Acknowledgments | |
Preface to the Second Edition | |
Notes to the Teacher | |
Notes to the Student | |
Introduction | |
Line and Other Elements of Style Shape; Tonal Framework; Range and Tessitura Structural Pitches Filling-In (Motivic) Figures Phrase and Cadence Cadence Figures Meter and Rhythm Melodic Intervals; Details of Line Scales; Chromaticism; Tendency Tones Nonharmonic (Nonchord) Tones Means of Coherence Compound Line Suggestions for Melodic Writing Melodic Writing Checklist | |
Nonimitative Two-Voice Writing General Observations Specific Details of Voice Relationship A Note on Compound Meter Contrapuntal Analysis Checklist Essentials of Two-Voice Counterpoint | |
Chromaticism in Two Voices Nonfunctional Chromaticism Functional (Essential) Chromaticism Harmonies Related to Chromatic Lines The Neapolitan Triad Augmented-Sixth Chords | |
Composition of Binary Dance Forms | |
Double (Invertible) Counterpoint Double Counterpoint at the Octave or Fifteenth Double Counterpoint at the Twelfth Double Counterpoint at the Tenth | |
Imitation; Canon Imitation Canon Variants in the Imitative Process | |
The Two-Voice Invention The Exposition: Theme and Countertheme The Episode The Invention as a Whole Analysis of a Complete Invention | |
Three-Voice Counterpoint I: Texture, Rhythm, Harmony Texture and Rhythm Range and Spacing Relative Motion Harmony Cadential Figures Nonharmonic Tones | |
Three-Voice Counterpoint II: Chromaticism, Triple Counterpoint, Canon Chromaticism Cross-Relation Triple (Triple Invertible) Counterpoint Accompanied Two-Voice Canon Canon in Three Voices | |
Fugue I The Subject The Answer The Exposition | |
Fugue II Overall Structure The Episode Middle Entries The Counter-Exposition Augmentation and Diminution Inversion Stretto Pedal Point The Ending Section Analysis of a Complete Fugue | |
Four-Voice Counterpoint Texture and Rhythm Harmony Four-Voice Fugue Other Fugal Variants | |
Variation Forms The Passacaglia The Chaconne The Goldberg Variations | |
Cantus Firmus Procedure: The Chorale Prelude The Ornamented Chorale Harmonization Cantus with Motivic Counterpoints Canonic Treatment of Cantus and/or Accompanying Parts Chorale Prelude Involving Vorimitation (Preimitation) Chorale Prelude with "Obbligato" Melody | |
Conclusion | |
Harmony | |
Composing for the Organ | |
Glossary | |
Bibliography | |
Anthology | |
Index | |
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