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6.

3 Second Species
Whereas only three arrangements of a three-voice exercise are possible in first species,
no fewer than six arrangements are possible in the remaining species.
This is because just one of the added voices is written in shorter note values than the
cantus firmus, while the other added voice is written in semibreves.
Second-species exercises can therefore be arranged as follows:
!__________________________________________________________________
(a)! (b)! (c)! (d)! (e)! (f)
! Ó Ó! „! Ó Ó! „! c. f.! c. f.
! „! Ó Ó! c. f.! c. f.! Ó Ó! „
! c. f.! c. f.! „! Ó Ó! „! Ó Ó
Third-, fourth- and fifth-species exercises are similarly arranged, mutatis mutandis.
All the two-part rules for second species are still binding, except that the progression | 5 3 |
5 may now be used once in an exercise (or perhaps in two isolated instances within the
same exercise), and perfect consonances may be approached in similar motion provided
three or four of the conditions described in §6.1 are satisfied.
In the first and last bars, as in three-part first species, perfect consonance is obligatory and
imperfect consonance is optional. As many of the internal bars as possible should begin
with a triad, a Sixth-chord (where appropriate), or a dyad.
On minim 1 of the internal bars, at least one of the added voices must sound an imperfect
consonance (or possibly, at the cadence, a suspension) against the cantus firmus
(compare the fifth and sixth bars of the first example below).
On minim 2 of the internal bars, there is no need for an imperfect consonance in either of
the added voices (see the fourth-last and fifth-last bars of the second example below).
Minim 2 may, therefore, be a passing note, a perfect consonance, or another imperfect
consonance.

� � � �
1 3

5 3

3 6 3 1
� � � �
6 5
� �
3 4

6 3
� �
6 –3 3 4 4

�� � � � �� �

�� � � �
8 10 10 8 5 8 5 3 10 9 5 6 8 5 10 3 5 6 8

� � � � � � �

� � � � �
8 6 3 3 5 3 3 5 3 5
� � �
�� � � �

� �
1

6 5

8 6 3 4
� �
8 6

3 1

6 8

6 8

6 5
��
3

��
� � � � � � � � � � � � � � � � �� �
8 10 10 5 10 5 8 10 10 10

�� �

� � � � �
8 5 6 3 5 3 2 3 5 3 5 3 1 5 3 5 6 8
� � �
�� � � �

� � �
8

6 5 3 4 -3 -2
� �
3 1
� �
3 4
� �
6 4

3 6
� � ��
7 6

8
�� � � � �

� �
15 10 9

5 6

3 4

5 3
� �
10 11 10 8

5 8

11 10 15

��

3 6 6 2 6

� � � � �
A common mistake in�three-part � is to �write �two mutually incompatible
3 6 6 2 6
second species
� the triad sounding
� � on minim 1 of

5 8 10 6 8

� � dissonant� by the Sixth


consonances. In the first of the following two examples,
the second bar is rendered � on5 minim 8 2;10
in the6 second
8 example, the
�own appears� to agree� with the lowest
3 bar �
Sixth-chord sounding on minim
3 1 of 5the second is rendered dissonant by the Fifth on

voice, in combination�
� 6 voices
� upper
minim 2. Though each upper voice
� produce
taken on
� dissonances
its
�the
3 6 2 6

3 5 3
� �
that are unacceptable simply
� � �� � � �
� �
3 6 6 2 6

because they are approached by leap.
� � � �

5 8 10 6 8
3 NB 5

� � incorrect
11
�� 9

10 NB


5 8 10 incorrect
6 8


3 6
� 35
6

2 6
3� �
3
��
5 11 9

10

� � � � 12 � �
5

� 5 8 � �10 �� 6 � � �� � 35
13

� 8 �
5 3
� � �� � � ��
13 12
� � 1 � 3 3� � �
� 3 5

�NB 5 3 11� 9 10� 3 1
�� �5 incorrect � �
3 3 3 NB
5 3

�� � 3� 6 �6� � 2 �� � 3� 5 11 �� 9 10��
incorrect
6

� � � 5 � � 136 �
� 6� 5
12

This kind of mistake


5 8 �will10be �
�11 � 9 � 10 �
3

4
6safely �
8 avoided � �
through � the
5 � 13use
3
correct of triads,
12 Sixth-chords
�� �
3 that
� �� 3 1 � 3 5
5 context,
3� � �
3 that
� � � �
�minim in question can� be
4 reference
6 6 inappropriate
5 3
10� unless� � the
and dyads. In you should bear in mind to an
� minim 25 is � �
� �13note. � of the �following
�first � � 5� two
Sixth-chord on 5 extremely 10 poor style
construed�as 5a passing � (In the
6 5
3 3 3 1 3 5 3

�5 � ��6
examples, minim 2 of the5first
�� � be amended � � 5 �� �� � �
12 6 10 10
� � � �
bar might simply to e'.)
� � � �

3 3

1 � �3 � �
� � � � � � �
3 4 6 6 35 3

3 5 3 5 5 6 3

�� � 3� 5 �11 �� feeble �� � 3 4
��cogent � � 5
� �5 � � �
9 10 6 6 3


� 5 � � � � 5� 6 � 10
5 6 10 10

� � �
� � �
13 12 10 5

� � �� �� �� 3 � �� 5 �5 � 6
3 4 6 6 5 3

�5 �
3

� 5 6 � 10 � � �
� �
3 1 3 3 3 5 5 6 3


� � � �� feeble ��
10
� �
5
� �
cogent � �

� �
Task 6.3.1—Write
3 exercises
5 in arrangements
5 6 3 (a) and (b) on each of the cantus firmi
from Set �
�� � � 5
� �
Eight.

3 4 6 6 3
� �

� � � � �
5 6 10 10 5


� �
3 5 5 6 3

�� � �
� 6 � 3 �
� � � –3
� �� � �
–3 6 6 3 3 6 3 3
� � ��
6
�� ��
3
� � � ��
3 10 8 5 3
� 10� 8 4 5 3

� � �flexibility
� �� is �required � � �� of cadences
� for the construction � �3under arrangements
–3 6 6 3 3 6
3 10 3
8 5 3

�� � � � � � ��
�1
–3 6 6 3
Considerable
� � (f). More � �
2 in3�second-species
��
(c), (d), (e) and 3 often 1 �
than not, your only �
option—as
5 3 invertible
� � �
5

3 10

8 5
�3
�� � 10 8� 5� �
10
5 8 4
3 5 31
�� � �
counterpoint at the Octave—is to resort to fourth-species.
� � � � � �
3 3
��� � �
As usual, cadences on ʻEʼ are exceptional:
5
�3 2 3 1
� 5� � 3� �
5 3 1
� 3 �
� �� 6
5 3 1
�� �
�� ��
6 3 3
��
(c) (d)
� �� � �� �� �
–3 6 3 3
6 6
3 4
3
� �� � ��
� 10
� 8 4 5 3

�� � � � 5 �� �
�� � � � � �� �
12
10 8 10
4 5 8
3

(c) 36 10 3
8 5 3 (d)
�� �� ��
�1 �
–3 6 6 3 3 3
6 63 3 4
3
� � �� � ��
� 5
� 38 2 3 �

3� 10 �8 55� � 10
5 8
3 5
2 8
3 51

10 4
�� �
5 3 3
1
�� � �� � 7� 6��
� � ��
� �
12
10 8 10
4 5 8
3

3
��
� � � �1 �� � ��� � �
3 8 8

5 3 2 3 �
� 10
� � � � � 5 8
3 5
2 8
3 51
� � 10 �
5 3 1
�� �� 5 �� 3 � � ��� 663�
(e) (f) 5 10 11 86
�� � ��� �
� �
3
6 6
3 4
3 10 6

� � �� �� �� �
33 88 77 88
�� �
3 5 6 4
� � �

� 3�
� � �
59 10 1

� � �� � �33��
12
10 8 10
4 5 8
3 12 10 8
� ��
(e) (f)
�� � ��
55 10 11
6 10 88
� �� � � �
63 5 36 3 4
3 10
12 10 6
8
���
10 11 10

� �� �� �� �1 �

5 6 3 4

8 7 6 8
� 10 �
� 3 4 5 3
� � �
5 8
3 25 8
3 5
1
�� 7�
� � � �

� � �5��� �
12 8 10 33
12
10 108 55
910
5 8 1
85

10 4 5 8
3

�� � � ��� �
� ��
1

� � � ��� � � � ��
12 10 8
� �
10 1110 8
��
3 8 6 8
� ��
6 3 2 3 1

� 10�5 38 25 38 51 �
� 3 1 4 5
� 3
10 �

� ��� and
� � 10
� � 56� on�scale�
8 5 8 85
� � �
3 5
�voice
Under arrangements (c) (e),
6 you should form 10 cadences 1 degrees other than
�2�� �3 �
5 10 11 10 8
� 3�a clausula
6
(c)
��
3 8
� 7��� basizans
5 7
6

6
3

8
4
���
(e) 10
� �3 inserting
� and �
6

6 3 2 3 1
� � � �
a1 | ∏4 3 | or | ∏11 10 |
� � � � �
ʻEʼ by placing in the lowest
in�� the third voice:
8 6 8 6
suspension � � � �
� 12 � 12
� �
3 10 5
9 10 81

� 533��� 10
5 8 4 3 8
�� 8�

� � �� � �
5 10
12
10 11
6 10
10 8
6 10 9 10 8
� 6� �3 �2��� �3� ��

10 5 88
7� �� �
� 3�� 1� 4��� 5� � � � �
11 10

8 10 5
�� � � �
(c) 5 6 3 4 (e) 10 6 6
� � �

6 8 1
� 10
� � 10 3 � 53 81 44� 35 �

3

�56� 103 1110 �
5
� �

1

3
� �
12 8 9 10 8 5
8
�� �
88
� � ��
� 6� �
3 5
� �
1 5 10 8 4 3

� �� � ��
12 8 12 9 10 8

��� � � �� � ��� � �� � �� �

2 10
3 81 10 35 8

1

� � � �
� � �
3 1 4 5 3 �
3� � 556� 8� � 3 1 4 5 3
� � �
10 8 5
� � 10 � 3 2� 3 � �11 ��33 � �
� 6��� 3� 2��� 3� � � 6��6�
10 81 85 78 54 12 3 8

���� � � ��� � �
6 6

11
� �
� � 3 � � � �

� �

� � �
5 8 4 8
�8 7 5 12 �
3 2 3 10 8
� 3� 256��� 3� �� � �
12 10 9 10 8

10 5 8
�� 6�� �� �
8 7 5 12 88
� �� � � � � � � ��� �� �
10 6
8

�� � 1 4� 5 � � �

6 3

1

1

� 3 3
� 33 22 33 10
� �� � � � �
5 8 4 3

8
�8� 7� 35� 12 �
88

�� � ���� � �� �
12 10 9 10 10
��
5 8 4 3 8
� 10 �� �
(f) (d)
�� � �
� �� � �� �� �
6 3
5 81 6 38
� � �
� �
� 3 1 4 5 3


� ���� � �
� ��� � � � �
8 7 5 12 3 82 43 10 38
�� �
5 8 4 3 8 10 5

(f) (d)
� � ��
�� � � �
��
6 3 1

66 33 33
�� � �� �
6 3 1
� 3 2 � �
� �

8� 7�
� � � �4 ��55 �
3 10 8 5 3 2 3 1

��
8 7
��
5

12


8 10 88 4 33

� 6��� � �� � �3�
10
��3 � �� �
5 12 8

�� �� �
6 3

1
� � � �

NB
3�
� �� �� �� �4� �� �
3 2 3 10 8 55 33 22 33 11
� � � �� �
3 2 10 8
� �
�� � �� �
� �� �
6 3 3 10 8 5 3
��� � �

8 7 5 12 8

� � � � NB �
10
3 8
2 4
3 5
10 3
8 5 3 2 3 1
� 6� � � �3� � �� � � �� 3� 10� 8� � 5 �3 � �

(d)� � � �
� –3
� � � � ��8 6 10
(c) 3

�� � �
� � �
3
6 5 63 4
3

6 6 3 31
12 10 11 13 15 10 5 11 315 142 12310 81 10 9 10 8
� �� � �� �� � �� �
5 3
� �� � � ��
�� �
5 3

1
� ��
� � 10
� 8� 4 5 3 � � � �
� � 12
5 6 10 12 5 �6 10 9 10 8
� ��of fourth-species
� � 8�10 � �
With cantus firmi whose
8 5 third-last note is scale-step 103 (and
8 only
10
4 5 with 8
3such cantus firmi), a

3 10 53 3

�� �� � � � � � � � � � �� �Fourth.
3 5 4 5 3
special kind� 6 � �3� � ��3� �
cadence

is

allowed, known as the consonant
� –3
Provided(c)
� 3� 6 �(d)

that the lowest voice remains on scale-step 5 (the dominant) throughout the
third-last�and � �� bars, �the suspension�may �be prepared � as a�dissonance
5 2 3 31
� ��
6 3 3
6 5 63 3 4
3
� �second-last �
10 8 5 8 5

5 3 2 3 1
� � �
5 3 1
�� � �
�� � ��
NB thus:
�� 8 46 55 33 2 3 6 � �7 6 8
� � 10 � �
� �� � �� � �� � � � � ��� � � � � �
3 10 8 5 3 12
10 8 10
4 5 8
3

(e)� � � � (f)� � �
� 5�� � 3�� �� � � � � � � � 835 7526� 6833 �
3
6
5 5
3 6
3
2 3
3 413
3 8 7 6 8 10 6 6

� � � � � � � � �
15 14 12 11 8 11 11 10 15
� �� �
3 8 7 6 8
�� � � � �
3 41
�� � � � � �� �
10
35 5
8

1
�� � � � � �5� 10 11 10 � � �
� � 12
�� �� � � 10
10 10
8 4 5 8
3 8 12 10 9 10 8

� � � � � � � � ��
10 5 10 6 10
11 58 12 5 10 8 11
� � �8 10�� � � 6��
�5 � 36� 3 � �
10 10 8
� 8 �7 6 (f)�� �
8
(e)

� 5�
� � 38�� � �� 755�� NB 6 � 81 3
�� � � 10� � � �
63 43
3 6
� �
3 1 4 5

3
� � � �
103 8 5
2 5
13 8
� � � � �� ���
3 5 6 3 4
�� � � � �
8 7 6 8
� �
3 1
�8 � 6� 4 4� 3 � �
8 5 8 5
�� �2 �� 3 �
3 5 1

4� 5� � 3 8� 11 10 � �8 12
1 ��
8�
� �
6
�� � �
12
10 10 5 10 10 9 10 8

� � �� � � � � � � � ��
5 10 11 10 8
� �
�� � � �
12 10 10 8
� 3 26� 3 �� �
5 10 11 8

� 3� � � 1 8 46�� 5 �

10 6 66
7� 6� �� � 5�� � � � �1 10
� 6��� 38 �2
10 8 51 10
�� � � � � � �
(c) (e)

5 6 3 46
3 3 2
5 3 1 3 6
3
� � �
10
5 3 8 5
2 8
3 5
1
� � �� � � �� � � � ��� �� � �
3 8
��
83 3 1

���
� 12 10 9 10� � 8�
5 8 5
�� �
3 5

1

�3 � 10 4 �� �4�88 10 �
5�

� � � �� � � ��
5� 10 � � � �
5

5 83 5 3 123 10 8 9 10
��� � � � �� � � � �� � ��
12 10 10 8


11 10 8 5 8
� 10
� � � � 6� � � �
3 (e)�1 10
� 33� 85 765� 638� �
66
�3� �� 5��� �� � � �
3 2 NB
� �
3 1 4 5

3
�� � 10 � � �
(c) 46 6 6
1�
5 8
3 4
2 3 81 6
� ��� sometimes �write � � � �
3 1 4 5 3
� � �without
8
55 3 2 3 1
�� �
8 4 3 8
� �� � you �� � can� �� �� a cadence �
5 8 4 3 8
��
Under arrangement
causing �the � 12
12� 10 �
(f),
9 10 � 8
� �
�8 12 10 9 10 8 �
a suspension by

� 5�� 10� 11�� 10� � �� �� � � � �� � �


lowest voice to leap 10 an Octave5 in the 8second-last bar:

10 8
� �
10 5
� �� ��

8 10 5 8

� 10 � 1 64� 5(f)� �63665 8 334 3 �811 �� �
� 10 6� 3 � 38� � � �� 3 �
1� 8
3
�� � 3� � 5�� �� � � � � � �
� � �� � �
8 6 3 1

�88�� 7 5� 12 � ��
8 2
5 15
5 4 3 1 4 5 3

� 10 9� 10�� � �
5 8 4 3 8
�� � � � � �
� 10 5 12 � �8 8
�� �
12 8

� � � �� � � �� �� �� �
8 7
� �� �
5 8 7 5 12 8

� 10 � � 66 �81 �
� 65� 38 24� 33�� � ��� 2� 3�� 10 �
6 (f) 3


3 1 4 5 33
6 2 3 10 1
� � � � �� �� � � �� � � � � � � �
8 6 3 1
�� � � �
13
3 2 3 10 8
��
8
� � � �
� � � � �
�� 5 12 �8 8
� �
�� (f), �� �
12 10 9 10 88 7 5 12 8
�arrangement �� �� �
8 7
� � under� � � � �� �
10 5 8 7 5 12 8

� �� 6 � 3 �
resort to a�suspension
At other times (d) and invariably under arrangement (d), you must
5� �� 22 33� 10
3
� � � � �
in the 6
lowest 3
voice. To do 3
so unavoidably results in the progression
� ��� � Third—a �� � � �
13 8 6
� �� � � � FifthÆmajor
63 1 4
3 3 3 3
progression� usually prohibited, but (as in
� �
3 10 8 3
�at the �� �Tenth) � 3 � � in this� context:

2 3 10 8
invertible� counterpoint
5 8
perfect FourthÆdiminished 4 3 8
� � � �
� � 8 7 5 12 � � 10 8
8�
exceptionally
4
5 � �3 10 8
5 permitted
�� �
10 8 4
� � � �
4 5 3

� � �� (d) � 6 �31 � � �
� 15� 3� 2�� 3 � �
3

� 3� 2� 3�� 10�� � � ��
5 3 2 3
8� �
6 3 3
� � � �� � �
1 6 3 3

6 3
� �
� �� �
5 3 2 3 1
� � 10 8 4 5 �3 �
�� � �� � � � �3
8� �
4 NB

10 8 5

�� � � ��
10 8 4 5 3
�� �
8 7 5 12

� � � �
� 3� 2 3� 10 8� 3�� 2�� �� �
5 3 2 3 1

6 3 35
��
3 1 5
� � � � � � � �� �
3 2 3 1
� � � �
� � 10 8 4 5�� � � 3
NB � �

� � � �
� 5� 3�
6 3 3
�� �� �
2 3 1

��

Second-species counterpoint for three voices is severely restrictive, especially when the
lowest voice proceeds in minims. Do not therefore expect your parts to flow quite as
smoothly as they might in a two-voice exercise. Be sure to utilize all permitted melodic
leaps—especially the Octave and the ascending minor Sixth.
Task 6.3.2—Write exercises in arrangements (c), (d), (e) and (f) on each of the cantus
firmi from Set Eight.
Task 6.3.3—Write one second-species exercise in each of the six arrangements,
each on a different cantus firmus from Set One.

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