head_music 11.5.0 → 11.6.0

checksums.yaml

@@ -1,7 +1,7 @@
 ---
 SHA256:
-  metadata.gz: cac99dc343591a77ac4160fc00bf209bb5ef9182372248f8d8f5f15728cb419f
-  data.tar.gz: 5c97aba2f05dff3350864bf7c34b41dcb08e0fb9e87f487fd90647cc2019522a
+  metadata.gz: 8f3b2f457b2bc3baf47891681fdc15638176f5d63275a5d10dfb72ebdeb09d4a
+  data.tar.gz: 2bc6e91ec28518b7160d9f9ae3e35cf4cbfe3d160e645ad2f3fee108328ec93e
 SHA512:
-  metadata.gz: fff6cedb936923db750c8725d2f8d2a486dbf5be0f4dced45c345fc1d0fe585b8f39b46f983d56e8561427e8fab52298168b583beae5a5b94aa9d27645165624
-  data.tar.gz: cd06cb5715a6767849a9f6f327647ec3fb2ded81d450a280b2c58e06b6e55c2a2505b31353f7c0b5f2aef6340ffeeea4f819528d62be37ccff3a21196b90bd10
+  metadata.gz: 6d6d3352bf212394174b700c4ba45dfe5ff6f980508b2b50fc9e02e8d163ba747a281d73702c6bb9c636b7784682784e3bfc3725f103a14f5f55d41d5f3b75b7
+  data.tar.gz: d086a69554fea7d19830a82ebafe3c1482281a9c317aacb0407ff7aae24152b665685d6d1a8f38ad67c9375fbee0d71e4a0b389ff47dc52caead30e2795835df

data/CHANGELOG.md

@@ -7,6 +7,18 @@ and this project adheres to [Semantic Versioning](https://semver.org/spec/v2.0.0
 
 ## [Unreleased]
 
+## [11.6.0] - 2026-02-10
+
+### Added
+- Second-species counterpoint style guides: `SecondSpeciesMelody` and `SecondSpeciesHarmony`
+- New guidelines for second-species counterpoint:
+  - `TwoToOne` — enforces two half notes per cantus firmus whole note (with optional half-rest opening)
+  - `WeakBeatDissonanceTreatment` — dissonant weak beats must be passing tones
+  - `NoParallelPerfectOnDownbeats` — forbids parallel perfect consonances on consecutive downbeats
+  - `NoParallelPerfectAcrossBarline` — forbids parallel perfect consonances from weak beat to following downbeat
+  - `NoStrongBeatUnisons` — forbids unisons on interior downbeats
+- Pedagogical reference document for second-species counterpoint (`references/second-species-counterpoint.md`)
+
 ## [11.0.0] - 2026-01-05
 
 ### Changed

data/CLAUDE.md

@@ -166,6 +166,13 @@ This project deliberately deprioritizes formal documentation in favor of clear,
 2. Run tests for the specific module: `bundle exec rspec spec/head_music/[module_name]`
 3. Ensure translations are updated if names change
 
+## Reference Documents
+
+Domain reference materials live in `references/`.
+Consult these when implementing or modifying style guidelines:
+
+- `references/second-species-counterpoint.md` — Pedagogical survey of second-species counterpoint rules from Fux through contemporary sources, with cross-source comparison and mapping to head_music's style guideline architecture.
+
 ## Music theory and concepts
 
 Please refer to MUSIC_THEORY.md for music theory domain knowledge.

data/Gemfile.lock

@@ -1,7 +1,7 @@
 PATH
   remote: .
   specs:
-    head_music (11.5.0)
+    head_music (11.6.0)
       activesupport (>= 7.0, < 10)
       humanize (~> 2.0)
       i18n (~> 1.8)

data/lib/head_music/analysis/diatonic_interval/naming.rb

@@ -45,8 +45,7 @@ class HeadMusic::Analysis::DiatonicInterval::Naming
   end
 
   def shorthand
-    step_shorthand = (number == 1) ? "U" : number
-    [quality.shorthand, step_shorthand].join
+    [quality.shorthand, number].join
   end
 
   private

data/lib/head_music/content/cantus_firmus/source.rb

@@ -32,10 +32,10 @@ module HeadMusic
           # e.g., "Fux" -> "fux", "Clendinning & Marvin" -> "clendinning_and_marvin"
           def normalize_key(identifier)
             identifier.to_s
-                      .downcase
-                      .gsub(/\s*&\s*/, "_and_")
-                      .gsub(/\s+/, "_")
-                      .to_sym
+              .downcase
+              .gsub(/\s*&\s*/, "_and_")
+              .gsub(/\s+/, "_")
+              .to_sym
           end
         end
 

data/lib/head_music/style/guidelines/no_parallel_perfect_across_barline.rb

@@ -0,0 +1,61 @@
+# Module for style guidelines.
+module HeadMusic::Style::Guidelines; end
+
+# A counterpoint guideline
+class HeadMusic::Style::Guidelines::NoParallelPerfectAcrossBarline < HeadMusic::Style::Annotation
+  MESSAGE = "Avoid parallel perfect consonances from weak beat to the following downbeat."
+
+  def marks
+    parallel_perfect_across_barline_pairs.map do |pair|
+      HeadMusic::Style::Mark.for_all(pair.flat_map(&:notes))
+    end
+  end
+
+  private
+
+  def parallel_perfect_across_barline_pairs
+    weak_strong_interval_pairs.select do |weak, strong|
+      weak.perfect_consonance?(:two_part_harmony) &&
+        strong.perfect_consonance?(:two_part_harmony) &&
+        same_simple_type?(weak, strong)
+    end
+  end
+
+  def weak_strong_interval_pairs
+    weak_beat_harmonic_intervals.filter_map do |weak_interval|
+      next_downbeat = next_downbeat_interval(weak_interval)
+      [weak_interval, next_downbeat] if next_downbeat
+    end
+  end
+
+  def weak_beat_harmonic_intervals
+    weak_beat_positions.filter_map do |position|
+      interval = HeadMusic::Analysis::HarmonicInterval.new(cantus_firmus, voice, position)
+      interval if interval.notes.length == 2
+    end
+  end
+
+  def weak_beat_positions
+    notes.map(&:position).reject { |pos| downbeat_position?(pos) }
+  end
+
+  def downbeat_position?(position)
+    cantus_firmus_positions.include?(position.to_s)
+  end
+
+  def cantus_firmus_positions
+    @cantus_firmus_positions ||= Set.new(cantus_firmus.notes.map { |n| n.position.to_s })
+  end
+
+  def next_downbeat_interval(weak_interval)
+    next_cf_note = cantus_firmus.notes.detect { |n| n.position > weak_interval.position }
+    return unless next_cf_note
+
+    interval = HeadMusic::Analysis::HarmonicInterval.new(cantus_firmus, voice, next_cf_note.position)
+    interval if interval.notes.length == 2
+  end
+
+  def same_simple_type?(first, second)
+    first.simple_number == second.simple_number
+  end
+end

data/lib/head_music/style/guidelines/no_parallel_perfect_on_downbeats.rb

@@ -0,0 +1,27 @@
+# Module for style guidelines.
+module HeadMusic::Style::Guidelines; end
+
+# A counterpoint guideline
+class HeadMusic::Style::Guidelines::NoParallelPerfectOnDownbeats < HeadMusic::Style::Annotation
+  MESSAGE = "Avoid parallel perfect consonances on consecutive downbeats."
+
+  def marks
+    parallel_perfect_downbeat_pairs.map do |pair|
+      HeadMusic::Style::Mark.for_all(pair.flat_map(&:notes))
+    end
+  end
+
+  private
+
+  def parallel_perfect_downbeat_pairs
+    downbeat_harmonic_intervals.each_cons(2).select do |first, second|
+      first.perfect_consonance?(:two_part_harmony) &&
+        second.perfect_consonance?(:two_part_harmony) &&
+        same_simple_type?(first, second)
+    end
+  end
+
+  def same_simple_type?(first, second)
+    first.simple_number == second.simple_number
+  end
+end

data/lib/head_music/style/guidelines/no_strong_beat_unisons.rb

@@ -0,0 +1,25 @@
+# Module for style guidelines.
+module HeadMusic::Style::Guidelines; end
+
+# A counterpoint guideline
+class HeadMusic::Style::Guidelines::NoStrongBeatUnisons < HeadMusic::Style::Annotation
+  MESSAGE = "Avoid unisons on strong beats except at the beginning and end."
+
+  def marks
+    interior_downbeat_unisons.map do |interval|
+      HeadMusic::Style::Mark.for_all(interval.notes)
+    end
+  end
+
+  private
+
+  def interior_downbeat_unisons
+    interior_downbeat_intervals.select { |interval| interval.perfect_consonance? && interval.unison? }
+  end
+
+  def interior_downbeat_intervals
+    return [] if downbeat_harmonic_intervals.length < 3
+
+    downbeat_harmonic_intervals[1..-2]
+  end
+end

data/lib/head_music/style/guidelines/singable_intervals.rb

@@ -3,10 +3,10 @@ module HeadMusic::Style::Guidelines; end
 
 # A counterpoint guideline
 class HeadMusic::Style::Guidelines::SingableIntervals < HeadMusic::Style::Annotation
-  PERMITTED_ASCENDING = %w[PU m2 M2 m3 M3 P4 P5 m6 P8].freeze
-  PERMITTED_DESCENDING = %w[PU m2 M2 m3 M3 P4 P5 P8].freeze
+  PERMITTED_ASCENDING = %w[P1 m2 M2 m3 M3 P4 P5 m6 P8].freeze
+  PERMITTED_DESCENDING = %w[P1 m2 M2 m3 M3 P4 P5 P8].freeze
 
-  MESSAGE = "Use only PU, m2, M2, m3, M3, P4, P5, m6 (ascending), P8 in the melodic line."
+  MESSAGE = "Use only P1, m2, M2, m3, M3, P4, P5, m6 (ascending), P8 in the melodic line."
 
   def marks
     melodic_note_pairs.reject { |note_pair| permitted?(note_pair) }.map do |pair_with_unpermitted_interval|

data/lib/head_music/style/guidelines/two_to_one.rb

@@ -0,0 +1,83 @@
+# Module for style guidelines.
+module HeadMusic::Style::Guidelines; end
+
+# A counterpoint guideline
+class HeadMusic::Style::Guidelines::TwoToOne < HeadMusic::Style::Annotation
+  MESSAGE = "Use two half notes against each whole note in the cantus firmus."
+
+  HALF = HeadMusic::Rudiment::RhythmicValue.get(:half)
+  WHOLE = HeadMusic::Rudiment::RhythmicValue.get(:whole)
+
+  def marks
+    return [] unless cantus_firmus&.notes&.any?
+
+    cantus_firmus.notes.each_with_index.filter_map do |cf_note, index|
+      bar_number = cf_note.position.bar_number
+      if index == cantus_firmus.notes.length - 1
+        check_final_bar(bar_number)
+      elsif index == 0
+        check_first_bar(bar_number)
+      else
+        check_middle_bar(bar_number)
+      end
+    end
+  end
+
+  private
+
+  def check_first_bar(bar_number)
+    bar_notes = notes_in_bar(bar_number)
+    bar_rests = rests_in_bar(bar_number)
+    return if two_half_notes?(bar_notes)
+    return if rest_then_half_note?(bar_notes, bar_rests)
+
+    mark_bar(bar_number)
+  end
+
+  def check_middle_bar(bar_number)
+    bar_notes = notes_in_bar(bar_number)
+    return if two_half_notes?(bar_notes)
+
+    mark_bar(bar_number)
+  end
+
+  def check_final_bar(bar_number)
+    bar_notes = notes_in_bar(bar_number)
+    return if one_whole_note?(bar_notes)
+
+    mark_bar(bar_number)
+  end
+
+  def two_half_notes?(bar_notes)
+    bar_notes.length == 2 && bar_notes.all? { |n| n.rhythmic_value == HALF }
+  end
+
+  def one_whole_note?(bar_notes)
+    bar_notes.length == 1 && bar_notes.first.rhythmic_value == WHOLE
+  end
+
+  def rest_then_half_note?(bar_notes, bar_rests)
+    bar_notes.length == 1 &&
+      bar_notes.first.rhythmic_value == HALF &&
+      bar_rests.length == 1 &&
+      bar_rests.first.rhythmic_value == HALF
+  end
+
+  def notes_in_bar(bar_number)
+    notes.select { |n| n.position.bar_number == bar_number }
+  end
+
+  def rests_in_bar(bar_number)
+    rests.select { |r| r.position.bar_number == bar_number }
+  end
+
+  def mark_bar(bar_number)
+    bar_placements = notes_in_bar(bar_number)
+    if bar_placements.any?
+      HeadMusic::Style::Mark.for_all(bar_placements)
+    else
+      cf_note = cantus_firmus.notes.detect { |n| n.position.bar_number == bar_number }
+      HeadMusic::Style::Mark.for(cf_note) if cf_note
+    end
+  end
+end

data/lib/head_music/style/guidelines/weak_beat_dissonance_treatment.rb

@@ -0,0 +1,59 @@
+# Module for style guidelines.
+module HeadMusic::Style::Guidelines; end
+
+# A counterpoint guideline
+class HeadMusic::Style::Guidelines::WeakBeatDissonanceTreatment < HeadMusic::Style::Annotation
+  MESSAGE = "Use only passing tones for dissonances on the weak beat."
+
+  def marks
+    return [] unless cantus_firmus&.notes&.any?
+
+    dissonant_weak_beat_notes.reject { |note| passing_tone?(note) }.map do |note|
+      HeadMusic::Style::Mark.for(note)
+    end
+  end
+
+  private
+
+  def dissonant_weak_beat_notes
+    weak_beat_notes.select { |note| dissonant_with_cantus?(note) }
+  end
+
+  def weak_beat_notes
+    notes.reject { |note| downbeat_position?(note.position) }
+  end
+
+  def downbeat_position?(position)
+    cantus_firmus_positions.include?(position.to_s)
+  end
+
+  def cantus_firmus_positions
+    @cantus_firmus_positions ||= Set.new(cantus_firmus.notes.map { |n| n.position.to_s })
+  end
+
+  def dissonant_with_cantus?(note)
+    interval = HeadMusic::Analysis::HarmonicInterval.new(cantus_firmus, voice, note.position)
+    interval.notes.length == 2 && interval.dissonance?(:two_part_harmony)
+  end
+
+  def passing_tone?(note)
+    prev = preceding_note(note)
+    foll = following_note(note)
+    return false unless prev && foll
+
+    approach = HeadMusic::Analysis::MelodicInterval.new(prev, note)
+    departure = HeadMusic::Analysis::MelodicInterval.new(note, foll)
+
+    approach.step? && departure.step? && approach.direction == departure.direction
+  end
+
+  def preceding_note(note)
+    index = notes.index(note)
+    notes[index - 1] if index && index > 0
+  end
+
+  def following_note(note)
+    index = notes.index(note)
+    notes[index + 1] if index && index < notes.length - 1
+  end
+end

data/lib/head_music/style/guides/second_species_harmony.rb

@@ -0,0 +1,22 @@
+# Module for guides
+module HeadMusic::Style::Guides; end
+
+# Rules for second species harmony
+class HeadMusic::Style::Guides::SecondSpeciesHarmony
+  RULESET = [
+    HeadMusic::Style::Guidelines::ApproachPerfectionContrarily,
+    HeadMusic::Style::Guidelines::AvoidCrossingVoices,
+    HeadMusic::Style::Guidelines::AvoidOverlappingVoices,
+    HeadMusic::Style::Guidelines::ConsonantDownbeats,
+    HeadMusic::Style::Guidelines::NoParallelPerfectAcrossBarline,
+    HeadMusic::Style::Guidelines::NoParallelPerfectOnDownbeats,
+    HeadMusic::Style::Guidelines::NoStrongBeatUnisons,
+    HeadMusic::Style::Guidelines::PreferContraryMotion,
+    HeadMusic::Style::Guidelines::PreferImperfect,
+    HeadMusic::Style::Guidelines::WeakBeatDissonanceTreatment
+  ].freeze
+
+  def self.analyze(voice)
+    RULESET.map { |rule| rule.new(voice) }
+  end
+end

data/lib/head_music/style/guides/second_species_melody.rb

@@ -0,0 +1,26 @@
+# Module for guides
+module HeadMusic::Style::Guides; end
+
+# Rules for second species melodies
+class HeadMusic::Style::Guides::SecondSpeciesMelody
+  RULESET = [
+    HeadMusic::Style::Guidelines::AlwaysMove,
+    HeadMusic::Style::Guidelines::ConsonantClimax,
+    HeadMusic::Style::Guidelines::Diatonic,
+    HeadMusic::Style::Guidelines::EndOnTonic,
+    HeadMusic::Style::Guidelines::FrequentDirectionChanges,
+    HeadMusic::Style::Guidelines::LimitOctaveLeaps,
+    HeadMusic::Style::Guidelines::MostlyConjunct,
+    HeadMusic::Style::Guidelines::PrepareOctaveLeaps,
+    HeadMusic::Style::Guidelines::SingableIntervals,
+    HeadMusic::Style::Guidelines::SingableRange,
+    HeadMusic::Style::Guidelines::StartOnPerfectConsonance,
+    HeadMusic::Style::Guidelines::StepOutOfUnison,
+    HeadMusic::Style::Guidelines::StepUpToFinalNote,
+    HeadMusic::Style::Guidelines::TwoToOne
+  ].freeze
+
+  def self.analyze(voice)
+    RULESET.map { |rule| rule.new(voice) }
+  end
+end

data/lib/head_music/version.rb

@@ -1,3 +1,3 @@
 module HeadMusic
-  VERSION = "11.5.0"
+  VERSION = "11.6.0"
 end

data/lib/head_music.rb

@@ -166,7 +166,10 @@ require "head_music/style/guidelines/limit_octave_leaps"
 require "head_music/style/guidelines/moderate_direction_changes"
 require "head_music/style/guidelines/mostly_conjunct"
 require "head_music/style/guidelines/notes_same_length"
+require "head_music/style/guidelines/no_parallel_perfect_across_barline"
+require "head_music/style/guidelines/no_parallel_perfect_on_downbeats"
 require "head_music/style/guidelines/no_rests"
+require "head_music/style/guidelines/no_strong_beat_unisons"
 require "head_music/style/guidelines/no_unisons_in_middle"
 require "head_music/style/guidelines/one_to_one"
 require "head_music/style/guidelines/prefer_contrary_motion"
@@ -182,10 +185,14 @@ require "head_music/style/guidelines/step_down_to_final_note"
 require "head_music/style/guidelines/step_out_of_unison"
 require "head_music/style/guidelines/step_to_final_note"
 require "head_music/style/guidelines/step_up_to_final_note"
+require "head_music/style/guidelines/two_to_one"
 require "head_music/style/guidelines/up_to_fourteen_notes"
+require "head_music/style/guidelines/weak_beat_dissonance_treatment"
 
 # style guides
 require "head_music/style/guides/fux_cantus_firmus"
 require "head_music/style/guides/modern_cantus_firmus"
 require "head_music/style/guides/first_species_melody"
 require "head_music/style/guides/first_species_harmony"
+require "head_music/style/guides/second_species_melody"
+require "head_music/style/guides/second_species_harmony"

data/references/second-species-counterpoint.md

@@ -0,0 +1,278 @@
+# Second-Species Counterpoint: Pedagogical Reference
+
+A survey of second-species counterpoint guidelines from Fux (1725) through contemporary pedagogy, noting points of agreement and disagreement across sources. Intended as a reference for implementing style guidelines in the `head_music` gem.
+
+---
+
+## 1. Fundamental Premise
+
+Second-species counterpoint sets **two half notes** in the counterpoint voice against each **whole note** in the cantus firmus, creating a 2:1 rhythmic ratio. This species introduces two concepts absent from first species:
+
+1. **Metric differentiation** -- strong beats (downbeats) vs. weak beats (upbeats)
+2. **Dissonance** -- the passing tone, in a highly controlled context
+
+---
+
+## 2. Sources Surveyed
+
+| Abbreviation | Source | Orientation |
+|---|---|---|
+| **Fux** | Johann Joseph Fux, *Gradus ad Parnassum* (1725); trans. Alfred Mann | Ostensibly Palestrina style; actually reflects 18th-century practice |
+| **Schenker** | Heinrich Schenker, *Kontrapunkt* (1910/1922); trans. Rothgeb & Thym | Abstract voice-leading principles underlying tonal music |
+| **Jeppesen** | Knud Jeppesen, *Counterpoint: The Polyphonic Vocal Style of the 16th Century* (1931) | Closest to actual Palestrina/Renaissance practice |
+| **S&S** | Felix Salzer & Carl Schachter, *Counterpoint in Composition* (1969) | Schenkerian -- species as foundation for prolongational voice-leading |
+| **Kennan** | Kent Kennan, *Counterpoint*, 4th ed. (1999) | 18th-century tonal counterpoint (Bach-oriented) |
+| **Gauldin** | Robert Gauldin, *A Practical Approach to 16th-Century Counterpoint* / *18th-Century Counterpoint* | Separate treatments for Renaissance and Baroque styles |
+| **Schubert** | Peter Schubert, *Modal Counterpoint: Renaissance Style*, 2nd ed. (2008) | Renaissance modal; draws directly on Renaissance treatises |
+| **OMT** | Open Music Theory (Shaffer, Hughes, et al.) | Contemporary online pedagogy |
+
+---
+
+## 3. Guideline Synthesis
+
+### 3.1 Rhythmic Structure
+
+**Universal agreement.** Two half notes against each whole note. The final measure is a whole note.
+
+### 3.2 Beginning
+
+**Pitch (universal):**
+- Above the cantus firmus: begin on the tonic (unison/octave) or the fifth.
+- Below the cantus firmus: begin on the tonic (unison/octave).
+
+**Rhythm (two options):**
+1. **Half rest followed by a half note** -- the standard Fuxian approach; preferred by most modern sources because it establishes the 2:1 rhythmic profile immediately.
+2. **Two half notes** -- permitted by most sources.
+
+### 3.3 Strong Beats (Downbeats)
+
+**Universal agreement.** Every downbeat must be **consonant** with the cantus firmus. Permissible consonances: unison, third, fifth, sixth, octave, and compound equivalents. The perfect fourth is a dissonance in two-voice counterpoint (all sources agree).
+
+**Preference.** Imperfect consonances (thirds, sixths) are preferred over perfect consonances (fifths, octaves, unisons) -- carried forward from first species.
+
+### 3.4 Weak Beats (Upbeats)
+
+**Core agreement.** The weak beat may be consonant or dissonant.
+
+**If dissonant:** Must be a **passing tone** -- approached by step and left by step **in the same direction**. This is the only dissonance type permitted in second species. All sources agree.
+
+**If consonant:** May be reached by step or by leap. Open Music Theory names specific weak-beat consonant patterns:
+
+| Pattern | Description |
+|---|---|
+| **Consonant passing tone** | Two steps in the same direction, outlining a third |
+| **Substitution** | Leap a fourth, then step in the opposite direction |
+| **Skipped passing tone** | A third and a step in the same direction, outlining a fourth |
+| **Interval subdivision** | Two leaps in the same direction dividing a larger interval |
+| **Change of register** | A large consonant leap (P5, 6th, or octave) followed by a step opposite |
+| **Melodic delay** | Leap a third, then step in the opposite direction |
+| **Consonant neighbor tone** | Step in one direction, then step back (see disagreement below) |
+
+#### Neighbor Tone Disagreement (the largest area of divergence)
+
+| Source | Dissonant Neighbor | Consonant Neighbor |
+|---|---|---|
+| Fux | Not discussed; implicitly forbidden | Not discussed |
+| Schenker | **Explicitly forbidden** | **Forbidden** ("highlights a single pitch") |
+| Jeppesen | Forbidden | Permitted occasionally |
+| S&S | Generally forbidden | Permitted with care |
+| OMT | Forbidden | **Explicitly permitted** (named pattern) |
+
+No source permits **dissonant** neighbor tones in second species. The disagreement is over **consonant** neighbor tones -- Schenker's ban is the strictest; contemporary pedagogy is the most permissive.
+
+### 3.5 Ending / Cadence
+
+**Universal agreement.** End with a clausula vera: stepwise contrary motion into a perfect consonance (unison or octave).
+
+**Final bar:** Always a whole note on the tonic, forming a unison or octave with the cantus firmus.
+
+**Penultimate bar** may contain two half notes or one whole note.
+
+**Specific cadential formulas:**
+
+| Cantus firmus position | Penultimate intervals | Scale degrees in counterpoint |
+|---|---|---|
+| CF below, counterpoint above | Fifth then major sixth resolving to octave | 6-7-8 against CF scale degree 2 |
+| CF above, counterpoint below | Fifth then minor third resolving to unison/octave | 5-3-1 against CF scale degree 2 |
+
+**Phrygian exception (Puget Sound):** When the CF is above in Phrygian mode, use a sixth to a third (scale degrees 4-b7 against b2).
+
+### 3.6 Melodic Guidelines
+
+These carry forward from first species with modifications:
+
+- **Primarily stepwise motion** -- even more so than first species, since the doubled note count and passing tones make conjunct motion easier.
+- **Single overall climax** -- with one or two secondary climaxes permitted given the greater number of notes.
+- **Singable range** -- generally not exceeding a tenth.
+- **Diatonic** -- stay within the mode/key.
+- **Recover large leaps** -- follow leaps with stepwise motion in the opposite direction.
+- **Prefer leaping within the bar** (strong to weak) rather than across the barline (weak to strong), as the metric position diminishes the perceptual weight of the leap.
+- **No repeated notes** (see 3.10 below).
+
+### 3.7 Parallel Perfect Consonances
+
+**Strict rule (universal).** Parallel fifths or octaves between adjacent attacks (strong-to-weak or weak-to-strong) are absolutely forbidden.
+
+**Downbeat-to-downbeat parallels:**
+
+| Situation | Treatment |
+|---|---|
+| P5 on downbeat, P5 on next downbeat | **Forbidden** by virtually all sources |
+| P8 on downbeat, P8 on next downbeat | **Forbidden** similarly |
+| P5 on weak beat, P5 on next downbeat | **Forbidden** (equivalent to first-species parallels across the barline) |
+
+**Exception (minority).** Some sources tolerate downbeat-to-downbeat parallels if the intervening note leaps by a fourth or more, arguing the large leap masks the effect. Not universally accepted.
+
+**Weak-beat-to-weak-beat parallels** are acceptable (not perceptually audible).
+
+### 3.8 Direct (Hidden) Fifths and Octaves
+
+| Context | Treatment |
+|---|---|
+| Weak-to-strong (across barline) | Treated as in first species: **approach perfect consonances by contrary or oblique motion** (universal) |
+| Strong-to-weak (within the bar) | More lenient; some sources permit direct motion to perfect consonances |
+| Downbeat-to-downbeat | **Permitted** by most modern sources ("the effect is weakened by the intervening note") |
+
+This is a significant relaxation from first species. Hidden fifths/octaves between successive downbeats are generally acceptable; hidden fifths/octaves across the barline (weak to strong) remain forbidden.
+
+### 3.9 Unison Treatment
+
+| Source | Interior Unisons |
+|---|---|
+| Fux | Forbidden in middle (though his own examples occasionally show them) |
+| Schenker | Strictly limited |
+| Jeppesen | More permissive |
+| Modern consensus | Permitted on **weak beats only**, with proper voice-leading |
+
+**Generally agreed:**
+- Permitted at first and last dyads.
+- Interior unisons (if allowed) occur only on weak beats.
+- Do not leap to or from a unison.
+- Leave a unison by step in the opposite direction from approach.
+
+### 3.10 Repeated Notes
+
+**Universal agreement.** Repeating the same pitch on consecutive half notes is **forbidden**, both within the bar and across the barline. Repetition undermines the forward motion that second species is designed to cultivate.
+
+### 3.11 Permitted and Forbidden Leaps
+
+**Permitted leaps:**
+- Minor third, major third
+- Perfect fourth, perfect fifth
+- Minor sixth (ascending only in 16th-century style)
+- Octave
+
+**Forbidden leaps:**
+- Tritone (diminished fifth, augmented fourth)
+- Major sixth (in 16th-century style; some 18th-century treatments permit it)
+- Seventh
+- Any augmented or diminished interval
+
+**Leap treatment:**
+- All leaps must be to and from consonances. Cannot leap to or from a dissonant note.
+- Recover large leaps by stepwise motion in the opposite direction.
+- Limit consecutive leaps in the same direction.
+
+### 3.12 Voice Crossing and Overlap
+
+| Source | Voice Crossing |
+|---|---|
+| Fux | Occasionally permits |
+| Schenker | Strictly forbidden |
+| S&S | Strictly forbidden ("weakens polarity between voices") |
+| Modern pedagogy | Generally forbidden; rarely tolerated |
+
+Voice overlap (approaching beyond the other voice's previous pitch without crossing) is universally discouraged.
+
+### 3.13 Contrary Motion Preference
+
+**Universal.** Contrary motion is preferred throughout, especially when approaching perfect consonances. Perfect consonances on the downbeat must be approached by contrary or oblique motion from the preceding note across the barline.
+
+---
+
+## 4. Mapping to head_music Architecture
+
+The existing `head_music` style system groups guidelines into melody guides and harmony guides. Second species will follow the same pattern. Below maps each guideline area to whether it is a **melody** concern (single-voice) or **harmony** concern (two-voice interaction), and notes where existing first-species guidelines can be reused vs. where new guidelines are needed.
+
+### Melody Guidelines (SecondSpeciesMelody)
+
+| Guideline | Status | Notes |
+|---|---|---|
+| Diatonic | **Reuse** from first species | |
+| SingableRange | **Reuse** | |
+| SingableIntervals | **Reuse** | |
+| MostlyConjunct | **Reuse** (may need threshold adjustment) | Even more stepwise than first species |
+| ConsonantClimax | **Reuse** | Secondary climaxes may need consideration |
+| FrequentDirectionChanges | **Reuse** | |
+| LimitOctaveLeaps | **Reuse** | |
+| PrepareOctaveLeaps | **Reuse** | |
+| NoRests | **Reuse** | |
+| EndOnTonic | **Reuse** | |
+| NotesSameLength | **Remove/Replace** | Not applicable; replaced by TwoToOne ratio |
+| **TwoToOne** | **New** | Two half notes per whole note in CF (except final bar) |
+| **NoRepeatedNotes** | **New** (or reuse AlwaysMove) | No consecutive identical pitches |
+| **BeginWithRestOrConsonance** | **New** | Half rest + half note, or two half notes starting on P1/P5/P8 |
+| **StepUpToFinalNote** | **Reuse** or adapt | Penultimate note approaches tonic by step |
+| **PreferLeapsWithinBar** | **New** (soft) | Leap from strong to weak preferred over weak to strong |
+
+### Harmony Guidelines (SecondSpeciesHarmony)
+
+| Guideline | Status | Notes |
+|---|---|---|
+| ConsonantDownbeats | **Reuse** | |
+| PreferImperfect | **Reuse** | |
+| PreferContraryMotion | **Reuse** | |
+| ApproachPerfectionContrarily | **Reuse** (across barline) | Weak-to-strong motion into perfect consonance |
+| AvoidCrossingVoices | **Reuse** | |
+| AvoidOverlappingVoices | **Reuse** | |
+| NoUnisonsInMiddle | **Adapt** | Allow unisons on weak beats; forbid on strong beats |
+| OneToOne | **Remove** | Not applicable; replaced by TwoToOne |
+| **WeakBeatDissonanceTreatment** | **New** | Dissonant weak beats must be passing tones (step in, step out, same direction) |
+| **NoParallelPerfectOnDownbeats** | **New** | No P5-P5 or P8-P8 on consecutive downbeats |
+| **NoParallelPerfectAcrossBarline** | **New** | No parallel perfect consonances from weak beat to next strong beat |
+| **CadentialFormula** | **New** | Proper clausula vera approach (5-6-8 above; 5-3-1 below) |
+
+### Hard vs. Soft Classification (after Schubert)
+
+**Hard rules** (fitness near 0 for violations):
+- Consonant downbeats
+- Passing tone as the only dissonance type
+- No parallel perfect consonances on adjacent attacks
+- No repeated notes
+- Diatonic
+- Singable intervals
+
+**Soft rules** (penalty but not zero fitness):
+- Prefer contrary motion
+- Prefer imperfect consonances
+- Mostly conjunct
+- Prefer leaps within the bar
+- Avoid consecutive downbeat perfect consonances
+- Avoid interior unisons on strong beats
+
+---
+
+## 5. Sources
+
+### Primary Textbooks
+
+- Fux, J.J. *Gradus ad Parnassum* (1725). Trans. Alfred Mann, *The Study of Counterpoint* (W.W. Norton, 1965).
+- Schenker, H. *Kontrapunkt* (1910/1922). Trans. Rothgeb & Thym, *Counterpoint* (Musicalia Press, 2001).
+- Jeppesen, K. *Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century* (1931; Dover, 1992).
+- Salzer, F. & Schachter, C. *Counterpoint in Composition* (Columbia UP, 1969).
+- Kennan, K. *Counterpoint*, 4th ed. (Prentice Hall, 1999).
+- Gauldin, R. *A Practical Approach to 16th-Century Counterpoint* (Waveland Press).
+- Gauldin, R. *A Practical Approach to 18th-Century Counterpoint* (Waveland Press).
+- Schubert, P. *Modal Counterpoint: Renaissance Style*, 2nd ed. (Oxford UP, 2008).
+- Roig-Francoli, M. *Harmony in Context*, 3rd ed. (McGraw-Hill, 2020).
+
+### Online Pedagogy
+
+- [Open Music Theory -- Second-Species Counterpoint](https://viva.pressbooks.pub/openmusictheory/chapter/second-species-counterpoint/)
+- [Kris Shaffer -- Composing a Second-Species Counterpoint](http://kshaffer.github.io/musicianshipResources/secondSpecies.html)
+- [Puget Sound Music Theory -- Second Species](https://musictheory.pugetsound.edu/mt21c/SecondSpecies.html)
+- [Rothfarb (UCSB) -- The Second Species of Counterpoint](https://rothfarb.faculty.music.ucsb.edu/courses/103/Second_Species(2v).html)
+- [Ars Nova -- Second Species Counterpoint](https://www.ars-nova.com/cpmanual/secondspecies.htm)
+- [Todd Tarantino -- Basic Rules for Second Species Counterpoint (PDF)](http://www.toddtarantino.com/fundamentals/SecondSpeciesRules.pdf)
+- [Clark Ross -- 16th Century Counterpoint Rules (PDF, based on Jeppesen)](https://www.clarkross.ca/16thC-100-SpeciesRules.3.pdf)
+- [Hansen Media -- Second Species Guidelines 2:1](https://hansenmedia.net/courses/counterpoint/lessons/second-species-guidelines-21/)

metadata

@@ -1,14 +1,14 @@
 --- !ruby/object:Gem::Specification
 name: head_music
 version: !ruby/object:Gem::Version
-  version: 11.5.0
+  version: 11.6.0
 platform: ruby
 authors:
 - Rob Head
 autorequire:
 bindir: exe
 cert_chain: []
-date: 2026-02-05 00:00:00.000000000 Z
+date: 2026-02-11 00:00:00.000000000 Z
 dependencies:
 - !ruby/object:Gem::Dependency
   name: activesupport
@@ -283,7 +283,10 @@ files:
 - lib/head_music/style/guidelines/limit_octave_leaps.rb
 - lib/head_music/style/guidelines/moderate_direction_changes.rb
 - lib/head_music/style/guidelines/mostly_conjunct.rb
+- lib/head_music/style/guidelines/no_parallel_perfect_across_barline.rb
+- lib/head_music/style/guidelines/no_parallel_perfect_on_downbeats.rb
 - lib/head_music/style/guidelines/no_rests.rb
+- lib/head_music/style/guidelines/no_strong_beat_unisons.rb
 - lib/head_music/style/guidelines/no_unisons_in_middle.rb
 - lib/head_music/style/guidelines/notes_same_length.rb
 - lib/head_music/style/guidelines/one_to_one.rb
@@ -300,11 +303,15 @@ files:
 - lib/head_music/style/guidelines/step_out_of_unison.rb
 - lib/head_music/style/guidelines/step_to_final_note.rb
 - lib/head_music/style/guidelines/step_up_to_final_note.rb
+- lib/head_music/style/guidelines/two_to_one.rb
 - lib/head_music/style/guidelines/up_to_fourteen_notes.rb
+- lib/head_music/style/guidelines/weak_beat_dissonance_treatment.rb
 - lib/head_music/style/guides/first_species_harmony.rb
 - lib/head_music/style/guides/first_species_melody.rb
 - lib/head_music/style/guides/fux_cantus_firmus.rb
 - lib/head_music/style/guides/modern_cantus_firmus.rb
+- lib/head_music/style/guides/second_species_harmony.rb
+- lib/head_music/style/guides/second_species_melody.rb
 - lib/head_music/style/mark.rb
 - lib/head_music/style/medieval_tradition.rb
 - lib/head_music/style/modern_tradition.rb
@@ -322,6 +329,7 @@ files:
 - lib/head_music/utilities/case.rb
 - lib/head_music/utilities/hash_key.rb
 - lib/head_music/version.rb
+- references/second-species-counterpoint.md
 - user_stories/backlog/notation-style.md
 - user_stories/backlog/organizing-content.md
 - user_stories/done/consonance-dissonance-classification.md