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