9780415943918

The Craft of Tonal Counterpoint

by ;
  • ISBN13:

    9780415943918

  • ISBN10:

    0415943914

  • Edition: 1st
  • Format: Nonspecific Binding
  • Copyright: 8/8/2003
  • Publisher: Routledge
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Summary

The Craft of Tonal Counterpointis an introductory text to the analysis and composition of tonal counterpoint. Using examples from the music of J.S. Bach - the master of this style - the author takes students through a series of carefully graded, cumulative exercises that stress both analysis and writing. Benjamin covers chromaticism and fugal writing in exceptional detail. The exercises cover a wide range of formats, including error detection, linear pitch reduction, analysis and composition. The book also incorporates a 100-page anthology of scores, effective for analysis, in-class performance, and compositional models.

Table of Contents

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

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