one texture. This texture is still quite uniform, although with the two half notes per bar, we have two levels of rhythmic differentiation. The first is obviously the contrast between one whole note and two half notes (per bar). The second is the contrast between strong and weak beats. Since at the beginning of a bar both voices move, the first beat of the bar receives the strongest accent.

 

Later we will come to some exceptions concerning the breaking of the second species texture. As you might expect, this occurs at the beginning and end of the exercise.

 

Dissonance:

In first species we dealt entirely with consonance. Now we introduce dissonance. All dissonance in tonal music arises out of three main types. These are dissonance created by motion (passing tone); ornamentation (neighbouring tone); and rhythmic displacement (suspension). It is the purpose of second species counterpoint to learn how the first type of dissonance, that of motion and passing tones, functions. You have probably guessed by now that the other two types of dissonance will be explored in succeeding species exercises.

 

Dissonant Passing Tones:

The label 'passing' should tell you what the function of a passing tone is: It is a tone which a melody 'passes' through on its journey between two points. We know that the strongest accent in a bar is the first beat, thus it seems totally natural for the passing tone to occur on the second beat: The melody, making its way between two points of relative stability (first beat of a bar) passes through a point of relative instability (the second beat). Without even considering dissonance thus far, this type of motion gives increased tension, simply due to the rhythmic differentiation.

 

It should be obvious that the dissonant passing tone can only occur on the second beat: The first beat is a point of stability, and thus should be consonant. So we have a further degree of motion here, that of the tension involved in the dissonant passing tone, and the resolution involved in the counterpoint moving to a stable and consonant point. However, because of this tension and resolution, the dissonant passing tone is not merely a tone which occurs between two others, it connects them. It is important to take note that the passing tone is intrinsically related to the motion between both of two stable points, not one or the other. The reason for this is that in tonal music, dissonance is determined by context: For a passing tone to be a passing tone, it must connect two consonances. So to ensure the maximum possible relation, a dissonant passing tone must be both approached and continued by stepwise motion.

 

Consonance:

As mentioned above, consonances will occur on every first beat of every measure. However, at times it will also be impossible or undesirable to use a dissonant passing tone on the second beat. In this case, the second beat will also be consonant. Since consonances are the framework of tonal music, they are afforded more freedom, and they can be approached and continued by a leap. Indeed, the only time that stepwise motion of the counterpoint will result in two consonances in a bar is with an interval of a fifth moving to a sixth.

 

It should also be noted that from one bar to the next, similar guidelines as that of first species apply. For variety's sake, one should be careful that not too many successive measures begin with the same interval (a maximum of three is a useful rule of thumb).

 

Perfect Intervals:

Perfect intervals still cause us similar amounts of trouble as they do in first species, perhaps even moreso. The unison is an interval that must be handled rather delicately. In first species, it was to be avoided during the exercise, since it created the impression of a voice 'dropping out'. However in second species, with extra degrees of rhythmic differentiation, we can utilise the unison on the second beat of the bar. However, we still must be careful not to create that 'dropping out' impression, and thus the unison should be left by step in the opposite direction to that which it was approached.

 

Parallel fifths and octaves have extra considerations also. There are three possibilities here: Parallel perfect intervals on directly adjacent beats; consecutive first beats; and consecutive second beats. Parallel fifths and octaves on directly adjacent beats are analogous to those of first species and should be excluded entirely. Parallel fifths and octaves on consecutive first beats (read, strong beats) should also be excluded since we have a succession of accented parallel perfect intervals, and these are also analogous to that of first species - the half note in between does not diminish their halting characteristic*. Parallel perfect intervals on consecutive second beats do not have a strong relation, since they fall on the weak beat, and the second tone's function is to connect two strong tones. Parallel perfect intervals on successive weak beats may be used, as long as they do not form sequences.

 

Different perfect intervals may be used on consecutive first beats, provided that the second is approached by contrary motion, and also that the second interval is approached by stepwise motion. If the second perfect interval is approached by leap, the perfect interval is highlighted and it becomes quite obtrusive.

 

Similar guidelines for the approach to perfect intervals in simiar motion apply from first species.

 

Melodic organisation:

So far we have only concerned ourselves with the vertical relations between tones. However, being counterpoint, it must be stressed that individual melodies must still preserve their own uniqueness and independence. Since there is considerably more activity in the counterpoint (twice as many notes), this melody must be planned more judiciously. While the climax should not be repeated, one should attempt to place subsidiary goals before and after the main climax.

[WattsUrizen]

Various functions of the second half note:

Here is a rundown of the various possibilities second species presents. It should be noted that here we touch on some fundamental (albeit, miniaturised) techniques of composition. The purpose here is that since too much stepwise motion lacks variety, we need to explore other ways to create motion.

 

The skipped passing tone:

This concerns moving between a fourth in consecutive first beats. We have two possibilities. Consider moving from E down to B. In between we can have a C or a D. If we have a C, we have the leap prior to the second beat, with D we have the leap after the second beat. With the leap prior to the second beat, we have the 'filling in' effect, where the listener mentally fills in the D required for stepwise motion. With the D on the second beat, we have to leap across the bar line, which can leave the second tone in a precarious position. So to emphasise the link between the second half note and the following strong beat, we should continue with a change of direction - preferable stepwise. So back to our example, if we have E D B, we should follow this with an ascending second to C.

 

It should also be noted that if one utilise the first example where we the leap occurs prior to the second note, then the second note must be consonant (dissonances should be approached by step).

 

The subdividing tone:

Sometimes one may wish to span an interval larger than a fourth in the melody, in consecutive bars, for instance, from C up to G. To provide more melodic continuity, one can subdivide the interval into two smaller intervals. The interval that is being subdivided must not be dissonant, or larger than an octave. Also, motion after the interval should proceed with a change of direction, most preferably stepwise. If this does not occur, a series of arbitrary and aimless leaps will be the result.

 

Transfer of register:

We know from first species that large leaps are problematic since they can cause the melodic line to become jagged. However in the counterpoint of second species, we can use large leaps to effect a change of register. What this arises from is an inversion of a smaller interval: Instead of continuing a melodic line with smaller, less exciting intervals, we can invert the small interval to create a larger one and continue the melodic line. For instance, if we have descending stepwise motion, instead of using a further descending third for slight contrast, we can invert this to an ascending sixth, and then continue the descending motion as before. The second part of the line is heard as a continuation of the first, but merely in a different register. The intervals where the leap is heard as a change of register are the fifth, sixth, and octave (the seventh is dissonant, as you will recall). It should also be noted that, just as in first species, a large leap should be followed by a change of direction and stepwise motion.

 

The melodic fourth:

We saw that in leaps of a third we encountered the skipped passing tone, and in leaps of a fifth and larger we encountered the transfer of register. The fourth is slightly more versatile. Heard as a leap prior to the second half note, we have the 'filling in' effect. For instance, if we have within one bar the motion of C up to F, the listener fills in the extra notes to 'hear' the quarter note passage C D E F. In a way, this could be termed the double skipped passing tone. It should be noted that the fourth used in this way should occur as a change of direction. So that leap of C to F should have followed a descending motion.

 

Using the fourth for substitution:

We can also use the leap of a fourth to substitute for excessive stepwise motion. Consider the descending motion C B A. To offset excessive stepwise motion, we can use a melodic fourth as a substitution, and have the motion C G A. This technique is also especially useful to avoid undesirable voice leadings (such as parallel fifths and octaves).

 

Melodic retardation:

Suppose we wish to delay a stepwise motion, so that instead of having the motion on adjacent beats, we have it separated by a half note. This is achieved by a leap of a third, as in, for example C down to B. We can throw in D or A in between the two. The A is the best choice, since the leap is prior to the second half note. You may notice the analogy to the skipped passing tone, the difference here is that we are delaying melodic progression, whereas in the other we are accelerating melodic progression.

 

We can also retard motion to a further extent using the neighbouring tone. Since dissonant neighbour notes are reserved for third species, in second species one can only use the consonant neighbour tone. This is slightly problematic, since it tends to halt the motion of the line, and this type of ornamental motion is best left to the more active third species. However, you may wish to use the neighbouring tone in a melodic line which is quite restless. Although, I should mention that if you feel the need to use the neighbouring tone, perhaps you might be better served to look at the rest of the melody.

 

Summary of functions:

Dissonant and consonant passing tone;

Skipped passing tone;

Subdividing tone;

Transfer of register;

Substitution of a fourth;

Double skipped passing tone;

Melodic retardation;

Consonant neighbouring tone.

 

Beginning and ending the exercise:

To emphasise the independence of the voices, it is often beneficial to begin the counterpoint on the second beat of the first measure. The tonic should be emphasised. The final measure will contain two whole tones, one of which must be the tonic. In the penultimate measure, one voice must supply the leading tone. If the leading tone is supplied by the counterpoint, it must be either a whole note, or on the second half note. Remember that in the minor scale the seventh (and if required, the sixth) should be raised.

 

*Note, I have read that some allow the use of parallel perfect intervals of consecutive strong beats, provided there is contrary and stepwise motion involved. This is best left up to one's own jurisdiction, since it is a rather indeterminate aspect. It can be justified, but it is rather delicate.

[ninjaaron]

bump

 

will read tommoro.

must sleep now....zzz...ZZZ...zzz...ZZZ....zzz....

[D8rkn3ss]

Wow, Ive studied theory for many years, but I never got into counterpoint and contrapuntal writing. Good work. Im still going to have to reread it a few times though, hehe