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Second species introduces two notes in the counter-melody for every note of the cantus firmus, allowing for some dissonance on the off-beats.

In inversion, a melodic line is mirrored around a given axis note, meaning intervals are flipped in direction but remain the same size. This is used in invertible counterpoint.

A suspension is a dissonant musical effect created when a note from one chord is held over into the next chord, creating a temporary dissonance that resolves downward or upward.

Double counterpoint is a specific technique where two voices can be inverted at an octave or other interval and still maintain harmonic coherence.

Imitative counterpoint occurs when melodic lines are similar or identical in contour and rhythm but are introduced at staggered time intervals.

Triple counterpoint is a technique allowing three voices to be inverted at specified intervals, so that any can be the upper, middle, or lower voice without disturbing the harmonic balance.

Third Species allows for four notes in the counter-melody against each note of the cantus firmus, with more rhythmic activity and melodic complexity.

Similar motion happens when two voices move in the same direction but change their intervals, often considered better than parallel motion in counterpoint.

Fourth Species involves using suspensions that create dissonance on the downbeat that resolves by step to a consonance on the following off-beat.

A cross relation, or false relation, occurs when two voices simultaneously or successively present a chromatic contradiction of a note, creating a dissonance typically avoided.

Free counterpoint is the approach where the composer does not adhere strictly to the rules of any specific species of counterpoint, allowing greater flexibility.

Contrary motion is when two voices move in opposite directions, which is favorable in counterpoint for increased independence between parts.

A pedal point is a sustained or repeated note, usually in the bass, over which harmonies change, creating tension and release.

Species counterpoint is a method of studying counterpoint that involves incremental learning steps, from adding a single note against a cantus firmus to more complex lines.

Cantus firmus is a pre-existing melody that serves as the structural basis for a polyphonic composition in the counterpoint.

Voice leading is the practice of moving individual musical lines or voices smoothly and coherently to create a logical harmonic progression.

Textural counterpoint refers to the contrast and interplay between different textures (e.g., monophonic vs. polyphonic) within a composition.

Consonance refers to harmonious and stable intervals or chords, while dissonance refers to the tension and instability which often resolve to consonance.

Fifth Species, or Florid Counterpoint, combines elements from the first four species, allowing for a variation of rhythms and the interplay of consonance and dissonance.

In a fugue, the counter-exposition is where the subjects and answers reappear after the exposition but in varied order or modified form.

Augmentation involves lengthening the time values of notes in a melodic line, often used in counterpoint to create a contrasting section or to develop thematic material.

Quadruple counterpoint is an advanced technique in which four voices can be inverted in any order and still maintain proper harmonic relations.

Parallel motion refers to two voices moving in the same direction with the same interval between them sustained over successive notes, which can be undesirable in counterpoint.

Stretto is a technique in fugue where the subject is imitated before it is completed; the entries overlap each other temporally, increasing tension and excitement.

In First Species, each note of the cantus firmus is matched with one note in the counter-melody, sticking to consonant intervals.

Oblique motion occurs when one voice stays the same while the other moves, creating a form of independence in counterpoint.

Diminution is the technique of shortening the time values of notes in a melody, which increases the activity and can create a sense of urgency or excitement in counterpoint.

Retrograde is the performance or writing of a musical line backwards, a technique sometimes used in counterpoint for variation and complexity.

A canon is a composition technique that employs a melody with one or more imitations of the melody played after a given duration (such as a measure).