Second Species

Question 1

What can we use for unaccented figuration in 2nd species counterpoint?

Answer 1

• Arpeggiation (ARP) - Passing Tone (PT) - Neighbour tone upper & lower - Incomplete neighbour (INT) - Escape tone (ET) - Anticipation (ANT)

Question 2

When can we use a passing tone (PT)?

Answer 2

When two notes are a 3rd apart.

Question 3

When can we use a neighbour tone?

Answer 3

When there are 2 of the same note in a row

Question 4

When can we use the incomplete neighbour or the escape tone?

Answer 4

When two notes are at least a step apart.

Question 5

In second species counterpoint, when can you use an anticipation note?

Answer 5

When the anticipation note creates a dissonance with the CF.

Question 6

What is an escape tone?

Answer 6

When the figuration goes by step in one direction, and then leaps in the opposite direction to the next note.

Question 7

When working on composition skills in general, what is a good method to measure improvements in fluency?

Answer 7

Time your exercises.

Question 8

What are the old rules in 2nd species counterpoint in relation to the notes on the downbeat? Do we need to follow them?

Answer 8

• Notes on the downbeat should be consonances. - No forbidden parallels etc between notes on subsequent downbeats, regardless of what happens with the unaccented note. The first one can definitely be broken. Be aware that the unaccented notes do not really remove the feeling of parallels between downbeat notes.

Question 9

What are the old rules in 2nd species counterpoint in relation to the unaccented notes?

Answer 9

• The unaccented notes can be consonances or dissonances - If there is a dissonance on the unaccented beat, it should be resolved by step. We can break this.

Question 10

What are the 2 approaches to writing 2nd species counterpoint?

Answer 10

1. Write out first species initially, then go through adding the unaccented figuration. 2. Go downbeat by downbeat

Question 11

What can we use for accented figuration in 2nd species counterpoint?

Answer 11

• Accented passing tone - Accented neighbour tone - Appoggiatura - Suspension

Question 12

What is an appoggiatura?

Answer 12

An accented dissonance which resolves by step (upward or downward) to the chord tone. **(Does it have to be a dissonance? Perhaps not, could be a 6 to 5, or a 5 to 6)

Question 13

In second species counterpoint, do suspensions need to be tied notes?

Answer 13

No, they can simply be repeated notes.

Question 14

When using accented figuration in 2nd species counterpoint, what types of intervals are favoured on the strong beats?

Answer 14

Dissonances are preferred.

Question 15

When combining unaccented and accented figuration in 2nd species counterpoint, can you go from unaccented to accented figuration directly?

Answer 15

Yes

Question 16

What are the 2 approaches to using guided intuition when writing counterpoint?

Answer 16

1. Hear what comes next, write it, and see what it is technically. 2. See what comes next from the technical options, and choose a path. (Option 2 can force you to consider options you may not have otherwise)

Question 17

Is there any difference between using accented dissonances in the upper voice or the lower voice?

Answer 17

Accented dissonances will sound harsher and be more noticeable in the lower voice. Be aware.

Question 18

In counterpoint, every dissonance _________ ….

Answer 18

… is one step away from a consonance. So you can basically do anything and find you way out of it. This allows you to write with your ear, and then resolve it.

Question 19

When doing 2nd species counterpoint, does it always have to be 2 counterpoint notes to 1 cantus firmus note?

Answer 19

No, it can be the other way round: 1 CP note to every 2 CF note.

Question 20

In 2nd species counterpoint, do the 2 notes (to the 1 of the CF) have to be even rhythmically?

Answer 20

No, they can be dotted, or different lengths. As long as it’s 2:1.

Question 21

At least in 2 species counterpoint (if not more generallY), what are the 3 potential functions (or musical jobs) of a line? Do lines have to serve one function or the other?

Answer 21

1. To create an independent musical line 2. To support the contour the other line 3. Bassline No, a line can have mixed function.

Question 22

In counterpoint, what are some characteristics of basslines?

Answer 22

They are generally made to be more independent from the upper part, both in movement and vertical spacing. There is also more movement by leap. There will almost certainly be less accented dissonances.

Question 23

When writing a bassline in counterpoint, what is a potential approach?

Answer 23

Look at the note of the CF, and complete (or contribute to) the harmony with the bassline.

Question 24

In 2nd species counterpoint, can basslines be the faster line?

Answer 24

Yes, absolutely. Think of the alberti bass.

Question 25

In counterpoint, what is a compound line?

Answer 25

A compound line basically contains two distinct lines in 1, which are separated by register.