- Counterpoint Tutorials -
The Contrapuntal Skeleton - Second Species
If first species counterpoint is the skeleton, second species is the muscle structure. In this species, greater note values are allowed, as well as our first dissonances - the neighbor tone and the passing tone. The music is just beginning to take shape - we still have a long way to go!
Rules for Second Species
- All first species rules apply, save the rule restricting all dissonances, and the rule restricting all rhythmic values save the whole note.
- You may now use both whole notes and half notes, but no other values.
- Dissonances must be properly prepared and resolved.
- Sequences involving successive perfect intervals should be avoided.
- Although not seen in the Telemann example, upbeat pickups in the second voice is allowable at the beginning of the piece.
- Some dissonances are now allowable. Major and minor 2nds, and 7ths, as well as perfect and augmented 4ths and perfect and diminished 5ths are allowable. All other diminished and augmented intervals are not allowed.
Dissonances and How to use them
We come to one of the most exciting parts of counterpoint in the second species, and, without doubt, and the greatest source of tension and excitement in Renaissance music. Dissonance is a powerful contrapuntal construct, and like every other construct, has rules that must be examined and followed.
Dissonances have three parts.
They are prepared, executed, and resolved. All dissonances work this way - they are simple variations on these three discrete sections. These parts are called the preparation, dissonance, and resolution.
These parts have a few variables that the composer can work with. Dissonances generally vary by melodic motion, beat placement, and harmonic interval. Melodic motion has to do with whether or not one part moves to another by step or leap, and the direction (up or down) of the movement. Beat placement is defined by whether or not the dissonance lies on a strong beat or weak beat. Harmonic interval examines exactly what intervals occur between the voices. Some less complex dissonances, like the passing tone, only require that the dissonance be a dissonance, and that the surrounding voices be any consonance. More complex dissonances, like the cambiata, require a four specific intervals to appear in a very particular order.
Second species counterpoint allows two dissonance types: the passing tone and the neighbor tone.
Dissonances have three parts.
They are prepared, executed, and resolved. All dissonances work this way - they are simple variations on these three discrete sections. These parts are called the preparation, dissonance, and resolution.
These parts have a few variables that the composer can work with. Dissonances generally vary by melodic motion, beat placement, and harmonic interval. Melodic motion has to do with whether or not one part moves to another by step or leap, and the direction (up or down) of the movement. Beat placement is defined by whether or not the dissonance lies on a strong beat or weak beat. Harmonic interval examines exactly what intervals occur between the voices. Some less complex dissonances, like the passing tone, only require that the dissonance be a dissonance, and that the surrounding voices be any consonance. More complex dissonances, like the cambiata, require a four specific intervals to appear in a very particular order.
Second species counterpoint allows two dissonance types: the passing tone and the neighbor tone.
Passing Tone Rules
- Melodic motion: All parts of this dissonance must move by step. The movement from preparation to dissonance and dissonance to resolution must be identical - if the movement from preparation to dissonance is downward, the movement from dissonance to resolution must be downward as well.
- Beat placement: The passing tone is prepared on a strong beat, is executed on a weak beat, and resolves on a strong beat.
- Harmonic interval: The preparation and resolution must be consonances. The dissonance must be a dissonance.
Neighbor Tone Rules
- Melodic motion: All parts of this dissonance must move by step. The movement from preparation to dissonance and dissonance to resolution must be opposite - if the movement from preparation to dissonance is downward, the movement from dissonance to resolution must be upward.
- Beat placement: The passing tone is prepared on a strong beat, is executed on a weak beat, and resolves on a strong beat.
- Harmonic interval: The preparation and resolution must be consonances. The dissonance must be a dissonance.
Let's see what Telemann's done with his sonata at this level of counterpoint.
Original
Click here to listen!
Second Species, with harmonic interval analysis
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Unfortunately, Telemann seems to not have used any dissonances on this level of counterpoint. This is unsurprising - this piece sounds far too joyous and consonant to have an abundance of dissonances.
