The Craft of Tonal Counterpoint

by Benjamin; Thomas

• ISBN13: 9780415943918
• ISBN10: 0415943914
• Edition: 1st
• Format: Nonspecific Binding
• Copyright: 2003-08-08
• Publisher: Routledge

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