Rent 9780131842359 | Counterpoint; Based on Eighteenth-Century Practice

Summary Table of Contents

The author's analysis of contrapuntal music of the 17th and 18th centuries provides a basic foundation of this style. He emphasizes both the techniques and the forms involved.

Preface	p. vii
Suggestions for the use of this book	p. ix
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
The Single Melodic Line	p. 4
Melodic contour	p. 4
Relative importance of ... MOREnotes	p. 7
Harmonic implications	p. 8
The compound line	p. 9
Range	p. 10
Other considerations	p. 10
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
Two-Voice Exercises, 1:1, 2:1	p. 34
Note against note (1:1)	p. 34
Two notes against one (2:1)	p. 37
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
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
Writing of Short Two-Voice Pieces	p. 78
Form	p. 78
Reducing or increasing the number of voices	p. 82
Varied repetition	p. 85
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
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
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
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
Writing of Short Pieces, Three Voices	p. 163
Imitation in Three Voices	p. 169
Real imitation	p. 170
Tonal imitation	p. 173
The writing of answers	p. 182
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
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
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
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
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
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
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