A Treatise on Simple Counterpoint in Forty Lessons

by Friedrich J. Lehmann

LESSON XIII

SECOND SPECIES IN TWO PARTS

Fig. 101.

The suggestions for second species in both parts, in two-part counterpoint, apply for the two parts having the second species in three-part counterpoint.

Accidental harmonies sometimes appear on the weak beat. All tones in this accidental harmony foreign to the chord on the strong beat must be treated as dissonances. This must be regarded whenever two or more parts have other than the first species. [[Fig. 102.]]

Fig. 102.

At [Fig. 102a], the accidental harmony f-a-c is on the weak beat. The f and a, being foreign to the chord c-e-g on the strong beat, are correctly treated as dissonances. At b, the f and a are left by skip, which is not permitted.

The second species may be written continuously in all parts; the tones appearing on the weak beat must be harmonically related to one another, and those foreign to the chord on the strong beat must be treated as dissonances. [[Fig. 103.]]

Fig. 103.

The first and second species may be mixed, as in [Fig. 104.]

Fig. 104.

The cadences in [Fig. 105] are good, and will suggest others. Those with first species in all parts may also be used.

Fig. 105.