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Designed for courses in beginning and advanced counterpoint, this established text introduces the contrapuntal style of 17th and 18th century music through analysis and writing. While a limited understanding of contrapuntal elements may be gained through analysis alone, these elements are grasped in a more intimate way through the actual writing of contrapuntal examples. Also, by linking the study of counterpoint to music of a specific period, the text provides a clear model for students to emulate and a definite basis for the criticism of student work.

Tabla de contenidos provista por Syndetics

• Preface(p. vii)
• Suggestions for the use of this book(p. ix)
• Chapter 1 Introduction(p. 1)
• Historical perspective(p. 1)
• "Strict" versus "free" counterpoint(p. 2)
• Counterpoint as taught on the basis of stylistic norms(p. 2)
• The nature of counterpoint(p. 3)
• Chapter 2 The Single Melodic Line(p. 4)
• Melodic contour(p. 4)
• Relative importance of notes(p. 7)
• Harmonic implications(p. 8)
• The compound line(p. 9)
• Range(p. 10)
• Other considerations(p. 10)
• Chapter 3 Principles of Two-Voice Counterpoint(p. 18)
• Quality of individual lines(p. 19)
• Independence between the lines(p. 19)
• Unity(p. 20)
• Harmonic implications(p. 21)
• Consonance versus dissonance(p. 29)
• Chapter 4 Two-Voice Exercises, 1:1, 2:1(p. 34)
• Note against note (1:1)(p. 34)
• Two notes against one (2:1)(p. 37)
• Chapter 5 Chromaticism (Two Voices)(p. 49)
• Melodic versus harmonic usage(p. 49)
• Modulation(p. 53)
• Chromatic spelling(p. 54)
• Cross relations(p. 55)
• Concerning two-voice chromatic exercises(p. 55)
• Chapter 6 Two-Voice Exercises (Concluded)(p. 59)
• Three notes against one (3:1)(p. 59)
• Four notes against one (4:1)(p. 62)
• Syncopation (fourth species)(p. 64)
• Fifth species(p. 74)
• Rhythmic activity divided between the voices(p. 76)
• Chapter 7 Writing of Short Two-Voice Pieces(p. 78)
• Form(p. 78)
• Reducing or increasing the number of voices(p. 82)
• Varied repetition(p. 85)
• Chapter 8 Canon(p. 90)
• The two-voice canon at the octave(p. 90)
• Two-voice canons at other harmonic intervals(p. 93)
• Concerning the writing of two-voice canons(p. 95)
• Canons using special devices(p. 96)
• The accompanied canon(p. 103)
• Canons in three or more voices(p. 104)
• The perpetual canon(p. 107)
• The double canon(p. 110)
• The enigma canon(p. 111)
• The spiral canon(p. 113)
• Chapter 9 Invertible Counterpoint(p. 114)
• Inversion at the octave(p. 114)
• Inversion at intervals other than the octave(p. 117)
• General principles involved in writing invertible counterpoint(p. 120)
• Invertible counterpoint involving three or more voices(p. 122)
• Chapter 10 The Two-Part Invention; Motive Development(p. 125)
• The motive(p. 126)
• The imitation; the countermotive(p. 127)
• The accompanying line(p. 128)
• Possible plans of the initial announcements(p. 129)
• Development through special devices(p. 132)
• Episodes(p. 133)
• Middle entries(p. 137)
• The final statements(p. 138)
• Overall construction(p. 138)
• Analysis of inventions(p. 139)
• Chapter 11 Three-Voice Counterpoint(p. 144)
• Rhythmic relationships(p. 144)
• Relative importance of voices(p. 148)
• Harmonic considerations(p. 148)
• Exercises in three-voice counterpoint(p. 155)
• Chapter 12 Writing of Short Pieces, Three Voices(p. 163)
• Chapter 13 Imitation in Three Voices(p. 169)
• Real imitation(p. 170)
• Tonal imitation(p. 173)
• The writing of answers(p. 182)
• Chapter 14 The Three-Part Invention; the Trio Sonata(p. 185)
• Exceptional features(p. 189)
• Analysis of an entire invention(p. 189)
• The trio sonata(p. 192)
• Baroque duo sonatas of similar design(p. 197)
• Chapter 15 Fugue(p. 201)
• The subject(p. 202)
• The answer(p. 205)
• The three-voice fugue exposition(p. 205)
• Four-voice counterpoint(p. 208)
• The four-voice fugue exposition(p. 209)
• The subject as related to the material that follows it(p. 213)
• The subject as related to the answer; the stretto fugue(p. 215)
• Special devices as used in the exposition(p. 216)
• The counterexposition(p. 217)
• Chapter 16 Fugue (Continued)(p. 219)
• Episodes(p. 219)
• Middle entries(p. 221)
• Special devices as applied to the middle entries(p. 222)
• The final portion(p. 224)
• The fugue as a whole(p. 227)
• The scholastic fugue(p. 233)
• Other types of fugal design(p. 235)
• Chapter 17 Fugue (Concluded)(p. 237)
• The five-voice fugue(p. 237)
• Fugues of six or more voices(p. 238)
• The two-voice fugue(p. 239)
• The double fugue(p. 240)
• The triple fugue(p. 243)
• Fugues with more than three subjects(p. 245)
• The fughetta and the fugato(p. 245)
• The concert fugue(p. 246)
• The fugue fantasia(p. 246)
• The group fugue(p. 246)
• Fugue writing as affected by the medium(p. 247)
• Chapter 18 Forms Based on the Chorale(p. 249)
• The chorale prelude(p. 250)
• Use of the chorale melody in various voices(p. 264)
• Chorale variations(p. 265)
• The chorale fantasia(p. 268)
• The chorale fugue(p. 268)
• Chapter 19 Contrapuntal Variation Forms(p. 270)
• Cantus firmus variation types: the ground, the passacaglia, and the chaconne(p. 270)
• Theme and variations(p. 276)
• Selected Bibliography(p. 279)
• Index(p. 281)