Sixteenth-century Polyphony: A Basis for the Study of Counterpoint

accents Aeolian Aeolian modes alto auxiliary note bass beginning Breitkopf and Härtel cambiata changing note group chants Chri clef common practice composition consonant contrapuntal contrapuntal music counterpoint dissonance dominant Dorian double whole notes effect ensemble entries example familiar style fifth final cadences fourth beat fugal style guen half note harmony Härtel imitation individual lines intervals inversion Ionian modes Kyrie Lassus lower voice Lydian major and minor minor second minor third Missa Mixolydian mode motet move movement mus et lae never octave ordinarily Palestrina passing note Penitential Psalm Phrygian mode piece plagal cadence plagal modes plainsong melodies quarter note rare resolution resolving rhythm rhythmic root position sacred music si-mo sing sixteenth century sixteenth-century composers soprano stepwise strong beat student suspension tenor theme tonality triad two-part upper voice usually vols weak beat whole notes