Counterpoint helps music theory and music composition students improve their musicianship by examining the voice leading that underlies Western tonal music. It proceeds by developing species counterpoint in the tradition of Johann Joseph Fux and his famous Gradus ad Parnassum (1725), but with attention to Heinrich Schenker's more in-depth study. For the sake of brevity, musical examples are available on the Scarecrow Press website, rather than within the book itself.
Counterpoint helps music theory and music composition students improve their musicianship by examining the voice leading that underlies Western tonal music. It proceeds by developing species counterpoint in the tradition of Johann Joseph Fux and his famous Gradus ad Parnassum (1725), but with attention to Heinrich Schenker's more in-depth study. For the sake of brevity, musical examples are available on the Scarecrow Press website, rather than within the book itself.
More Henry Martin scores available here: http://www.evensongmusic.net/?page_id=122
Inhaltsangabe
Part 1 Preface Part 2 Part One: Two Part Counterpoint Chapter 3 1 Exercise Writing and the Cantus Firmus Chapter 4 2 Two Part First Species (Note Against Note) Chapter 5 3 Two Part Second Species (Two Notes Against One) Chapter 6 4 Two Part Third Species (Four Notes Against One) Chapter 7 5 Two Part Fourth Species (Syncopation) Chapter 8 6 Two Part Fifth Species (Mixed Counterpoint) Part 9 Part Two: Three Part Counterpoint Chapter 10 7 Three Part First Species Chapter 11 8 Three Part Second Species Chapter 12 9 Combined Counterpoint of the Second Species Chapter 13 10 Three Part Third Species Chapter 14 11 Combined Counterpoint of the Second and Third Species Chapter 15 12 Three Part Fourth Species Chapter 16 13 Three Part Mixed Species Chapter 17 14 Combined Species Incorporating Syncopation Chapter 18 15 Combined Species with the Mixed Species; Imitation Part 19 Part Three: Free Composition Chapter 20 16 Modulation (Cadences to New Key Centers) Chapter 21 17 Two Part Free Counterpoint to the First Cadence Chapter 22 18 More on Imitation; First Piece Chapter 23 19 Invertible Counterpoint (Octave) Chapter 24 20 More on Invertible Counterpoint Part 25 Appendices Chapter 26 1 Four Part First Species Chapter 27 2 Four Part Simple Species (Second, Third, Fourth, Mixed) Chapter 28 3 Five , Six , Seven , and Eight Part Counterpoint Chapter 29 4 Four Part Combined Counterpoints Chapter 30 5 Three or Four Part Kyrie; Stretto Part 31 Bibliography Part 32 Index Part 33 About the Author
Part 1 Preface Part 2 Part One: Two Part Counterpoint Chapter 3 1 Exercise Writing and the Cantus Firmus Chapter 4 2 Two Part First Species (Note Against Note) Chapter 5 3 Two Part Second Species (Two Notes Against One) Chapter 6 4 Two Part Third Species (Four Notes Against One) Chapter 7 5 Two Part Fourth Species (Syncopation) Chapter 8 6 Two Part Fifth Species (Mixed Counterpoint) Part 9 Part Two: Three Part Counterpoint Chapter 10 7 Three Part First Species Chapter 11 8 Three Part Second Species Chapter 12 9 Combined Counterpoint of the Second Species Chapter 13 10 Three Part Third Species Chapter 14 11 Combined Counterpoint of the Second and Third Species Chapter 15 12 Three Part Fourth Species Chapter 16 13 Three Part Mixed Species Chapter 17 14 Combined Species Incorporating Syncopation Chapter 18 15 Combined Species with the Mixed Species; Imitation Part 19 Part Three: Free Composition Chapter 20 16 Modulation (Cadences to New Key Centers) Chapter 21 17 Two Part Free Counterpoint to the First Cadence Chapter 22 18 More on Imitation; First Piece Chapter 23 19 Invertible Counterpoint (Octave) Chapter 24 20 More on Invertible Counterpoint Part 25 Appendices Chapter 26 1 Four Part First Species Chapter 27 2 Four Part Simple Species (Second, Third, Fourth, Mixed) Chapter 28 3 Five , Six , Seven , and Eight Part Counterpoint Chapter 29 4 Four Part Combined Counterpoints Chapter 30 5 Three or Four Part Kyrie; Stretto Part 31 Bibliography Part 32 Index Part 33 About the Author
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