Counterpoint

by Kennan, Kent

• ISBN13: 9780130807465
• ISBN10: 013080746X
• Edition: 4th
• Format: Hardcover
• Copyright: 1998-07-29
• Publisher: Pearson

Summary

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.

Table of Contents

PREFACE	ix
Suggestions for use of this book	x
Chapter 1 INTRODUCTION	1	(4)
Objectives	1	(1)
The stylistic approach	2	(1)
Historical Perspective	2	(1)
The nature of counterpoint	3	(1)
"Strict" versus "free" counterpoint	3	(2)
Chapter 2 THE SINGLE MELODIC LINE	5	(14)
Melodic contour	5	(3)
Relative importance of notes	8	(1)
Harmonic implications	9	(1)
The compound line	10	(1)
Range	11	(1)
Other considerations	11	(7)
SUGGESTED ASSIGNMENTS	18	(1)
Chapter 3 PRINCIPLES OF TWO-VOICE COUNTERPOINT	19	(16)
Quality of individual lines	20	(1)
Independence between the lines	20	(1)
Unity	21	(1)
Harmonic implications	22	(8)
Consonance versus dissonance	30	(3)
SUGGESTED ASSIGNMENTS	33	(1)
SELF-TEST	34	(1)
Chapter 4 TWO-VOICE EXERCISES, 1:1, 2:1	35	(15)
Note against note (1:1)	35	(3)
Two notes against one (2:1)	38	(11)
SUGGESTED ASSIGNMENTS	49	(1)
Chapter 5 CHROMATICISM (TWO VOICES)	50	(10)
Melodic versus harmonic usage	50	(3)
Modulation	53	(2)
Chromatic spelling	55	(1)
Cross relations	55	(1)
Concerning two-voice chromatic exercises	56	(3)
SUGGESTED ASSIGNMENTS	59	(1)
Chapter 6 TWO-VOICE EXERCISES (Concluded)	60	(19)
Three notes against one (3:1)	60	(3)
Four notes against one (4:1)	63	(2)
Syncopation (fourth species)	65	(10)
Fifth species	75	(2)
Rhythmic activity divided between the voices	77	(1)
SUGGESTED ASSIGNMENTS	78	(1)
SELF-TEST	78	(1)
Chapter 7 WRITING OF SHORT TWO-VOICE PIECES	79	(12)
Form	79	(4)
Reducing or increasing the number of voices	83	(3)
Varied repetition	86	(4)
SUGGESTED ASSIGNMENTS	90	(1)
SELF-TEST	90	(1)
Chapter 8 CANON	91	(24)
The two-voice canon at the octave	91	(3)
Two-voice canons at other harmonic intervals	94	(2)
Concerning the writing of two-voice canons	96	(1)
Canons using special devices	97	(6)
The accompanied canon	103	(2)
Canons in three or more voices	105	(3)
The perpetual canon	108	(3)
The double canon	111	(1)
The enigma canon	112	(2)
The spiral canon	114	(1)
SUGGESTED ASSIGNMENTS	114	(1)
SELF-TEST	114	(1)
Chapter 9 INVERTIBLE COUNTERPOINT	115	(11)
Inversion at the octave	115	(3)
Inversion at intervals other than the octave	118	(3)
General principles involved in writing invertible counterpoint	121	(2)
Invertible counterpoint involving three or more voices	123	(1)
SUGGESTED ASSIGNMENTS	123	(1)
SELF-TEST	123	(3)
Chapter 10 THE TWO-PART INVENTION; MOTIVE DEVELOPMENT	126	(19)
The motive	127	(1)
The imitation; the countermotive	128	(1)
The accompanying line	129	(1)
Possible plans of the initial announcements	130	(3)
Development through special devices	133	(1)
Episodes	134	(4)
Middle entries	138	(1)
The final statements	139	(1)
Overall construction	139	(1)
Analysis of inventions	140	(4)
SUGGESTED ASSIGNMENTS	144	(1)
SELF-TEST	144	(1)
Chapter 11 THREE-VOICE COUNTERPOINT	145	(19)
Rhythmic relationships	145	(4)
Relative importance of voices	149	(1)
Harmonic considerations	149	(7)
Exercises in three-voice counterpoint	156	(6)
SUGGESTED ASSIGNMENTS	162	(1)
SELF-TEST	162	(2)
Chapter 12 WRITING OF SHORT PIECES, THREE VOICES	164	(6)
SUGGESTED ASSIGNMENTS	169	(1)
Chapter 13 IMITATION IN THREE VOICES	170	(16)
Real imitation	171	(3)
Tonal imitation	174	(9)
The writing of answers	183	(2)
SUGGESTED ASSIGNMENTS	185	(1)
SELF-TEST	185	(1)
Chapter 14 THE THREE-PART INVENTION; THE TRIO SONATA	186	(16)
Exceptional features	190	(1)
Analysis of an entire invention	190	(2)
The trio sonata	192	(6)
Baroque duo sonatas of similar design	198	(2)
SUGGESTED ASSIGNMENTS	200	(1)
SELF-TEST	201	(1)
Chapter 15 FUGUE	202	(18)
The subject	203	(3)
The answer	206	(1)
The three-voice fugue exposition	206	(3)
Four-voice counterpoint	209	(1)
The four-voice fugue exposition	210	(4)
The subject as related to the material that follows it	214	(2)
The subject as related to the answer; the stretto fugue	216	(1)
Special devices as used in the exposition	217	(1)
The counterexposition	218	(1)
SUGGESTED ASSIGNMENTS	218	(2)
Chapter 16 FUGUE (Continued)	220	(18)
Episodes	220	(2)
Middle entries	222	(1)
Special devices as applied to the middle entries	223	(2)
The final portion	225	(3)
The fugue as a whole	228	(6)
The scholastic fugue	234	(1)
Other types of fugal design	235	(1)
SUGGESTED ASSIGNMENTS	236	(2)
Chapter 17 FUGUE (Concluded)	238	(12)
The five-voice fugue	238	(1)
Fugues of six or more voices	239	(1)
The two-voice fugue	240	(1)
The double fugue	240	(4)
The triple fugue	244	(2)
Fugues with more than three subjects	246	(1)
The fughetta and the fugato	246	(1)
The concert fugue	246	(1)
The fugue fantasia	247	(1)
The group fugue	247	(1)
Fugue writing as affected by the medium	248	(1)
SUGGESTED ASSIGNMENTS	249	(1)
SELF-TEST	249	(1)
Chapter 18 FORMS BASED ON THE CHORALE	250	(21)
The chorale prelude	250	(14)
Use of the chorale melody in various voices	264	(1)
Chorale variations	265	(3)
The chorale fantasia	268	(1)
The chorale fugue	268	(1)
SUGGESTED ASSIGNMENTS	269	(1)
SELF-TEST	270	(1)
Chapter 19 CONTRAPUNTAL VARIATION FORMS	271	(8)
Cantus firmus variation types: the ground the passacaglia, and the chaconne	271	(6)
Theme and variations	277	(1)
SUGGESTED ASSIGNMENTS	278	(1)
SELECTED BIBLIOGRAPHY	279	(2)
INDEX	281