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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 | |