In

these exercises two notes are set in the counterpoint against each note in
the cantus firmus.

Preliminary Exercise
Write melodies in half notes. It is permissible to begin with an upbeat; in
such cases, however, the first tone must be the tonic or the fifth of the scale.
Likewise in the next to the last and third to the last measures, a whole note may
be substituted for the two half notes, while the last note in this as in all other
species must invariably be a breve. The repetition of a tone, being permissible
only in the first species (see p. 111), is accordingly forbidden in the second and
in the remaining species. The rule previously mentioned about the succession
of larger and smaller intervals in the same direction must be observed more
carefully here than where (as in the first species) the movement takes place in
whole notes; however an idiom like the following may be used:

but only when the descending progression of the second follows immediately
after the ascending skip of the third, which is introduced contrary to rule. The
following procedure is not so good:

However, it may be used. But in the style under consideration, a melodic line
such as the following is lacking in form and design:

Let us consider the following counterpoint:

 It seems unsatisfactory chiefly, perhaps, because it appears to be constantly
knocking its head against the twice-lined D without ever achieving a climax
that seems natural and free. To this must be added also the irregular
progressions of intervals at (a) and (b) in combination with a monotonous use
of the tonal material (among the twenty-two notes of the melody in question,
the notes which lie closely adjoining—B, A, G, F [F-sharp]—occur,
respectively, 3, 5, 6, and 4 times). Furthermore the repetition of the tonal
material in the eighth and ninth measures is monotonous. Such redundancy (as
well as sequences) must be definitely avoided. It is especially important in these
short melodies to strive for good classical style, which implies the strictest
economy of melodic material and the avoidance of all padding. With the
following changes the preceding melody becomes acceptable:

Counterpoint
In trying to combine such a melody in half notes with a cantus firmus. we
must observe the following rules:
1. The arsis (the accented portion of the measure) may have only
consonance.
2. The thesis (the unaccented portion of the measure) may have either
consonance or dissonance.5 Consonance may be introduced freely; dissonance
may be used only if it is introduced conjunctly and is left conjunctly continuing
in the same direction (in this way it fills in the interval of the third between the
two notes on either side of it), as follows:
but not:

Here, to be sure, a dissonance is introduced conjunctly and proceeds

conjunctly, but in the opposite direction from that in which it was introduced.
The following methods of treatment are of course entirely inadmissible:

3.The unison on the strong accent is permissible only on the first and the
last notes of the cantus firmus. In the remainder of the counter point, however,
it may also be used on the unaccented portion of the measure. It should be
noted in this connection that it is best that the unison introduced by skip be
quitted by conjunct motion in the opposite direction, although this may not
always be possible.
 4. Accented fifths or octaves (fifths or octaves following each other on
successive accents) must be used carefully, even if they are not excluded
entirely.

Examples
 Triple time with the half note as the unit of measure requires, in the
Palestrina style, that each half note be a consonance. It is, therefore, not in
accordance with the laws of the style when Bellermann, Haller, and others
permit the second and third half to be dissonant. The rule is that in triple time
only the second half of each unit of measure may be dissonant. Thus in 3/1
time only every other half note may be dissonant and in 3/2 time every other
quarter. Consequently, only by the notation are 3/1 time and 3/2 time
distinguished, and there is therefore no reason for treating triple time before
the following exercises in third species.