ABSTRACT
The term counterpoint refers to music in which two or more independent voices are combined in a pleasing way; it also implies the technical procedures governing these voices and their relationships. In the best counterpoint, in any style, the voices exhibit integrity, independence, and interdependence. The voices are equally active, especially when imitative. The basic unit of movement is the half note, with an increase of movement through each phrase and a slowing at the cadence. Activity happens on each beat in at least one voice, except sometimes at the beginning or end of the phrase. Two-voice counterpoint in this style is usually imitative, tending less to the homophonic style than does music with three or more voices. Short homophonic passages are used for the relief of the prevailingly imitative texture. Close spacing is the norm, with the voices rarely more than a tenth apart.
