Counterpoint in Composition: The Study of Voice Leading

Contents

• Introduction
• Part 1 . The Techniques of Elementary Counterpoint
• 1. Cantus Firmus and First Species
• 1. Cantus Firmus
• 2. Two-part Counterpoint, First Species
• 3. Three-part Counterpoint, First Species
• 2. Second Species
• 1. Two-part Counterpoint
• 2. Three-point Counterpoint
• 3. Third Species
• 1. Two-part Counterpoint
• 2. Three-part Counterpoint
• 3. Three Notes against One
• 4. Fourth Species
• 1. Two-part Counterpoint
• 2. Three-part Counterpoint
• 5. Fifth Species
• 1. Two-part Counterpoint
• 2. Three-part Counterpoint
• Part 2 . The Techniques of Prolonged Counterpoint
• 6. Counterpoint in Composition, I
• 1. The Direct Application of Species Counterpoint
• 2. Two Major Influences on Contrapuntal Texture
• 7. Counterpoint in Composition, II
• 1. Melodic-contrapuntal Prolongations
• 2. Counterpoint within Prolonged Chords
• 3. The Evolution of Dissonance
• 4. Repetition and Articulation
• 5. Harmonic Influences on Voice Leading
• 6. Chromaticism; Contrapuntal Leading-tone Chords
• 7. Octaves and Fifths
• 8. The Chorale
• 1. The Elements of Chorale Writing
• 2. Setting a Single Phrase
• 3. Setting Groups of Two or More Phrases
• 4. The Complete Chorale
• 9. Combined Species
• 1. Combination of Two Second Species
• 2. Combination of Second and Third Species
• 3. Combination of Second and Fourth Species
• 4. Combination of Third and Fourth Species
• 5. Combination of Two Fifth Species
• 6. Progressions from Combined Species in Composition
• 10. Voice-Leading Techniques in Historical Perspective (ca. 1450-ca. 1900)