Following are some general responses to the second-species quiz. Please review before Wednesday’s meeting.

First, a couple of you missed the quiz. Be sure you manage your deadlines properly. For the species counterpoint unit, quizzes will always be due by Tuesday morning. There are no make-up quizzes.

Please review your results in Learning Catalytics. Keep in mind that you are not being scored for a percentage grade. These questions are in part to give you feedback on your understanding before you attempt second-species exercises, and in part to guide your thinking towards certain musical concepts that will carry over into other musical styles we study.

Questions 1–4 were fairly straightforward, and the correct/incorrect indications in Learning Catalytics should help you review that information. General responses to questions 5–7 follow.

5. Large leaps are more common in second-species counterpoint than in first species. Why do you think that is? In other words, are there factors that necessitate more large leaps in second species? and/or Are there attenuating factors in second-species that make large leaps less problematic?

There are two main reasons for this. First, more large leaps are needed to add variety to the texture. All steps and a few small leaps would lead to monotony, given how many more notes there are in a second-species counterpoint line.

Second, we have more freedom in second species to use leaps because some of the constraints of first species are gone. For instance, in first species, all leaps would take place when both voices move, making them stand out more, which reduces smoothness. In second species, leaps within a bar don’t detract from smoothness as much, and so they fit in to the texture better than first species, leading to them being more common.

6. Why do you think it is preferable to begin a second-species counterpoint with a half rest rather than two half notes?

Many of you picked up that it is easier to write a second-species counterpoint line when beginning with a half note. While being easier may lead to less problems, and thus a better sounding counterpoint line, that’s not the musical reason why it is preferable to begin with a half rest. The musical reason, which a few of you picked up on, is that it adds to the independence of the melodic lines. The half rest is not necessary in order for the lines to sound independent; however, it does enhance that independence, and thus is the more common way to begin a second-species exercise.

7. Why do you think it is common for a second-species counterpoint to have a whole note in the penultimate (next-to-last) bar?

As a number of you noted, the whole note in the penultimate bar emphasizes the coming cadence. By breaking the pattern of half notes, it introduces a degree of tension that resolves with the final cadence, and by slowing down the rhythm of the counterpoint, it signals an ending is coming.

The whole note, however, has nothing to do with avoiding dissonance or achieving stepwise, contrary motion. All of those things can be accomplished by two half notes, as well, with a properly crafted line. In fact, as you will find in your composing, your decision whether to use a whole note or two half notes will depend largely on the intervals formed as your cantus firmus and counterpoint approach the penultimate bar. If one rhythm makes better melodic and harmonic intervals than the other, use it. If they are equally good intervallically, use a whole note.