Continuing our study of species counterpoint from last week, where we looked at counterpoint in the first order / first species, this week we will look at second species counterpoint. Counterpoint is the art of combining distinct melodic lines in a harmonious manner, forming something of the backbone of Western classical music. Second Species Counterpoint, also known as the “Passing Note” species, adds complexity and musicality by introducing notes that move at twice the speed of the cantus firmus. This guide will walk you through the key concepts, rules, and practical tips to master Second Species Counterpoint.

First Species Counterpoint

Many of the “rules” of 1st species counterpoint are integral to the 2nd Species, click here to see last week’s article on 1st species counterpoint.

Sources (Counterpoint Books)

Perhaps unsurprisingly, many of the sources for this article are the same as last weeks. In preparing for creating my counterpoint course “30 Days of Counterpoint,” however, I have focussed on primarily two books: “The Rules of Counterpoint: Systematically Arranged for the Use of Young Students” by William Smyth Rockstro and Owen Swindale’s “Polyphonic Composition,” my favorite counterpoint book.

Here are counterpoint books I recommend, many available online for free. Links to both digital (free) and print versions (including affiliate Amazon links) are provided:

• “The Rules of Counterpoint: Systematically Arranged for the Use of Young Students” by William Smyth Rockstro
  • Amazon US
  • Amazon UK
  • Internet Archive
• “Polyphonic Composition” by Owen Swindale
  • Amazon US
  • Amazon UK
  • Internet Archive
• “Contrapuntal Technique in the 16th Century” by Reginald Owen Morris
  • Amazon US
  • Amazon UK
  • Internet Archive [Recommended over Amazon options]
• “The Study of Fugue / Gradus ad Parnassum” by Joseph Fux / Alfred Mann
  • Amazon US
  • Amazon UK
  • Internet Archive
• “The Study of Fugue” by Alfred Mann
  • Amazon US
  • Amazon UK
  • Internet Archive
• “Elementary Counterpoint” by Percy Goetshius
  • Amazon US
  • Amazon UK
  • Internet Archive

Understanding Second Species Counterpoint

In Second Species Counterpoint, you write two notes (typically Minims) against each note (typically Semibreve) of the cantus firmus. This means the counterpoint line moves twice as fast as the cantus firmus, allowing for greater melodic and harmonic variety.

Key Definitions:

• Cantus Firmus (C.F.): The fixed, slower melody against which the counterpoint is written.
• Accented Note (Thesis): The note in the counterpoint that coincides with the cantus firmus note.
• Unaccented Note (Arsis): The note that falls between the cantus firmus notes.

Rules and Concepts

1. Basic Structure:

• Write two Minims for every Semibreve of the cantus firmus, except in the first and last bars.
• Excluding the first and last bar, the first Minim falls on the downbeat (Thesis), and the second Minim falls on the upbeat (Arsis).

2. Passing Notes:

• An unaccented note that moves stepwise between consonances a third apart may be discordant (or consonant) and is called a “passing note”.
• Passing notes add melodic interest by connecting consonant notes smoothly.

3. Neighbour Tones (Auxiliary Notes):

• An unaccented note that moves stepwise to an adjacent note and then returns to the original note.
• Neighbour tones can be consonant or dissonant, but dissonant neighbour tones must resolve back to the original consonant note.

First Note/Bar:

• You can start on either the Thesis or Arsis.
• Similar to first species counterpoint the first note of a counterpoint must always be a perfect consonance:
  • If your counterpoint is being written above the cantus firmus then it must always be a perfect consonance (1st, 5th, 8ve or 12th).
  • If your counterpoint is below then your first note can only be a unison or an octave.

5. Leaps:

• Leaps should only be made to or from concords (consonant intervals). You cannot leap to or from dissonant notes.
• Leaps should be compensated for, like in 1st species practice.
• All the same leap intervals are acceptable, upto an octave: Major and Minor 3rd, Perfect 4th and 5th, Minor 6th and Octave. However, Rockstro states that the minor 6th is less desirable in 2nd Species writing… without really explaining why.
• Successive leaps, within an octave, are also acceptable. And, you can have up to 3 leaps in a row. However, simply having leaps outline a chord or the 7th are not desirable.

6. Parallel Fifths and Octaves:

• Parallel 5ths and 8ves carry across accented (Thesis) beats and cannot be escaped by creating contrary motion or imperfect consonance on the unaccented beat (arsis). [See below; 1st line]
• Parallel 5ths and Octaves can be created by the unaccented beat, if you are not careful. [See below; second line]
• Consecutive 5ths on the arsis are permissible.

7. Contrary Movement:

• Focus on contrary motion to approach intervals, especially perfect consonances (octaves and fifths).
• Contrary movement helps prevent unwanted parallel intervals, create melodic independence and adds harmonic interest.

8. The True Cadence:

In 2nd species, the true cadence becomes more formulaic. And, I recommend starting your counterpoint off by writing the true cadence first.

• The final note of the counterpoint must be of equal length with the final note of the cantus firmus, filling the entire bar. This is commonly a breve.
• When the cantus firmus is in the lower part, the last note should form an Octave, preceded by a Major Sixth, which in turn is preceded by a Perfect Fifth.
• When the cantus firmus is in the upper part, the last note should form a Unison (or Octave), preceded by a Minor Third, which in turn is preceded by a Perfect Fifth.
• In the minor mode, it is necessary to raise the Sixth and Seventh degrees of the scale by an accidental sharp or natural to form a proper cadence.

9. Additional Rules for Passing-Note and Neighbor Tone Discords:

• Ideally most unaccented notes should be consonant with the cantus firmus. (Only essential if you’re aiming for earlier pre-Baroque counterpoint.)
• Discordant passing notes and neighbour tones should move downward rather than upward. (Only essential if you’re aiming for earlier pre-Baroque counterpoint.)
• A discordant accented (Thesis) note can be used in exceptional circumstances.

10. Additional Tips

• Create exercises where you write counterpoints above and below the cantus firmus in second species.
• Avoid remaining in one area too long. Variety is the spice of life.
• Excluding for the penultimate bar, crossing out the 2nd minim in each bar is the ultimate test of your counterpoint as it reduces it to 1st species.

Consider my course 30 Days of Counterpoint: Introducing a handful of concepts and rules each day, via short video lessons I provide structured and progressive worksheets that provide counterpoint exercises for your to develop your counterpoint skills. Designed for beginners to counterpoint it is intended for intermediate students too, who might have dipped in and out of texts and courses aiming to provide that shot in the arm to get you counterpointing within a month!

Conclusion

Second Species Counterpoint offers a richer, more complex approach to melody writing by incorporating passing notes and neighbour tones. By following these rules and guidelines, and through consistent practice, you can create harmonically engaging and melodically interesting counterpoints. Remember to focus on smooth vocal lines, avoid parallel fifths and octaves, and use contrary motion to enhance your counterpoint writing. Happy composing!