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| Preface | |
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| Introductory Concepts | |
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| The Nature of Polyphonic Music: Terms and General Concepts | |
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| Polyphony and Style: A Comparison of Examples From the Fourteenth to the Twentieth Centuries | |
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| Counterpoint in the Late Renaissance (1500-1600) | |
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| Two-Part Counterpoint Basic Principles of Sixteenth-Century Style | |
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| Two-Part Counterpoint: First and Second Species Counterpoint | |
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| Two-Part Counterpoint: Third, Fourth, and Fifth Species | |
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| Two-Part Motets: Setting of Text Formal Considerations | |
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| Two-Part Secular Music: Instrumental Duo Canzonet | |
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| Three-Part Counterpoint: Motet | |
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| Canzonet | |
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| Fantasia | |
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| Four Part Counterpoint: Dance Variations Motet | |
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| Madrigal | |
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| Polyphony in More Than Four Parts | |
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| Counterpoint in The Early Baroque (1600-1700) | |
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| Stylistic Innovations: The Basso Continuo; the Emergence of Tonality | |
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| New Uses of Dissonance | |
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| Chromaticism | |
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| Continuous Variations: Ground Bass | |
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| Chaconne; and Passacaglia | |
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| Trio Texture: Two Trebles With Continuo | |
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| Predecessors of the Fugue: Canzona | |
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| Ricercar | |
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| Fantasia; and Choral Fugato | |
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| Counterpoint in the Late Baroque (1700-1750) | |
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| Review of Basic Concepts and Introduction to Eighteenth-Century Counterpoint | |
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| Polyphonic Style in 1700: Melodic, Harmonic, and Temporal Considerations | |
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| Polyphonic Textures | |
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| Cantus Firmus Compositions: The Chorals Prelude | |
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| Invention: Bach's Two-Part Inventions | |
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| Three-Part Counterpoint: Bach's Sinfonia's. Canon: Two-Part Canon | |
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| Accompanied Canon | |
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| Canonic Chorale | |
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| Fugue I: Overview | |
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| Subject and Response | |
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| Countersubject | |
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| Fugue II: The Exposition in Three and Four Parts | |
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| Fugue III: Development | |
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| Episodes | |
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| Contrapuntal Techniques and Devices | |
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| Stretto | |
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| Concluding Techniques | |
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| Genres Using Fugal Technique: Gigue, Fugal Sonata Movement | |
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| Fugal Chorus | |
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| Polyphony in the Classical and Romantic Eras (1750-1900) | |
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| Polyphony in the Classical Era: Counterpoint in Haydn, Mozart, and Beethoven | |
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| Polyphony in the Romantic Era: Counterpoint in Mendelssohn, Brahms, Franck, and Others | |
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| Polyphony In The First Half of the Twentieth Century | |
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| Serial and Atonal Counterpoint | |
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| Counterpoint in Hindemith, Bartok, and Stravinsky | |
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| Identification of Examples in Chapter 1 | |
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| The Ecclesiastical Modes and the Hexacord System | |
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| A Guide to the Interpretation of Figured Bass Symbols | |
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| Glossary | |
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| Discography | |
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| Selected Bibliography | |
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| List of Musical Examples for Discussion | |
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| Index | |