LESSON XII

THE SECOND SPECIES

Fig.
94.

The second species is written in one part and the first in the other two.

All suggestions made for the second species in two-part counterpoint are to be observed, unless otherwise mentioned. Those regarding consecutive perfect intervals are especially to be observed.

The fifth, when in the lowest voice, should be used as in two-part counterpoint, except when used in V⁴₃ or the cadencing tonic six-four chord.

The V⁴₃ chord may be used on the weak beat, necessitating the omission of the third. [[Fig. 95a].]

The third may be omitted (b), or doubled (c), on the weak beat in this and succeeding species. [[Fig. 95.]]

Fig.
95.

The minor or diminished seventh may be approached by a skip in an upward direction on the weak beat in any part. This usually necessitates the omission of some other chord-member on the weak beat.

The major or minor ninth may also be used in the same way, except in the lowest part, provided it is at least a ninth above the root. [[Fig. 96.]]

Fig.
96.

The progression from vii°₆ to V in root-position or any inversion in the same measure, is good. [[Fig. 97.]] Use b and c only when using other than first species in two or more parts.

Fig.
97.

Each measure should usually contain a complete chord. If not complete on the first beat, bring the missing interval in on the second. [[Fig. 98.]]

Fig.
98.

The cadences in [Fig. 99] are good, and will suggest others. The use of the fourth species is permitted as at a. A note may be repeated in the final cadence in all species as at b.

Fig.
99.