Matches in Harvard for { ?s ?p Historical perspective -- "Strict" versus "free" counterpoint -- Counterpoint as taught on the basis of stylistic norms -- The nature of counterpoint -- The Single Melodic Line -- Melodic contour -- Relative importance of notes -- Harmonic implications -- The compound line -- Range -- Other considerations -- Principles of Two-Voice Counterpoint -- Quality of individual lines -- Independence between the lines -- Unity -- Harmonic implications -- Consonance versus dissonance -- Two-Voice Exercises, 1:1, 2:1 -- Note against note (1:1) -- Two notes against one (2:1) -- Chromaticism (Two Voices) -- Melodic versus harmonic usage -- Modulation -- Chromatic spelling -- Cross relations -- Concerning two-voice chromatic exercises -- Two-Voice Exercises (Concluded) -- Three notes against one (3:1) -- Four notes against one (4:1) -- Syncopation (fourth species) -- Fifth species -- Rhythmic activity divided between the voices -- Writing of Short Two-Voice Pieces -- Form -- Reducing or increasing the number of voices -- Varied repetition -- Canon -- The two-voice canon at the octave -- Two-voice canons at other harmonic intervals -- Concerning the writing of two-voice canons -- Canons using special devices -- The accompanied canon -- Canons in three or more voices -- The perpetual canon -- The double canon -- The enigma canon -- The spiral canon -- Invertible Counterpoint -- Inversion at the octave -- Inversion at intervals other than the octave -- General principles involved in writing invertible counterpoint.. }
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- catalog description "Historical perspective -- "Strict" versus "free" counterpoint -- Counterpoint as taught on the basis of stylistic norms -- The nature of counterpoint -- The Single Melodic Line -- Melodic contour -- Relative importance of notes -- Harmonic implications -- The compound line -- Range -- Other considerations -- Principles of Two-Voice Counterpoint -- Quality of individual lines -- Independence between the lines -- Unity -- Harmonic implications -- Consonance versus dissonance -- Two-Voice Exercises, 1:1, 2:1 -- Note against note (1:1) -- Two notes against one (2:1) -- Chromaticism (Two Voices) -- Melodic versus harmonic usage -- Modulation -- Chromatic spelling -- Cross relations -- Concerning two-voice chromatic exercises -- Two-Voice Exercises (Concluded) -- Three notes against one (3:1) -- Four notes against one (4:1) -- Syncopation (fourth species) -- Fifth species -- Rhythmic activity divided between the voices -- Writing of Short Two-Voice Pieces -- Form -- Reducing or increasing the number of voices -- Varied repetition -- Canon -- The two-voice canon at the octave -- Two-voice canons at other harmonic intervals -- Concerning the writing of two-voice canons -- Canons using special devices -- The accompanied canon -- Canons in three or more voices -- The perpetual canon -- The double canon -- The enigma canon -- The spiral canon -- Invertible Counterpoint -- Inversion at the octave -- Inversion at intervals other than the octave -- General principles involved in writing invertible counterpoint.".
- catalog tableOfContents "Historical perspective -- "Strict" versus "free" counterpoint -- Counterpoint as taught on the basis of stylistic norms -- The nature of counterpoint -- The Single Melodic Line -- Melodic contour -- Relative importance of notes -- Harmonic implications -- The compound line -- Range -- Other considerations -- Principles of Two-Voice Counterpoint -- Quality of individual lines -- Independence between the lines -- Unity -- Harmonic implications -- Consonance versus dissonance -- Two-Voice Exercises, 1:1, 2:1 -- Note against note (1:1) -- Two notes against one (2:1) -- Chromaticism (Two Voices) -- Melodic versus harmonic usage -- Modulation -- Chromatic spelling -- Cross relations -- Concerning two-voice chromatic exercises -- Two-Voice Exercises (Concluded) -- Three notes against one (3:1) -- Four notes against one (4:1) -- Syncopation (fourth species) -- Fifth species -- Rhythmic activity divided between the voices -- Writing of Short Two-Voice Pieces -- Form -- Reducing or increasing the number of voices -- Varied repetition -- Canon -- The two-voice canon at the octave -- Two-voice canons at other harmonic intervals -- Concerning the writing of two-voice canons -- Canons using special devices -- The accompanied canon -- Canons in three or more voices -- The perpetual canon -- The double canon -- The enigma canon -- The spiral canon -- Invertible Counterpoint -- Inversion at the octave -- Inversion at intervals other than the octave -- General principles involved in writing invertible counterpoint.".