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            "slug": "first-species-counterpoint",
            "title": "First Species Counterpoint, Rule by Rule",
            "dek": "Species counterpoint isolates one compositional decision at a time. First species isolates the hardest one: how to make two voices sound like two voices.",
            "topic": "counterpoint",
            "topic_name": "Counterpoint",
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            "excerpt": "A cantus firmus is a tune with no accompaniment, eight to sixteen notes long, that moves mostly by step and comes to rest on its final. First species asks you to add exactly one note against each of those notes: two voices, both in whole notes, moving…"
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            "slug": "fugue-subject-and-answer",
            "title": "Fugue Subjects and Answers",
            "dek": "A fugue's opening notes commit the piece to more than a tune. The subject's shape and the answer's adjustment decide what can happen next.",
            "topic": "counterpoint",
            "topic_name": "Counterpoint",
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            "excerpt": "Almost every description of fugue begins by warning that fugue is not a form. The warning is necessary and usually wasted, because the terms that follow (subject, answer, countersubject, exposition, episode) get used as if they named fixed compartments. They…"
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            "title": "Imitation and Invertible Counterpoint",
            "dek": "Imitation makes one idea serve two lines. Invertible counterpoint makes those lines interchangeable, and the arithmetic behind it is small enough to check.",
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            "excerpt": "Two melodies that have nothing to do with each other can still be written together correctly, and the result will often sound like two people talking past each other. Imitation is the oldest solution to that problem: the second voice takes up the first…"
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