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Counterpoint

ISBN: 9780130807465 | 013080746X
Edition: 4th
Format: Hardcover
Publisher: Pearson
Pub. Date: 7/29/1998

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SummaryTable of Contents
Designed for courses in Music, 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.
PREFACEix
Suggestions for use of this bookx
Chapter 1 INTRODUCTION
1(4)
Objectives
... MORE(1)
The stylistic approach
2(1)
Historical Perspective
2(1)
The nature of counterpoint
3(1)
"Strict" versus "free" counterpoint
3(2)
Chapter 2 THE SINGLE MELODIC LINE
5(14)
Melodic contour
5(3)
Relative importance of notes
8(1)
Harmonic implications
9(1)
The compound line
10(1)
Range
11(1)
Other considerations
11(7)
SUGGESTED ASSIGNMENTS
18(1)
Chapter 3 PRINCIPLES OF TWO-VOICE COUNTERPOINT
19(16)
Quality of individual lines
20(1)
Independence between the lines
20(1)
Unity
21(1)
Harmonic implications
22(8)
Consonance versus dissonance
30(3)
SUGGESTED ASSIGNMENTS
33(1)
SELF-TEST
34(1)
Chapter 4 TWO-VOICE EXERCISES, 1:1, 2:1
35(15)
Note against note (1:1)
35(3)
Two notes against one (2:1)
38(11)
SUGGESTED ASSIGNMENTS
49(1)
Chapter 5 CHROMATICISM (TWO VOICES)
50(10)
Melodic versus harmonic usage
50(3)
Modulation
53(2)
Chromatic spelling
55(1)
Cross relations
55(1)
Concerning two-voice chromatic exercises
56(3)
SUGGESTED ASSIGNMENTS
59(1)
Chapter 6 TWO-VOICE EXERCISES (Concluded)
60(19)
Three notes against one (3:1)
60(3)
Four notes against one (4:1)
63(2)
Syncopation (fourth species)
65(10)
Fifth species
75(2)
Rhythmic activity divided between the voices
77(1)
SUGGESTED ASSIGNMENTS
78(1)
SELF-TEST
78(1)
Chapter 7 WRITING OF SHORT TWO-VOICE PIECES
79(12)
Form
79(4)
Reducing or increasing the number of voices
83(3)
Varied repetition
86(4)
SUGGESTED ASSIGNMENTS
90(1)
SELF-TEST
90(1)
Chapter 8 CANON
91(24)
The two-voice canon at the octave
91(3)
Two-voice canons at other harmonic intervals
94(2)
Concerning the writing of two-voice canons
96(1)
Canons using special devices
97(6)
The accompanied canon
103(2)
Canons in three or more voices
105(3)
The perpetual canon
108(3)
The double canon
111(1)
The enigma canon
112(2)
The spiral canon
114(1)
SUGGESTED ASSIGNMENTS
114(1)
SELF-TEST
114(1)
Chapter 9 INVERTIBLE COUNTERPOINT
115(11)
Inversion at the octave
115(3)
Inversion at intervals other than the octave
118(3)
General principles involved in writing invertible counterpoint
121(2)
Invertible counterpoint involving three or more voices
123(1)
SUGGESTED ASSIGNMENTS
123(1)
SELF-TEST
123(3)
Chapter 10 THE TWO-PART INVENTION; MOTIVE DEVELOPMENT
126(19)
The motive
127(1)
The imitation; the countermotive
128(1)
The accompanying line
129(1)
Possible plans of the initial announcements
130(3)
Development through special devices
133(1)
Episodes
134(4)
Middle entries
138(1)
The final statements
139(1)
Overall construction
139(1)
Analysis of inventions
140(4)
SUGGESTED ASSIGNMENTS
144(1)
SELF-TEST
144(1)
Chapter 11 THREE-VOICE COUNTERPOINT
145(19)
Rhythmic relationships
145(4)
Relative importance of voices
149(1)
Harmonic considerations
149(7)
Exercises in three-voice counterpoint
156(6)
SUGGESTED ASSIGNMENTS
162(1)
SELF-TEST
162(2)
Chapter 12 WRITING OF SHORT PIECES, THREE VOICES
164(6)
SUGGESTED ASSIGNMENTS
169(1)
Chapter 13 IMITATION IN THREE VOICES
170(16)
Real imitation
171(3)
Tonal imitation
174(9)
The writing of answers
183(2)
SUGGESTED ASSIGNMENTS
185(1)
SELF-TEST
185(1)
Chapter 14 THE THREE-PART INVENTION; THE TRIO SONATA
186(16)
Exceptional features
190(1)
Analysis of an entire invention
190(2)
The trio sonata
192(6)
Baroque duo sonatas of similar design
198(2)
SUGGESTED ASSIGNMENTS
200(1)
SELF-TEST
201(1)
Chapter 15 FUGUE
202(18)
The subject
203(3)
The answer
206(1)
The three-voice fugue exposition
206(3)
Four-voice counterpoint
209(1)
The four-voice fugue exposition
210(4)
The subject as related to the material that follows it
214(2)
The subject as related to the answer; the stretto fugue
216(1)
Special devices as used in the exposition
217(1)
The counterexposition
218(1)
SUGGESTED ASSIGNMENTS
218(2)
Chapter 16 FUGUE (Continued)
220(18)
Episodes
220(2)
Middle entries
222(1)
Special devices as applied to the middle entries
223(2)
The final portion
225(3)
The fugue as a whole
228(6)
The scholastic fugue
234(1)
Other types of fugal design
235(1)
SUGGESTED ASSIGNMENTS
236(2)
Chapter 17 FUGUE (Concluded)
238(12)
The five-voice fugue
238(1)
Fugues of six or more voices
239(1)
The two-voice fugue
240(1)
The double fugue
240(4)
The triple fugue
244(2)
Fugues with more than three subjects
246(1)
The fughetta and the fugato
246(1)
The concert fugue
246(1)
The fugue fantasia
247(1)
The group fugue
247(1)
Fugue writing as affected by the medium
248(1)
SUGGESTED ASSIGNMENTS
249(1)
SELF-TEST
249(1)
Chapter 18 FORMS BASED ON THE CHORALE
250(21)
The chorale prelude
250(14)
Use of the chorale melody in various voices
264(1)
Chorale variations
265(3)
The chorale fantasia
268(1)
The chorale fugue
268(1)
SUGGESTED ASSIGNMENTS
269(1)
SELF-TEST
270(1)
Chapter 19 CONTRAPUNTAL VARIATION FORMS
271(8)
Cantus firmus variation types: the ground the passacaglia, and the chaconne
271(6)
Theme and variations
277(1)
SUGGESTED ASSIGNMENTS
278(1)
SELECTED BIBLIOGRAPHY279(2)
INDEX281

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