Editing Counterpoint (section)

===Second species===
In ''second species'' counterpoint, two notes in each of the added parts work against each longer note in the given part.
{{Image frame|content=<score sound="1"> {
# (set-global-staff-size 15)
\relative c' {
<< \new Staff {
r2 a' d c b e d a b cis d1
\bar "|." }
\new Staff {
d,1 f g f e d} >>
}
}
</score>
<br />Short example of "second species" counterpoint
}}

Additional considerations in second species counterpoint are as follows, and are in addition to the considerations for first species:
# It is permissible to begin on an upbeat, leaving a half-rest in the added voice.
# The accented beat may be consonant (perfect or imperfect), the unaccented beat may then have dissonance, in the form of three kinds of melodic embellishment: Passing Note (scalic movement between two consonances), Neighbour Note (a step away from a consonance and back to the same consonance) or an Escape Tone (a step in one direction to a dissonance followed by a leap in the opposite direction to a consonance).
The accented beat may have dissonance as well, but the unaccented beat that follows it must be consonant. This is known as Accented Dissonance, and takes the form of either a Neighbour note or a Passing note, which must resolve down to a consonance on the offbeat. 
# Avoid the interval of the unison except at the beginning or end of the example, except that it may occur on the unaccented portion of the bar.
# Use caution with successive accented perfect fifths or octaves. They must not be used as part of a sequential pattern. The example shown is weak due to similar motion in the second measure in both voices. A good rule to follow: if one voice skips or jumps try to use step-wise motion in the other voice or at the very least contrary motion.