[Illustration: Fig. 36.]

The seventh or ninth of the implied harmony of a measure, when approached
in an upward direction, may be used in either part, provided it is
consonant with the other part, or comes within the requirements of the
exceptions. [Fig. 37.]

The passing major seventh and its root may appear on the weak beat, even
when approached in similar motion as in Fig. 37_a_. The seventh must then be
treated as a passing-tone.

[Illustration: Fig. 37.]

The cadences in Fig. 38 are good when writing second species in both parts.
Those having the second species in one part only, may also be used.

[Illustration: Fig. 38.]

Writing the second species in both parts will, in this lesson, be confined
to a mixture of the first and second species, as in Fig. 39.

In this do not use the second species more than four measures continuously
in one part. It will be noticed that the second species may occasionally be
used in both parts. In later lessons opportunity will be given to write it
continuously in both parts.

[Illustration: Fig. 39.]