Counterpoint
, by Kennan, Kent WheelerNote: Supplemental materials are not guaranteed with Rental or Used book purchases.
- ISBN: 9780131842359 | 0131842358
- Cover: Hardcover
- Copyright: 1/1/1987
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 notes | 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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