The Craft of Tonal Counterpoint
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Beschreibung"The Craft of Tonal Counterpoint" is an introductory text to the analysis and composition of tonal counterpoint. Using examples from the music of J.S. Bach - the master of this style - the author takes students through a series of carefully graded, cumulative exercises that stress both analysis and writing. Benjamin covers chromaticism and fugal writing in exceptional detail. The exercises cover a wide range of formats, including error detection, linear pitch reduction, analysis and composition. The book also incorporates a 100-page anthology of scores, effective for analysis, in-class performance, and compositional models.
InhaltsverzeichnisAcknowledgments Preface to the Second Edition Notes to the Teacher Notes to the Student Introduction Chapter 1: 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 Chapter 2: Nonimitative Two-Voice Writing General Observations Specific Details of Voice Relationship A Note on Compound Meter Contrapuntal Analysis Checklist Essentials of Two-Voice Counterpoint Chapter 3: Chromaticism in Two Voices Nonfunctional Chromaticism Functional (Essential) Chromaticism Harmonies Related to Chromatic Lines The Neapolitan Triad Augmented-Sixth Chords Chapter 4: Composition of Binary Dance Forms Chapter 5: Double (Invertible) Counterpoint Double Counterpoint at the Octave or Fifteenth Double Counterpoint at the Twelfth Double Counterpoint at the Tenth Chapter 6: Imitation; Canon Imitation Canon Variants in the Imitative Process Chapter 7: The Two-Voice Invention The Exposition: Theme and Countertheme The Episode The Invention as a Whole Analysis of a Complete Invention Chapter 8: Three-Voice Counterpoint I: Texture, Rhythm, Harmony Texture and Rhythm Range and Spacing Relative Motion Harmony Cadential Figures Nonharmonic Tones Chapter 9: Three-Voice Counterpoint II: Chromaticism, Triple Counterpoint, Canon Chromaticism Cross-Relation Triple (Triple Invertible) Counterpoint Accompanied Two-Voice Canon Canon in Three Voices Chapter 10: Fugue I The Subject The Answer The Exposition Chapter 11: 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 Chapter 12: Four-Voice Counterpoint Texture and Rhythm Harmony Four-Voice Fugue Other Fugal Variants Chapter 13: Variation Forms The Passacaglia The Chaconne The Goldberg Variations Chapter 14: 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 Appendix 1: Harmony Appendix 2: Composing for the Organ Glossary Bibliography Anthology Index
Untertitel: Revised. Sprache: Englisch.
Verlag: ROUTLEDGE CHAPMAN HALL
Erscheinungsdatum: August 2003
Seitenanzahl: 432 Seiten