Baroque Counterpoint

ISBN-10: 0131834428

ISBN-13: 9780131834422

Edition: 2006

List price: $140.80
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Description:

This informative book teaches writing and understanding Baroque counterpoint. Unique in approach,nbsp;BaroqueCounterpoint uses extensive quotations and examples from contemporaneous treatises; the authors explain the principles underlying the compositional techniques of the period, introducing readers to the widest range of composers of any of the books on the market today. It emphasizes singing and improvisation as well as writing. The book is divided into two comprehensive parts, the strict style and the free style. Step-by-step exercises lead to writing fugue, the apotheosis of Western music. An excellent desk reference for musicians and composers.
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Book details

List price: $140.80
Copyright year: 2006
Publisher: Prentice Hall PTR
Publication date: 12/5/2005
Binding: Comb Bound 
Pages: 384
Size: 9.00" wide x 10.50" long x 1.00" tall
Weight: 1.892
Language: English

Acknowledgments
Strict Style
Introduction
Why Study Counterpoint?
What Is This Book?
Who Can Use This Book?
Step-by-Step
Learning by Modeling
Mainstream Composers
Keeping a Commonplace Book-Copying and Memorizing Music
The "Sound" of Baroque Music
Why Vocal Music?
Recipe for Success
Notes on Baroque Harmony
Different Road Maps through the Book
Melody or Harmony?
Canon-The Melody as Surface of the Progression
Chord Factors
Composing a Canon-Unpacking the Box
Composing a Canon-The Melodic Approach
Puzzle Canon
Fugue and Other Imitative Genres
Harmonizing a Subject in Simple Counterpoint
Simple Counterpoint or Chorale Style
Harmonic Rhythm, or "Steps"
Fundamental Bass or Root Progression
Chord Factors
The Principal Triads
Rules for Using Only Principal Triads in Simple Counterpoint
Inverted Chords
Other Triads and Substitute Chords
Rules for Exercises in Harmonizing Given Subjects Using All Available Triads and Inverted Chords
Tips for Writing Good Bass Lines
Melodic Embellishment in Strict Style
Strict Style
Dance Steps and Dissonance
Dance Rhythms
Rules for Strict Style
The Types of Embellishment
Compound Melody
Reduction
Brief Summary of Rules for Strict Style
Variation Techniques
Why Variation?
Chaconne, Passacaglia, Ground, Variation
Motives
Inventory of Typical Motives
Motive as Embellishment
Harmonizing Motives
Faster Harmonic Rhythm
Dissonance in More Than Two Parts
Melodic Inversion
Chorale Preludes
Motivic Variation
Chorale Cantus Firmus in Longer Note Values
Retrograde and Retrograde Inversion
Other Motives
Imitation at the Unison or Octave
Imitative Trio Sonata Openings
Tips for Good Three-Part Writing
Inverted Chords and Substitute Chords
Total Reharmonization
Openings of Keyboard Dances and Inventions
Imitation at the Fifth
Why Imitate at the Fifth?
Imitation at the Fifth in Trio Sonatas
The Splice
Different Types of Splice
Not A Splice-The Modulation
Imitation at the Fifth in the Minor Mode
Note on Dorian and Mixolydian Key Signatures
Remodulation and a Third Entry
Back to the Tonic
The D/T Splice
Modulation and Remodulation
Splice Plus Modulation
Chord Factors in Splice Pairs
The Third Thematic Entry
The Retransition
Remodulation and Retransition in Minor Keys
Nonmodulating Themes
Fugue Exposition
Fugue versus Trio Sonata
The Subject as Bass
The SATB Exposition
The BTAS Exposition
The Countersubject
Other Orders of Entry
Basic Principles of Invertible Counterpoint
Vocal Ranges and Other Orders of Entry
Two Subjects or Answers in a Row
The Subject and Answer in Nonadjacent Voices
Tonal Answer
Real Answer versus Tonal Answer
Moving the Splice
Tonic Scale and Dominant Scale
Reciprocity and Types of Subject
Why Tonal Answer?
Other Alterations and Scale Degrees
Analyzing Melodies
Writing Tonal Answers
When to Use Real Answer
Countersubject and Tonal Counteranswer
Diagonal Splice
Tonal Answer and Harmonic Progression
Thematic Presentations
Summary of Chapters 5-10
The Exposition
Simple Fugues
Some Aspects of Musical Variety
Multiple Fugues
The First Type of Double Fugue
How to Avoid Periodicity in the First Type of Double Fugue
A Lesson from Mattheson
The Second Type of Double Fugue
The Third Type of Double Fugue
Invertibility in Double Fugues
Triple and Quadruple Fugues
Permutation Fugue
Invertibility in Triple and Quadruple Fugues
Unpacking Harmonic "Boxes" Part II
Sequences and Episodes
Sequences with One-Chord Models
Two-Chord Models
Multichord Models
Harmonic Smudge
Realizing Sequentially
Canons in Sequences
Ways to Harmonize the Suspension Chain
Sequences in Themes
Sequences in Episodes
Deriving Motives from the Subject and Countersubject
Using Sequences to Modulate
Joining Two Sequences
Laying Out a Whole Piece
Cadences
Mattheson on Cadences in Fugue
Placement of Formal Cadences
Placement of Subordinate Cadences
Joining Sections
Modulating by Means of Successive Entries
Fragmentary Entries
Motivic Unity
A Case Study
Free Style and Advanced Techniques
Advanced Embellishment - Free Style
Accented Dissonance
Sense of Direction
Suspensions that Resolve Upwards
Leaps to or from Dissonance
Expanding a Harmony (Voice Exchange)
Transferred Resolutions
Layers of Dissonance
The Benefits of Free Style
Chromaticism and Sequences
Ascending and Descending Chromaticism
The Diminished Seventh Chord
Two Types of Descending Chromaticism
Isolated Applied Dominants
Applied Dominants in Sequences
Sequences with Irregular Harmonic Rhythm
Sequences with Embedded Progressions
Applied Dominants in Compound Melody
More Harmonic Smudges
Chromatic Scales in Fugue Subjects
Chromaticism and Tonal Answer
A Famous Difficult Example
Multiple Counterpoint
Why Use Invertible Counterpoint?
Invertible Counterpoint at the Tenth (IC10)
Parallel Tenths
IC10 and Harmony
IC12
IC12 and Harmony
A Bach Story
Invertible Counterpoint in Three Parts
Invertible Counterpoint at the Octave and Tenth
Invertible Counterpoint at the Tenth and Twelfth
Invertible Double Counterpoint in Four Parts: IC 8, 10, and 12
Triple and Quadruple Counterpoint
Composing Boxes of Artful Devices First...
...and then Unpacking the Boxes
Uninverted Double Counterpoint
Writing an Original Subject
Types of Subject
Harmonic Rhythm
Borrowing and Assembly
Melody
Rhythm
Length of Subject
Head and Tail-Beginning, Middle, and End
Overall Shape
Unpacking the Box to Make a Subject
Real or Tonal Answer?
Multiple Splices
Hybrid Themes
Starting on Unusual Scale Degrees
Unusual Scale Degrees after the Splice
Unusual Subjects
Stretto
Stretto
Stretto and Tonal Answer
Stretto and Hybrid
Varying Stretto Combinations by Invertible and Uninverted Double Counterpoint
Using Reduction to Examine a Subject for Stretto Possibilities
Harmony and Stretto
Time-Shifting the Countermelody
Stretto Fugue
Other Techniques
Augmentation and Diminution
Melodic Inversion
Mirror Inversion
Simultaneous Inversion
Pedal
Combined Techniques
Overall Design and Layout of a Fugue
Key
Contrapuntal Intensity
Register and Texture
Marpurg on Fugal Form
Fugue As Jewelry
Borrowed Form
J. K. F. Fischer Fuga 3 in D Minor
J. K. F. Fischer Fuga 10 in F Major
Binary Form
Ritornello Form in Fugue
Competing Analyses of the C Minor Fugue from WTC I
Varying the Presentation of the Theme(s)
Melodic Inversion
Varying the Theme/Countermelody Pair
Introducing Episodes for Contrast
Means of Varying Intensity
List of Works Consulted
List of Subject Types and Orders of Entry in Fugue Expositions from The Well-Tempered Clavier
Index
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