Baroque Counterpoint

Acknowledgments ix PART I Strict Style Introduction 1(7) Why Study Counterpoint? 1(1) What Is This Book? 2(1) Who Can Use This Book? 3(1) Step-by-Step 3(1) Learning by Modeling 3(1) Mainstream Composers 4(1) Keeping a Commonplace Book---Copying and Memorizing Music 4(1) The ``Sound'' of Baroque Music 5(1) Why Vocal Music? 5(1) Recipe for Success 5(1) Notes on Baroque Harmony 5(1) Different Road Maps through the Book 6(2) Melody or Harmony? 8(9) Canon---The Melody as Surface of the Progression 9(2) Chord Factors 11(1) Composing a Canon---Unpacking the Box 12(1) Composing a Canon---The Melodic Approach 13(1) Puzzle Canon 14(2) Fugue and Other Imitative Genres 16(1) Harmonizing a Subject in Simple Counterpoint 17(12) Simple Counterpoint or Chorale Style 17(1) Harmonic Rhythm, or ``Steps'' 17(2) Fundamental Bass or Root Progression 19(1) Chord Factors 19(1) The Principal Triads 20(1) Rules for Using Only Principal Triads in Simple Counterpoint 20(4) Inverted Chords 24(1) Other Triads and Substitute Chords 25(1) Rules for Exercises in Harmonizing Given Subjects Using All Available Triads and Inverted Chords 26(1) Tips for Writing Good Bass Lines 26(3) Melodic Embellishment in Strict Style 29(25) Strict Style 29(1) Dance Steps and Dissonance 29(1) Dance Rhythms 30(1) Rules for Strict Style 31(1) The Types of Embellishment 32(13) Compound Melody 45(1) Reduction 46(3) Brief Summary of Rules for Strict Style 49(5) Variation Techniques 54(21) Why Variation? 54(1) Chaconne, Passacaglia, Ground, Variation 54(4) Motives 58(1) Inventory of Typical Motives 58(1) Motive as Embellishment 59(1) Harmonizing Motives 59(2) Faster Harmonic Rhythm 61(1) Dissonance in More Than Two Parts 61(2) Melodic Inversion 63(1) Chorale Preludes 64(1) Motivic Variation 65(4) Chorale Cantus Firmus in Longer Note Values 69(1) Retrograde and Retrograde Inversion 70(2) Other Motives 72(3) Imitation at the Unison or Octave 75(16) Imitative Trio Sonata Openings 75(3) Tips for Good Three-Part Writing 78(3) Inverted Chords and Substitute Chords 81(3) Total Reharmonization 84(2) Openings of Keyboard Dances and Inventions 86(5) Imitation at the Fifth 91(12) Why Imitate at the Fifth? 91(1) Imitation at the Fifth in Trio Sonatas 91(2) The Splice 93(1) Different Types of Splice 93(2) Not A Splice---The Modulation 95(3) Imitation at the Fifth in the Minor Mode 98(2) Note on Dorian and Mixolydian Key Signatures 100(3) Remodulation and a Third Entry 103(19) Back to the Tonic 103(1) The D/T Splice 103(1) Modulation and Remodulation 104(2) Splice Plus Modulation 106(1) Chord Factors in Splice Pairs 107(1) The Third Thematic Entry 108(2) The Retransition 110(2) Remodulation and Retransition in Minor Keys 112(5) Nonmodulating Themes 117(5) Fugue Exposition 122(19) Fugue versus Trio Sonata 122(1) The Subject as Bass 122(1) The SATB Exposition 123(3) The BTAS Exposition 126(1) The Countersubject 127(3) Other Orders of Entry 130(1) Basic Principles of Invertible Counterpoint 130(5) Vocal Ranges and Other Orders of Entry 135(1) Two Subjects or Answers in a Row 135(1) The Subject and Answer in Nonadjacent Voices 136(5) Tonal Answer 141(19) Real Answer versus Tonal Answer 141(1) Moving the Splice 141(2) Tonic Scale and Dominant Scale 143(1) Reciprocity and Types of Subject 144(1) Why Tonal Answer? 145(1) Other Alterations and Scale Degrees 146(1) Analyzing Melodies 147(3) Writing Tonal Answers 150(1) When to Use Real Answer 151(1) Countersubject and Tonal Counteranswer 152(1) Diagonal Splice 152(4) Tonal Answer and Harmonic Progression 156(4) Thematic Presentations 160(33) Summary of Chapters 5--10 160(1) The Exposition 160(1) Simple Fugues 161(1) Some Aspects of Musical Variety 161(1) Multiple Fugues 162(1) The First Type of Double Fugue 163(5) How to Avoid Periodicity in the First Type of Double Fugue 168(2) A Lesson from Mattheson 170(2) The Second Type of Double Fugue 172(3) The Third Type of Double Fugue 175(3) Invertibility in Double Fugues 178(4) Triple and Quadruple Fugues 182(1) Permutation Fugue 182(2) Invertibility in Triple and Quadruple Fugues 184(3) Unpacking Harmonic ``Boxes'' Part II 187(6) Sequences and Episodes 193(24) Sequences with One-Chord Models 193(2) Two-Chord Models 195(6) Multichord Models 201(2) Harmonic Smudge 203(1) Realizing Sequentially 204(1) Canons in Sequences 204(2) Ways to Harmonize the Suspension Chain 206(2) Sequences in Themes 208(2) Sequences in Episodes 210(1) Deriving Motives from the Subject and Countersubject 210(1) Using Sequences to Modulate 211(1) Joining Two Sequences 211(6) Laying Out a Whole Piece 217(19) Cadences 217(4) Mattheson on Cadences in Fugue 221(1) Placement of Formal Cadences 222(1) Placement of Subordinate Cadences 223(1) Joining Sections 224(2) Modulating by Means of Successive Entries 226(1) Fragmentary Entries 227(1) Motivic Unity 228(1) A Case Study 228(8) PART II Free Style and Advanced Techniques Advanced Embellishment --- Free Style 236(21) Accented Dissonance 236(7) Sense of Direction 243(1) Suspensions that Resolve Upwards 244(1) Leaps to or from Dissonance 244(5) Expanding a Harmony (Voice Exchange) 249(1) Transferred Resolutions 250(3) Layers of Dissonance 253(1) The Benefits of Free Style 254(3) Chromaticism and Sequences 257(18) Ascending and Descending Chromaticism 257(1) The Diminished Seventh Chord 258(1) Two Types of Descending Chromaticism 259(4) Isolated Applied Dominants 263(1) Applied Dominants in Sequences 264(3) Sequences with Irregular Harmonic Rhythm 267(1) Sequences with Embedded Progressions 267(2) Applied Dominants in Compound Melody 269(1) More Harmonic Smudges 270(1) Chromatic Scales in Fugue Subjects 271(1) Chromaticism and Tonal Answer 272(1) A Famous Difficult Example 273(2) Multiple Counterpoint 275(22) Why Use Invertible Counterpoint? 275(1) Invertible Counterpoint at the Tenth (IC10) 276(2) Parallel Tenths 278(1) IC10 and Harmony 279(1) IC12 280(3) IC12 and Harmony 283(1) A Bach Story 284(1) Invertible Counterpoint in Three Parts 284(1) Invertible Counterpoint at the Octave and Tenth 284(1) Invertible Counterpoint at the Tenth and Twelfth 285(1) Invertible Double Counterpoint in Four Parts: IC 8, 10, and 12 286(1) Triple and Quadruple Counterpoint 287(3) Composing Boxes of Artful Devices First . . . 290(2) . . . and then Unpacking the Boxes 292(1) Uninverted Double Counterpoint 293(4) Writing an Original Subject 297(30) Types of Subject 297(3) Harmonic Rhythm 300(2) Borrowing and Assembly 302(4) Melody 306(2) Rhythm 308(1) Length of Subject 309(1) Head and Tail---Beginning, Middle, and End 309(2) Overall Shape 311(1) Unpacking the Box to Make a Subject 312(1) Real or Tonal Answer? 312(2) Multiple Splices 314(3) Hybrid Themes 317(1) Starting on Unusual Scale Degrees 318(3) Unusual Scale Degrees after the Splice 321(1) Unusual Subjects 321(6) Stretto 327(14) Stretto 327(5) Stretto and Tonal Answer 332(2) Stretto and Hybrid 334(1) Varying Stretto Combinations by Invertible and Uninverted Double Counterpoint 335(1) Using Reduction to Examine a Subject for Stretto Possibilities 335(1) Harmony and Stretto 336(1) Time-Shifting the Countermelody 336(2) Stretto Fugue 338(3) Other Techniques 341(9) Augmentation and Diminution 341(3) Melodic Inversion 344(1) Mirror Inversion 344(1) Simultaneous Inversion 345(1) Pedal 346(1) Combined Techniques 347(3) Overall Design and Layout of a Fugue 350(19) Key 350(1) Contrapuntal Intensity 350(1) Register and Texture 351(1) Marpurg on Fugal Form 351(1) Fugue As Jewelry 352(1) Borrowed Form 353(1) J. K. F. Fischer Fuga 3 in D Minor 353(1) J. K. F. Fischer Fuga 10 in F Major 354(5) Binary Form 359(1) Ritornello Form in Fugue 359(4) Competing Analyses of the C Minor Fugue from WTCI 363(2) Varying the Presentation of the Theme(s) 365(1) Melodic Inversion 366(1) Varying the Theme/Countermelody Pair 366(1) Introducing Episodes for Contrast 367(1) Means of Varying Intensity 367(2) List of Works Consulted 369(2) Appendix 371(2) List of Subject Types and Orders of Entry in Fugue Expositions from The Well-Tempered Clavier Index 373