Foreword | |
Introduction to the English Translation | |
Preface | |
Preliminaries | |
Outline History of Contrapuntal Theory | p. 3 |
Counterpoint and Harmony Contrasted | p. 3 |
The Ninth to the Fourteenth Centuries: The Beginnings of Contrapuntal Theory | p. 4 |
The Fifteenth Century: Crystallization of Principles | p. 8 |
The Sixteenth Century: The Style of Palestrina | p. 13 |
The Seventeenth Century: Some Pedagogical Developments | p. 30 |
The Eighteenth Century: The Style of Bach | p. 38 |
The Nineteenth Century: Palestrina or Bach? | p. 48 |
The "Palestrina Movement" after Fux | p. 52 |
Technical Features | p. 54 |
Notation | p. 54 |
The Ecclesiastical Modes | p. 59 |
Melody | p. 83 |
Harmony | p. 97 |
Contrapuntal Exercises | |
Introduction | p. 107 |
Two-Part Counterpoint | p. 109 |
First Species | p. 109 |
Second Species | p. 114 |
Third Species | p. 119 |
Fourth Species | p. 130 |
Fifth Species | p. 135 |
Free Two-Part Counterpoint | p. 152 |
Imitation | p. 163 |
Three-Part Counterpoint | p. 175 |
First Species | p. 175 |
Second Species | p. 178 |
Third Species | p. 180 |
Fourth Species | p. 188 |
Fifth Species | p. 193 |
Imitation | p. 198 |
Four-Part Counterpoint | p. 203 |
First Species | p. 203 |
Second Species | p. 204 |
Third Species | p. 205 |
Fourth Species | p. 208 |
Fifth Species | p. 212 |
Imitation | p. 216 |
Counterpoint in More Than Four Parts | p. 219 |
The Canon | p. 234 |
The Motet | p. 241 |
The Mass | p. 251 |
Appendix: The Vocal Fugue | p. 265 |
Appendix: Double, Triple, and Quadruple Counterpoint | p. 280 |
Appendix: Summary of the Most Important Contrapuntal Laws and Rules | p. 286 |
Melody | p. 286 |
Consonant Combinations | p. 287 |
Dissonant Combinations | p. 289 |
Index | p. 293 |
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