The Craft of Tonal Counterpoint

Acknowledgments ix Preface to the Second Edition xi Notes to the Instructor xiii Notes to the Student xvii Introduction xix Chapter 1 Line and Other Elements of Style 1(38) Shape; Tonal Framework; Range and Tessitura 5(1) Structural Pitches 6(1) Filling In (Motivic) Figures 7(2) Phrase and Cadence 9(2) Cadence Figures 11(2) Meter and Rhythm 13(2) Melodic Intervals; Details of Line 15(4) Scales; Chromaticism; Tendency Tones 19(5) Nonharmonic (Nonchord) Tones 24(1) Means of Coherence 25(5) Compound Line 30(2) Suggestions for Melodic Writing 32(1) Melodic Writing Checklist 33(6) Chapter 2 Nonimitative Two-Voice Writing 39(38) General Observations 42(1) Specific Details of Voice Relationships 43(18) A Note on Compound Meter 61(2) Contrapuntal Analysis Checklist 63(1) Essentials of Two-Voice Counterpoint 64(13) Chapter 3 Chromaticism in Two Voices 77(12) Nonfunctional (Nonessential, Decorative, Melodic) Chromaticism 78(1) Functional (Essential, Harmonic) Chromaticism 78(4) Harmonies Related to Chromatic Lines 82(2) The Neapolitan Triad 84(1) Augmented-Sixth Chords 84(5) Chapter 4 Composition of Binary Dance Forms 89(8) Chapter 5 Double (Invertible) Counterpoint 97(10) Double Counterpoint at the Octave or Fifteenth 98(2) Double Counterpoint at the Twelfth 100(2) Double Counterpoint at the Tenth 102(5) Chapter 6 Imitation; Canon 107(16) Imitation 109(2) Canon 111(3) Variants in the Imitative Process 114(9) Chapter 7 The Two-Voice Invention 123(19) The Exposition: Theme and Countertheme 123(5) The Episode 128(6) The Invention as a Whole 134(3) Analysis of a Complete Invention 137(5) Chapter 8 Three-Voice Counterpoint I: Texture, Rhythm, Harmony 142(28) Texture and Rhythm 148(4) Range and Spacing 152(1) Relative Motion 153(1) Harmony 154(6) Cadential Figures 160(1) Nonharmonic Tones 161(9) Chapter 9 Three-Voice Counterpoint II: Chromaticism, Triple Counterpoint, Canon 170(18) Chromaticism 170(5) Cross-Relation 175(2) Triple (Triple Invertible) Counterpoint 177(4) Accompanied Two-Voice Canon 181(5) Canon in Three Voices 186(2) Chapter 10 Fugue I 188(23) The Subject 188(4) The Answer 192(9) The Exposition 201(10) Chapter 11 Fugue II 211(33) Overall Structure 211(1) The Episode 212(5) Middle Entries 217(2) The Counterexposition 219(1) Augmentation and Diminution 220(2) Inversion 222(1) Stretto 223(4) Pedal Point 227(3) The Ending Section 230(3) Analysis of a Complete Fugue 233(11) Chapter 12 Four-Voice Counterpoint 244(16) Texture and Rhythm 247(2) Harmony 249(6) Four-Voice Fugue 255(3) Other Fugal Variants 258(2) Chapter 13 Variation Forms 260(9) The Passacaglia 260(3) The Chaconne 263(2) The Goldberg Variations (Clavierübung, Part IV) 265(4) Chapter 14 Cantus Firmus Procedure: The Chorale Prelude 269(13) The Ornamented Chorale Harmonization 270(1) Cantus with Motivic Counterpoints 270(4) Canonic Treatment of Cantus and/or Accompanying Parts 274(1) Chorale Prelude Involving "Vorimitation" (Preimitation) 274(3) Chorale Prelude with "Obbligato" Melody 277(5) Conclusion 282(1) Appendix 1: Harmony 283(6) Appendix 2: Composing for the Organ 289(1) Glossary 290(5) Bibliography 295(1) Anthology 296(103) Index 399