Counterpoint: Based on Eighteenth-Century Practice

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Counterpoint: Based on Eighteenth-Century Practice

Format:  Hardcover,

292 pages

Publisher: Pearson College Div

Publish Date: Sep 1998

ISBN-13: 9780130807465

ISBN-10: 013080746X

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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.

Specifications

Publisher: Pearson College Div
Publish Date: Sep 1998
ISBN-13: 9780130807465
ISBN-10: 013080746X
Format: Hardcover
Number of Pages: 292
Shipping Weight (in pounds): 1.15
Product in Inches (L x W x H): 6.25 x 9.5 x 0.75

Chapter outline

Prefacep. vii
Suggestions for the use of this bookp. ix
Introductionp. 1
Historical perspectivep. 1
Strict" versus "free" counterpointp. 2
Counterpoint as taught on the basis of stylistic normsp. 2
The nature of counterpointp. 3
The Single Melodic Linep. 4
Melodic contourp. 4
Relative importance of notesp. 7
Harmonic implicationsp. 8
The compound linep. 9
Rangep. 10
Other considerationsp. 10
Principles of Two-Voice Counterpointp. 18
Quality of individual linesp. 19
Independence between the linesp. 19
Unityp. 20
Harmonic implicationsp. 21
Consonance versus dissonancep. 29
Two-Voice Exercises, 1:1, 2:1p. 34
Note against note (1:1)p. 34
Two notes against one (2:1)p. 37
Chromaticism (Two Voices)p. 49
Melodic versus harmonic usagep. 49
Modulationp. 53
Chromatic spellingp. 54
Cross relationsp. 55
Concerning two-voice chromatic exercisesp. 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 speciesp. 74
Rhythmic activity divided between the voicesp. 76
Writing of Short Two-Voice Piecesp. 78
Formp. 78
Reducing or increasing the number of voicesp. 82
Varied repetitionp. 85
Canonp. 90
The two-voice canon at the octavep. 90
Two-voice canons at other harmonic intervalsp. 93
Concerning the writing of two-voice canonsp. 95
Canons using special devicesp. 96
The accompanied canonp. 103
Canons in three or more voicesp. 104
The perpetual canonp. 107
The double canonp. 110
The enigma canonp. 111
The spiral canonp. 113
Invertible Counterpointp. 114
Inversion at the octavep. 114
Inversion at intervals other than the octavep. 117
General principles involved in writing invertible counterpointp. 120
Invertible counterpoint involving three or more voicesp. 122
The Two-Part Invention; Motive Developmentp. 125
The motivep. 126
The imitation; the countermotivep. 127
The accompanying linep. 128
Possible plans of the initial announcementsp. 129
Development through special devicesp. 132
Episodesp. 133
Middle entriesp. 137
The final statementsp. 138
Overall constructionp. 138
Analysis of inventionsp. 139
Three-Voice Counterpointp. 144
Rhythmic relationshipsp. 144
Relative importance of voicesp. 148
Harmonic considerationsp. 148
Exercises in three-voice counterpointp. 155
Writing of Short Pieces, Three Voicesp. 163
Imitation in Three Voicesp. 169
Real imitationp. 170
Tonal imitationp. 173
The writing of answersp. 182
The Three-Part Invention; the Trio Sonatap. 185
Exceptional featuresp. 189
Analysis of an entire inventionp. 189
The trio sonatap. 192
Baroque duo sonatas of similar designp. 197
Fuguep. 201
The subjectp. 202
The answerp. 205
The three-voice fugue expositionp. 205
Four-voice counterpointp. 208
The four-voice fugue expositionp. 209
The subject as related to the material that follows itp. 213
The subject as related to the answer; the stretto fuguep. 215
Special devices as used in the expositionp. 216
The counterexpositionp. 217
Fugue (Continued)p. 219
Episodesp. 219
Middle entriesp. 221
Special devices as applied to the middle entriesp. 222
The final portionp. 224
The fugue as a wholep. 227
The scholastic fuguep. 233
Other types of fugal designp. 235
Fugue (Concluded)p. 237
The five-voice fuguep. 237
Fugues of six or more voicesp. 238
The two-voice fuguep. 239
The double fuguep. 240
The triple fuguep. 243
Fugues with more than three subjectsp. 245
The fughetta and the fugatop. 245
The concert fuguep. 246
The fugue fantasiap. 246
The group fuguep. 246
Fugue writing as affected by the mediump. 247
Forms Based on the Choralep. 249
The chorale preludep. 250
Use of the chorale melody in various voicesp. 264
Chorale variationsp. 265
The chorale fantasiap. 268
The chorale fuguep. 268
Contrapuntal Variation Formsp. 270
Cantus firmus variation types: the ground, the passacaglia, and the chaconnep. 270
Theme and variationsp. 276
Selected Bibliographyp. 279
Indexp. 281

Book description

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.

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