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In the first species of strict counterpoint, where each note in the cantus firmus, or underlying melody, is accompanied by a single note in the new contrapuntal line, we concentrate on consonant harmonic intervals and begin to develop a sense of melodic purpose.
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The second species introduces the first category of harmonic dissonance in the form of the passing tone, and now for every note of the cantus firmus (except the last), two notes are used in the contrapuntal line.
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The third species permits four notes against one, and consequently presents more complicated and challenging problems of creating a goal-directed line with increased possibilities for dissonant configurations.
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Fourth species, like second species, permits two notes against one, but the suspension figure or syncope is the principal form of dissonance here.
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Finally, in fifth species, mixed rhythmic values are encouraged in the contrapuntal line, with the added attraction of a few new types of embellishment and elaboration.
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