2: Voice-Leading and Model Composition Last updated Save as PDF Page ID 61950 Robin Wharton and Kris Shaffer eds. Open Music Theory via Hybrid Pedagogy Publishing 2.1: Introduction to Strict Voice-Leading 2.2: Strict Two-Voice Composition (Species Counterpoint) - Composing a cantus firmus 2.3: Strict Two-Voice Composition - Composing a First-Species Counterpoint 2.4: Strict Two-Voice Composition - Composing a Second-Species Counterpoint 2.5: Strict Two-Voice Composition - Composing a Third-Species Counterpoint 2.6: Strict Two-Voice Composition - Composing a Fourth-Species Counterpoint 2.7: Strict Four-Voice Composition - Introduction to Thoroughbass 2.8: Strict Four-Voice Composition - A Brief History of basso continuo Keyboard-Style Voice-Leading 2.9: Strict Four-Voice Composition - Generating Roman Numerals from a Figured Bass Line 2.10: Strict Four-Voice Composition - Composing in basso continuo Style 2.11: Strict Four-Voice Composition - Style and Tendency 2.12: Strict Four-Voice Composition - Tendency Tones and Functional Harmonic Dissonances 2.13: Strict Four-Voice Composition - Realizing a Figured Bass in Strict basso continuo Style 2.14: Strict Four-Voice Composition - Melodic Keyboard-Style Voice-Leading 2.15: Strict Four-Voice Composition - Keyboard-Style Voice-Leading Schemata 2.16: Strict Four-Voice Composition - Realizing a Figured Bass Line in Melodic Keyboard Style 2.17: Strict Four-Voice Composition - Realizing an Unfigured Bass Line 2.18: Strict Four-Voice Composition - Embellishing Tones