Aaron theory and, 577
accelerated harmonic rhythm and, 628
avoidance of, 603 –5
ballata and, 366 , 368 , 369 –71
bass progression and, 467 , 468 –72
Caput Mass and, 468 –71, 483
changed articulation of, 471 –72
closure and, 305 , 408 , 471 , 493 , 587 , 628
counterpoint, 155 , 168 , 297 –98, 301 , 302 , 305 , 430
deceptive, 603 –4
definition of, 468 –69
dominant-tonic, 409 , 447 , 469 , 470 –72
Dorian, 274
double leading-tone, 276 –77, 368 , 408 –9
Du Fay and, 446 –47
V-I pattern and, 409 , 447 , 469 , 470 –71
galliard, 742
Gaspar’s Mater, Patris Filia and, 520 , 521
ground bass and, 626 , 627
Landini (under-third), 368 , 369 –71, 470
Landini madrigal in motet style, 374 , 375 –77
Machaut and, 325
medial, 446
monodic harmony and, 815
by occursus, 154 , 155 , 356
Ockeghem motet and, 505 –6
octave leap, 447 , 448
open, 408
pavan, 742
rule of closeness and, 276 –77
superius/tenor motion and, 470
three-voice, 298 –99
transition and, 599 –600
Willaert and, 602 , 603 –5call and response, 113
Callistus (Calixtus) II, Pope, 162
Calvin, John, 754