Tonal Counterpoint for the 21st-Century Musician (eBook)

Teresa Davidian is head of the department of fine arts at Tarleton State University, a member of the Texas A&M University System. She is the author of articles on Debussy, the 1930s avant-garde movement, and music theory pedagogy.

PrefaceIntroduction1: MelodyGeneral CharacteristicsMelodic OrganizationPutting It All TogetherBeyond the RulesExercises2: First Species — 1:1General CharacteristicsPutting It All TogetherConclusionExercises3: Second Species — 2:1General CharacteristicsHow to Construct 2:1ConclusionExercises4: Third Species — 3:1 and 4:1Three Notes Against One (3:1)Four Notes Against One (4:1)Rhythmic Interplay between the LinesBeyond Third SpeciesExercises5: Analyzing and Composing a Simple Piece in Two PartsGeneral Characteristics of Musical FormAnalyzing FormBinary FormComposing a Binary-Form PieceBeyond Form and AnalysisExercises6:Double CounterpointGeneral Remarks and PrinciplesHow to Construct Double CounterpointExercises7: Two-part CanonGeneral Remarks and PrinciplesCommon CanonsHow to Write a Two-Part CanonCanon TransformationsStill More CanonsConclusionExercises8: J. S. Bach’s Two-part InventionAnalyzing InventionsSection 1Section 2Concluding MeasuresOverall ConstructionComposing InventionsExercises9: Counterpoint in Three and Four PartsBack to the SpeciesGeneral CharacteristicsThe Difference between Harmony and CounterpointHow to Construct Species Counterpoint in Three PartsHow to Construct Species Counterpoint in Four PartsBeyond Four-Part CounterpointExercises10: FugueBach and the FugueSection 1: ExpositionSection 2: DevelopmentFinal PortionOverall ConstructionComposing FuguesExercisesBibliographyIndex