The second strain covers the same ground in reverse, although in a very different manner: the lower fourth is touched immediately (first bar), then abandoned for the upper fifth (C5-G5), which Praetorius moves within (bracket) and through (beamed line) for the remainder of the strain. The cadence is at the top of the register. Note that the alto voice doesn't realize the cadenza perfetta (it would have gone to G4, not B4): in four-part writing there is a strong bias toward ending with a complete triad, even if this means abandoning the proper cadence (the first strain shows the other option—an incomplete triad—which is much less common but does allow for the 6-8 motion). In five-part writing, on the other hand, one can always realize the 6-8 (or, very rarely in Terpsichore, the 3-1).
The third strain (not shown here), incidentally, covers the same fifth to begin, then wanders about the octave more freely before ending on C5.
