Music Theory Counterpoint Second Species Guidelines 6-27-2010_docx

Music Theory Counterpoint Second Species Guidelines 6-27-2010_docx

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Unformatted text preview: J. Loeffert Rules and Guidelines for Two Voice Second-Species (2:1) Counterpoint In second-species counterpoint, the contrapuntal voice uses rhythmic values that are twice as fast as those of the cantus firmus, so for every note in the cantus firmus, there are two in the contrapuntal voice. In second- species counterpoint, one must observe the rules of first-species counterpoint. The contrapuntal motion of one voice moving while the other remains stationary is called oblique motion. Metric Hierarchy: Since the counterpoint moves in a ratio of 2:1 in relation to the cantus firmus, there are strong beats and weak beats. Strong Beats: As with first-species counterpoint, strong beats (downbeats) must always be harmonically consonant, and successive strong beats must not contain parallel perfect 5 ths or perfect 8 ths . Weak Beats: Weak beats may be dissonant, but must be prepared and resolved in a specific way. Dissonances in second- species counterpoint can only occur on weak beats and must be passing tones that resolve to a consonance on...
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This note was uploaded on 10/12/2011 for the course MUSI 1533 taught by Professor Speed during the Fall '08 term at Oklahoma State.

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