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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.

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

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

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.

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

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

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.

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.

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

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.

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

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

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.

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

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

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).

Counterpoint is the relationship between two or more musical lines which are harmonically interdependent yet independent in rhythm and melodic contour.

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.

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

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

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

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

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.

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

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

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

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

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