Counterpoint

Henry Martin, Professor of Music at Rutgers University in Newark, has pursued a dual career as a composer-pianist and as a music theorist specializing in jazz and the Western tonal tradition.

Part 1 Preface Part 2 Part One: Two-Part Counterpoint Chapter 3 1 Exercise Writing and the Cantus Firmus Chapter 4 2 Two-Part First Species (Note Against Note) Chapter 5 3 Two-Part Second Species (Two Notes Against One) Chapter 6 4 Two-Part Third Species (Four Notes Against One) Chapter 7 5 Two-Part Fourth Species (Syncopation) Chapter 8 6 Two-Part Fifth Species (Mixed Counterpoint) Part 9 Part Two: Three-Part Counterpoint Chapter 10 7 Three-Part First Species Chapter 11 8 Three-Part Second Species Chapter 12 9 Combined Counterpoint of the Second Species Chapter 13 10 Three-Part Third Species Chapter 14 11 Combined Counterpoint of the Second and Third Species Chapter 15 12 Three-Part Fourth Species Chapter 16 13 Three-Part Mixed Species Chapter 17 14 Combined Species Incorporating Syncopation Chapter 18 15 Combined Species with the Mixed Species; Imitation Part 19 Part Three: Free Composition Chapter 20 16 Modulation (Cadences to New Key Centers) Chapter 21 17 Two-Part Free Counterpoint to the First Cadence Chapter 22 18 More on Imitation; First Piece Chapter 23 19 Invertible Counterpoint (Octave) Chapter 24 20 More on Invertible Counterpoint Part 25 Appendices Chapter 26 1 Four-Part First Species Chapter 27 2 Four-Part Simple Species (Second, Third, Fourth, Mixed) Chapter 28 3 Five-, Six-, Seven-, and Eight-Part Counterpoint Chapter 29 4 Four-Part Combined Counterpoints Chapter 30 5 Three- or Four-Part Kyrie; Stretto Part 31 Bibliography Part 32 Index Part 33 About the Author