Counterpoint #4 - Second species

[@wingflanagan]

Having read my share of impenetrable music theory books, I especially appreciate the clarity and simplicity of these videos. Thank you.

[@robbyr9286]

Thank you for this practical & clear content. I just worked on 1st species for 10 days & am going to venture into 2nd species. As a musician familiar with jazz harmony (& some pitch class theory) this is filling gaps in my music education.

[@simonsmatthew]

Gosh I wish you were my harmony and counterpoint teacher. Well it is good revision! Thanks for very generously sharing your knowledge and enormous clarity of understanding with the world.

[@micwarren21]

Thank you. Your videos are well produced and thoroughly informational. I've downloaded your exercises and I'm enjoying working on them.

[@balbino4]

Very good! Thank you very much, Mr. Alan Belkin!

[@aaronh8095]

These videos are really helpful for me, thank you for making them!

[@igveri]

many theorists do not allow the use of the neighboring note in this second species, allowing only the passing notes. But your method is excellent for musical composition. Much more comprehensive. Thanks

[@sureleyyy]

These videos of species counterpoint are very clear and concise. Thank you.

[@divico404]

Its a shame you dont have more views. Your content is great and easy to understand!

[@newbornn5934]

It's a shame to the uploader or to the viewers or to the non-viewers or youtube itself for not suggesting this video..

[@JustMiluna]

Oh,sir!This is super helpful,thanks for your job 💕

[@markchapman6800]

I felt the need to compile a list of all possible passing and neighbouring transitions, including ones that didn't end in consonant notes. Flagging these as such and thus the transitions as invalid seemed the easier way to make sure I hadn't missed any valid ones. Unsurprisingly, stepwise motion in the cantus doesn't leave many possibilities for the counterpoint.

[@Hexspa]

What's the deal with exceeding the P12 interval? I noticed that several examples here do so. 4:02 for example starts with a P12 then goes to a M10 plus an octave yet in measure 6, the top voice does a change of register leap to D3 which would cross the voice of the bass E2 in the previous measure were the whole top melody transposed down an octave. In the Open Music Theory materials, they say to avoid intervals greater than a P12, and to use that only in emergencies.

[@alanbelkin8611]

@@Hexspa As I explain elsewhere, these rules are not God given, they are pedagogical constraints. Please listen to the first two videos in this series for more details.

[@Hexspa]

@@alanbelkin8611 Thank you, Sir!

[@armansrsa]

thank you for the video, I noticed that the spacing is 2 octaves in the second example. Isn't this too much?

[@胡博-d1i]

a novice question at Example 4:37 Bar 8 Alto, why we use#F rather than F? its both 3rd interval but #F is not in the tone, why we use #F? thanks alot

[@Opus332]

thank you for the video. Gonna watch more of yours

[@samueledebiase4136]

Where can i find exercise for 2nd specie counterpoint ?

[@MrKoubster]

Just a quick question at Example 4:37 Bar 3-4 Soprano ascends, bar 4 alto has ascending leap into an octave interval (E4-E5) Doesn't that make it a direct octave? I am really learning a lot from your material. Please keep going!

[@MrKoubster]

​@Alan Belkin​Thank you for the quick reply.

[@rachidmirouh04]

I found them at the link, thanks.once again very interesting videos.

[@thomasduer8340]

Hello :). It was mentioned that dissonances must be approached and left only in stepwise motion on the weak beat. I was wondering about a consonant approached in stepwise motion and left with a leap. Does that adhere to the guidelines? For example, Bass sings |Bb2| D3|. Could a tenor sing |F G3|Bb3|?

[@carnel7326]

j'attend la suite avec impatience !

[@LoveRonnelid]

It is so helpful doing the exercises!

[@MrKoubster]

When writing second species BELOW the cantus, is it permissible to start on the off-beat with the tonic? (It makes my starting line flow much better if the first bar has one note instead of two.)

[@armansrsa]

If the melody is consonant it can leap.. is a leap of a 4th against the CF an acceptable leap? sounds ok to my ears but just asking

[@mosstet]

what do the numbers mean next to the dissonant leaps in the third example?

[@aidenlim5901]

Quick question, for the practicing, will we use the same canti as first species, or do we make our own/find some others online?

[@aidenlim5901]

@Alan Belkin So we find flexible canti online?

[@JuanMartinez-ui6qk]

Hello, what kind of music editor do you use?

[@ElijahHemingway]

Does anyone have canti for practicing?

[@thynature]

Thank you so much!

[@robbiedaug]

Thank you so much.

[@yewkiong9936]

Awesome

[@EduardoKnaip]

muito bom

[@ijuka]

Most of these up to this point are wrong. The lines aren't good, with too many leaps and leaps not treated right, especially for bass. Your cadence guidelines were wrong(parallel thirds to cadence is absolutely terrible in two-part).