I illustrate how accidentals, contrapuntal adjustments, transposition intervals, and even the overall length of passages all relate to the two meantone limitations. I account for two- and three-part stretto fuga and the most common sequences in the early Baroque. The second part of the study considers the contrapuntal ramifications of these two meantone limitations. I show how this practice required composers to adhere to two meantone limitations that I describe in the first part of the study: (1) the meantone gamut and (2) Banchieri's "rule of strict counterpoint." Despite the name of Banchieri's rule, I explain how the rule actually pertains to meantone temperament. As early as 1609, the organist-composer Adriano Banchieri expresses how an ensemble should be tuned to match the meantone keyboard. I focus on ensemble works intended for keyboard accompaniment by Claudio Monteverdi and his contemporaries, Giovanni Rovetta and Chiara Margarita Cozzolani. Abstract : This article considers how meantone temperament relates to two important contrapuntal techniques in the early Baroque: stretto fuga and sequence.
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