• 7_RMO_vol.6.1_Alevizos

    7_RMO_vol.6.1_Alevizos

  • Figure 15

    Annex iva: Two-voice Stretto in Inversus-Rectus (IR) in All Entry Distances (Half Note Level).

  • Figure 13

    Annex iia: Two-voice Stretto in Inversus (II) in All Entry Distances (Half Note Level).

  • Figure 12

    Annex ia: Two-voice Stretto in Rectus (RR) in All Entry Distances (Half Note Level).

  • Figure 14

    Annex iii: Two-voiceStretto in Rectus-Inversus (RI) in All Entry Distances (Half Note Level).

  • Figure 11

    Annex iv: Two-voice Stretto in Inversus-Rectus (IR) in All Entry Distances (Half Note Level).

  • Figure 10

    Annex iii: Two-voice Stretto in Rectus-Inversus (RI) in All Entry Distances (Half Note Level).

  • Figure 15

    Annex iva: Two-voice Stretto in Inversus-Rectus (IR) in All Entry Distances (Half Note Level).

  • Figure 13

    Annex iia: Two-voice Stretto in Inversus (II) in All Entry Distances (Half Note Level).

  • Figure 12

    Annex ia: Two-voiceStretto in Rectus (RR) in All Entry Distances (Half Note Level).

  • ANNEX III

    Annex iii: Two-voice Stretto in Rectus-Inversus (RI) in All Entry Distances (Half Note Level).

  • Figure 9

    Annex ii: Two-voice Stretto in Inversus (II) in All Entry Distances (Half Note Level).

  • Figure 8

    Annex i: Two-voice Stretto in Rectus (RR) in All Entry Distances (Half Note Level).

  • Figure 2

    Figure 2: Comprehensive morphological structure of Contrapunctus 5.

  • Figure 7

    Figure 7: Combination of the four elements.

  • Figure 6

    Figure 6: The two methods of the appoggiatura effect.

  • Figure 5

    Figure 5: Avoiding dissonance in the stretto combinations of the dotted subject.

  • Figure 4

    Figure 4: Non-operational stretto combinations.

  • Figure 3

    Figure 3: The creation of inversions.

  • Figure 1

    Figure 1: Contrapunctus 5, bars 1-5, alto.

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