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Preface | |
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Suggestions for the use of this book | |
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Introduction | |
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Historical perspective | |
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"Strict" versus "free" counterpoint | |
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Counterpoint as taught on the basis of stylistic norms | |
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The nature of counterpoint | |
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The Single Melodic Line | |
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Melodic contour | |
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Relative importance of notes | |
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Harmonic implications | |
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The compound line | |
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Range | |
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Other considerations | |
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Principles of Two-Voice Counterpoint | |
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Quality of individual lines | |
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Independence between the lines | |
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Unity | |
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Harmonic implications | |
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Consonance versus dissonance | |
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Two-Voice Exercises, 1:1, 2:1 | |
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Note against note (1:1) | |
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Two notes against one (2:1) | |
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Chromaticism (Two Voices) | |
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Melodic versus harmonic usage | |
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Modulation | |
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Chromatic spelling | |
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Cross relations | |
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Concerning two-voice chromatic exercises | |
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Two-Voice Exercises (Concluded) | |
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Three notes against one (3:1) | |
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Four notes against one (4:1) | |
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Syncopation (fourth species) | |
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Fifth species | |
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Rhythmic activity divided between the voices | |
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Writing of Short Two-Voice Pieces | |
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Form | |
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Reducing or increasing the number of voices | |
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Varied repetition | |
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Canon | |
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The two-voice canon at the octave | |
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Two-voice canons at other harmonic intervals | |
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Concerning the writing of two-voice canons | |
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Canons using special devices | |
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The accompanied canon | |
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Canons in three or more voices | |
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The perpetual canon | |
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The double canon | |
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The enigma canon | |
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The spiral canon | |
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Invertible Counterpoint | |
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Inversion at the octave | |
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Inversion at intervals other than the octave | |
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General principles involved in writing invertible counterpoint | |
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Invertible counterpoint involving three or more voices | |
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The Two-Part Invention; Motive Development | |
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The motive | |
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The imitation; the countermotive | |
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The accompanying line | |
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Possible plans of the initial announcements | |
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Development through special devices | |
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Episodes | |
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Middle entries | |
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The final statements | |
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Overall construction | |
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Analysis of inventions | |
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Three-Voice Counterpoint | |
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Rhythmic relationships | |
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Relative importance of voices | |
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Harmonic considerations | |
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Exercises in three-voice counterpoint | |
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Writing of Short Pieces, Three Voices | |
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Imitation in Three Voices | |
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Real imitation | |
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Tonal imitation | |
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The writing of answers | |
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The Three-Part Invention; the Trio Sonata | |
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Exceptional features | |
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Analysis of an entire invention | |
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The trio sonata | |
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Baroque duo sonatas of similar design | |
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Fugue | |
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The subject | |
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The answer | |
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The three-voice fugue exposition | |
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Four-voice counterpoint | |
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The four-voice fugue exposition | |
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The subject as related to the material that follows it | |
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The subject as related to the answer; the stretto fugue | |
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Special devices as used in the exposition | |
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The counterexposition | |
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Fugue (Continued) | |
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Episodes | |
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Middle entries | |
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Special devices as applied to the middle entries | |
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The final portion | |
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The fugue as a whole | |
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The scholastic fugue | |
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Other types of fugal design | |
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Fugue (Concluded) | |
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The five-voice fugue | |
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Fugues of six or more voices | |
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The two-voice fugue | |
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The double fugue | |
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The triple fugue | |
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Fugues with more than three subjects | |
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The fughetta and the fugato | |
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The concert fugue | |
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The fugue fantasia | |
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The group fugue | |
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Fugue writing as affected by the medium | |
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Forms Based on the Chorale | |
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The chorale prelude | |
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Use of the chorale melody in various voices | |
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Chorale variations | |
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The chorale fantasia | |
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The chorale fugue | |
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Contrapuntal Variation Forms | |
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Cantus firmus variation types: the ground, the passacaglia, and the chaconne | |
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Theme and variations | |
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Selected Bibliography | |
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Index | |