Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century

accented half note according Aeolian alto ascending Bach bass beginning Berardi breve cadence cambiata canon cantus firmus chordal chords clef composers composition consonance and dissonance contrapuntal contrapuntal theory counterpoint descending skip dominant ecclesiastical modes effect example exercises fifteenth fifth species fourth species frottola fugue Gregorian half note harmony idiom imitation imperfect consonances intervals introduced Ionian Ionian mode Kirnberger Ky rie Kyrie likewise madrigal mass measure melody minor Mixolydian modern motet motion music theory note against note note values occur octave Palestrina style Phrygian polyphonic possible practice preceding quarter note rhythm rhythmic rule scale second species seventh sixteenth century sixth sonance soprano stretto style of Palestrina suspension dissonance syncope technique tenor theme theorists third species Tinctoris tonal tone tonic treated treatment triad two-part unaccented half unaccented quarter unison upper voice Vicentino voice leading whole notes writing Zarlino ΟΣ ΤΟΣ ΤΣ Ꮎ Ꮎ