The Craft of Tonal Counterpoint

Contents

• Acknowledgments
• Preface to the Second Edition Notes to the Teacher Notes to the Student
• Introduction
• Chapter 1 : Line and Other Elements of Style Shape; Tonal Framework; Range and Tessitura Structural Pitches Filling-In (Motivic) Figures Phrase and Cadence Cadence Figures Meter and Rhythm Melodic Intervals; Details of Line Scales; Chromaticism; Tendency
• Chapter 2 : Nonimitative Two-Voice Writing General Observations Specific Details of Voice Relationship A Note on Compound Meter Contrapuntal Analysis Checklist Essentials of Two-Voice Counterpoint
• Chapter 3 : Chromaticism in Two Voices Nonfunctional Chromaticism Functional (Essential) Chromaticism Harmonies Related to Chromatic Lines The Neapolitan Triad Augmented-Sixth Chords
• Chapter 4 : Composition of Binary Dance Forms
• Chapter 5 : Double (Invertible) Counterpoint Double Counterpoint at the Octave or Fifteenth Double Counterpoint at the Twelfth Double Counterpoint at the Tenth
• Chapter 6 : Imitation; Canon Imitation Canon Variants in the Imitative Process
• Chapter 7 : The Two-Voice Invention The Exposition: Theme and Countertheme The Episode The Invention as a Whole Analysis of a Complete Invention
• Chapter 8 : Three-Voice Counterpoint I: Texture, Rhythm, Harmony Texture and Rhythm Range and Spacing Relative Motion Harmony Cadential Figures Nonharmonic Tones
• Chapter 9 : Three-Voice Counterpoint II: Chromaticism, Triple Counterpoint, Canon Chromaticism Cross-Relation Triple (Triple Invertible) Counterpoint Accompanied Two-Voice Canon Canon in Three Voices
• Chapter 10 : Fugue I The Subject The Answer The Exposition
• Chapter 11 : Fugue II Overall Structure The Episode Middle Entries The Counter-Exposition Augmentation and Diminution Inversion Stretto Pedal Point The Ending Section Analysis of a Complete Fugue
• Chapter 12 : Four-Voice Counterpoint Texture and Rhythm Harmony Four-Voice Fugue Other Fugal Variants
• Chapter 13 : Variation Forms The Passacaglia The Chaconne The Goldberg Variations
• Chapter 14 : Cantus Firmus Procedure: The Chorale
• Prelude The Ornamented Chorale Harmonization Cantus with Motivic Counterpoints Canonic Treatment of Cantus and/or Accompanying Parts Chorale
• Prelude Involving Vorimitation (Preimitation) Chorale
• Prelude with "Obbligato" Melody
• Conclusion
• Appendix 1: Harmony
• Appendix 2: Composing for the Organ
• Glossary
• Bibliography Anthology
• Index