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Counterpoint: Ex.1 Movement from an imperfect to a perfect consonance with one part moving by a semitone, from Marchetto da Padova (c1318)

Ex.1 Movement from an imperfect to a perfect consonance with one part moving by a semitone, from Marchetto da Padova (c1318)

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Counterpoint: Ex.2 Differing methods of composition from two counterpoint treatises

Ex.2 Differing methods of composition from two counterpoint treatises

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Counterpoint: Ex.3 3rds serving as a bridge between unison and 5th, Alleluya. Altissimus (I-Fn Palat. 472, f.15vb)

Ex.3 3rds serving as a bridge between unison and 5th, Alleluya. Altissimus (I-Fn Palat. 472, f.15vb)

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Counterpoint: Ex.5 Parallel 5ths possibly permitted by analogy to fauxbourdon technique, Pierre de La Rue: Missa de Beata Virgine Ex.5 Parallel 5ths possibly permitted by analogy to fauxbourdon technique, Pierre de La Rue: Missa de Beata Virgine

Ex.5 Parallel 5ths possibly permitted by analogy to fauxbourdon technique, Pierre de La Rue: Missa de Beata Virgine Ex.5 Parallel 5ths possibly permitted by analogy to fauxbourdon technique, Pierre de La Rue: Missa de Beata Virgine

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Counterpoint: Ex.6 Formulae for stepwise discant and tenor progressions to the final note, Johannes Cochlaeus: Tetrachordum musices (Nuremberg, 1511, f. F)

Ex.6 Formulae for stepwise discant and tenor progressions to the final note, Johannes Cochlaeus: Tetrachordum musices (Nuremberg, 1511, f. F)

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Counterpoint: Ex.7 Patterns in which two parts run in similar imperfect consonances while a third has complementary notes, from Guilielmus Monachus (c1480)

Ex.7 Patterns in which two parts run in similar imperfect consonances while a third has complementary notes, from Guilielmus Monachus (c1480)

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Counterpoint contrapunctus contra punctum: ‘against note’ Fr. contrepoint Kontrapunkt contrappunto 5. Three-part composition in the 15th century.: Ex.7 continued

Counterpoint contrapunctus contra punctum: ‘against note’ Fr. contrepoint Kontrapunkt contrappunto 5. Three-part composition in the 15th century.: Ex.7 continued

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(b) The same stichēron, with embellishments by Kampanes, ‘beautified’ by Koukouzeles (ET-MSsc1584, f.123, (c) The same stichēron, with embellishments by Kampanes, ‘beautified’ by Xenos Korones (MSsc 1584, f.126v)

(b) The same stichēron, with embellishments by Kampanes, ‘beautified’ by Koukouzeles (ET-MSsc1584, f.123, (c) The same stichēron, with embellishments by Kampanes, ‘beautified’ by Xenos Korones (MSsc 1584, f.126v)

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Counterpoint: Ex.8 Examples of the correct use of dissonance, according to rhythmic and melodic position, Johannes Tinctoris: Salve martyr virgoque

Ex.8 Examples of the correct use of dissonance, according to rhythmic and melodic position, Johannes Tinctoris: Salve martyr virgoque

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Counterpoint: Ex.9 Tinctoris’s fundamental rules for dissonances

Ex.9 Tinctoris’s fundamental rules for dissonances

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Counterpoint: Ex.12 Examples of dissonance treatment, from Gioseffo Zarlino: Le istitutioni harmoniche

Ex.12 Examples of dissonance treatment, from Gioseffo Zarlino: Le istitutioni harmoniche

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Counterpoint: Ex.14 Two treatments of dissonance not catalogued by Zarlino

Ex.14 Two treatments of dissonance not catalogued by Zarlino

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Counterpoint: Ex.16 The transposition of parts in contrapunto doppio, from Zarlino (iii, 56)

Ex.16 The transposition of parts in contrapunto doppio, from Zarlino (iii, 56)

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Counterpoint: Ex.17 ’Nota cambiata’ (a), after Berardi (1689); ’Fux’s appoggiatura’ (b), after Jeppesen (1925)

Ex.17 ’Nota cambiata’ (a), after Berardi (1689); ’Fux’s appoggiatura’ (b), after Jeppesen (1925)

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Counterpoint: Ex.18 Downward leap of a dissonant suspension from a 7th to a 3rd

Ex.18 Downward leap of a dissonant suspension from a 7th to a 3rd

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Counterpoint: Ex.19 The 7th as a chordal dissonance (a), and a suspension (b)

Ex.19 The 7th as a chordal dissonance (a), and a suspension (b)

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Counterpoint contrapunctus contra punctum: ‘against note’ Fr. contrepoint Kontrapunkt contrappunto 14. Free style: ‘licentious’ and ‘harmonic’ counterpoint.: Ex.20 Recitative (a) reduced in order to elucidate its free style as a paraphrase of strict counterpoint (b), after Bernhard (c1657)

Counterpoint contrapunctus contra punctum: ‘against note’ Fr. contrepoint Kontrapunkt contrappunto 14. Free style: ‘licentious’ and ‘harmonic’ counterpoint.: Ex.20 Recitative (a) reduced in order to elucidate its free style as a paraphrase of strict counterpoint (b), after Bernhard (c1657)

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Counterpoint contrapunctus contra punctum: ‘against note’ Fr. contrepoint Kontrapunkt contrappunto 14. Free style: ‘licentious’ and ‘harmonic’ counterpoint.: Ex.21 Motivic counterpoint (b) evolved by Kirnberger (1771–9) from a chorale with continuo accompaniment (a)

Counterpoint contrapunctus contra punctum: ‘against note’ Fr. contrepoint Kontrapunkt contrappunto 14. Free style: ‘licentious’ and ‘harmonic’ counterpoint.: Ex.21 Motivic counterpoint (b) evolved by Kirnberger (1771–9) from a chorale with continuo accompaniment (a)

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Counterpoint contrapunctus contra punctum: ‘against note’ Fr. contrepoint Kontrapunkt contrappunto 15. Bach.: Ex.22 J.S. Bach: Invention in D Minor

Counterpoint contrapunctus contra punctum: ‘against note’ Fr. contrepoint Kontrapunkt contrappunto 15. Bach.: Ex.22 J.S. Bach: Invention in D Minor

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Counterpoint: Ex.10 The interchangeability of concluding formuale between parts, Cochlaeus (c1504)

Ex.10 The interchangeability of concluding formuale between parts, Cochlaeus (c1504)

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Counterpoint: Ex.15 Vincenzo Galilei’s innovations in the treatment of dissonances (1587–91)

Ex.15 Vincenzo Galilei’s innovations in the treatment of dissonances (1587–91)

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Counterpoint: Ex.23 Irregular dissonances overshadowed through the use of formulaic melodic figures, J.S. Bach: French Suite no.6, Bourrée

Ex.23 Irregular dissonances overshadowed through the use of formulaic melodic figures, J.S. Bach: French Suite no.6, Bourrée

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Counterpoint: Ex.24 Chromatic chain of 6ths and 7ths (a) reduced to a diatonic model (b), J.S. Bach: Musical Offering, trio sonata, 2nd movt

Ex.24 Chromatic chain of 6ths and 7ths (a) reduced to a diatonic model (b), J.S. Bach: Musical Offering, trio sonata, 2nd movt

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