By Kent Wheeler Kennan
Old standpoint -- "Strict" as opposed to "free" counterpoint -- Counterpoint as taught at the foundation of stylistic norms -- the character of counterpoint -- the only Melodic Line -- Melodic contour -- Relative significance of notes -- Harmonic implications -- The compound line -- variety -- different issues -- rules of Two-Voice Counterpoint -- caliber of person strains -- Independence among the strains -- cohesion -- Harmonic implications -- Consonance as opposed to dissonance -- Two-Voice routines, 1:1, 2:1 -- notice opposed to observe (1:1) -- notes opposed to one (2:1) -- Chromaticism (Two Voices) -- Melodic as opposed to harmonic utilization -- Modulation -- Chromatic spelling -- pass kin -- relating two-voice chromatic routines -- Two-Voice routines (Concluded) -- 3 notes opposed to one (3:1) -- 4 notes opposed to one (4:1) -- Syncopation (fourth species) -- 5th species -- Rhythmic task divided among the voices -- Writing of brief Two-Voice items -- shape -- decreasing or expanding the variety of voices -- diverse repetition -- Canon -- The two-voice canon on the octave -- Two-voice canons at different harmonic durations -- about the writing of two-voice canons -- Canons utilizing targeted units -- The observed canon -- Canons in 3 or extra voices -- The perpetual canon -- The double canon -- The enigma canon -- The spiral canon -- Invertible Counterpoint -- Inversion on the octave -- Inversion at periods except the octave -- common rules interested by writing invertible counterpoint
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