| Edition |
Second edition. |
| Description |
xi, 273 pages : music ; 24 cm |
| Note |
"First published 1893." |
| Contents |
1. Introduction : Definition of counterpoint ; Double, triple, and quadruple counterpoint defined ; Enlarged meaning of inversion ; Inversion at small distances not employed ; Limit in the distance of subjects to be inverted ; How to find the inversion of an interval at any distance ; How to find the interval of inversion of two subjects ; Example of double counterpoint in the octave, tenth, and twelfth ; Strict double counterpoint |
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2. Strict double counterpoint in the octave and fifteenth : The difference between double counterpoint in the octave and the fifteenth ; Inversion in the octave, table of intervals ; Limited use of the perfect fifth ; Employment of the unison and octave ; Inversion of both parts in double counterpoint in the fifteenth ; First species: prohibition of the fifth, cadence ; Implied harmony ; How to write the exercises ; Examples in a major key ; The sixth above the dominant of a minor key allowed in double counterpoint ; Examples in a minor key ; Second species: use of dissonances; employment of the perfect fifth ; The cadence free ; Examples ; Third species: the fifth of a chord in the bass ; Treatment of the octave; The cadence ; Examples ; Fourth species: its difficulties ; the cadence ; Examples ; Fifth species: the cadence; the fifth as a harmony note ; Examples ; Example of double counterpoint on a subject with notes of equal length ; Subjects for double counterpoint in the octave |
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3. Strict double counterpoint in the tenth : Various methods of inversion in the tenth ; Table of inversions ; The effect of inversion in the tenth ; No consecutive intervals allowed ; Similar motion forbidden ; Unavailable intervals in harmony ; Melodic progressions which music be avoided ; Implied root-progressions may be disregarded ; Choice of subject; an uncomfortable subject worked ; A good subject ; First species: in the major ; Ditto in the minor ; Second species: case in which similar motion is possible ; Examples ; Third species: examples ; Fourth species: rising suspensions allowed ; Examples ; Fifth species: example ; The subject not to be transposed ; Two counterpoints employed simultaneously ; Subjects for double counterpoint in the tenth |
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4. Strict double counterpoint in the twelfth : Double counterpoint in the twelfth defined ; Music easier than in the tenth ; Effect of transposition in the twelfth ; Table of intervals; employment of the sixth ; Unavailable harmonic combinations and melodic progressions ; Choice of voices ; the cadence always free ; Any subjects available ; The first note ; First species: examples ; Second species: examples ; Third species: examples ; Fourth species: it's difficulty; examples ; This species of little use ; Fifth species: examples ; Farewell to strict counterpoint |
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5. Free double counterpoint in the octave, tenth, and twelfth on a choral : All harmonic resources available; prohibition of the bare fourth ; Fifth species only need be practiced ; Dissonant notes, when sounded together ; Example from Bach ; The resolution of dissonances to be considered ; Employment of fundamental discords; how used in double counterpoint of the tenth and twelfth ; Limitations in melodic progression ; free double counterpoint on a choral ; Example in the octave; the implied harmony to be considered ; Necessity of considering root-progressions in free double counterpoint in the tenth ; Possibility of similar motion in ditto ; Example explained ; Example in the twelfth ; How to choose subjects |
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6. Free double counterpoint on a florid subject : Definition of "florid subject" ; Subject and counterpoint should be contrasted ; Relative importance of double counterpoint in the octave, tenth, and twelfth ; Various uses of double counterpoint ; Double counterpoint in the octave: example from Bach ; Ditto from Handel ; Examples from Haydn's quartettes ; Ditto from his symphonies ; examples form Mozart ; Ditto from Beethoven ; Example form Cherubini ; Ditto from Mendelssohn ; Ditto from Brahms ; Double counterpoint in the tenth: examples from Bach's "art of fugue" ; Ditto with added thirds and sixths ; Simultaneous double counterpoint in the octave, tenth, and twelfth ; Incidental employment of double counterpoint in the tenth ; Example by Handel ; Ditto by Jomelli ; Ditto by Haydn ; Ditto by Mozart ; Ditto by the author ; Extended extract form Bach's "art of fugue" analyzed ; Double counterpoint in the twelfth: examples by Bach , Beethoven ; An entire piece written in this counterpoint by Kirnberger ; Analysis of the same ; Spurious double counterpoint ; Example ; The importance of the study of good models ; Working exercises |
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7. Double counterpoint with free parts added : Double counterpoint in only two parts comparatively rare ; Two simultaneous canti fermi ; Their harmonic possibilities ; Selection of harmony notes ; Auxiliary notes ; Free parts added to a short subject ; One added part in the middle ; A free part above ; Ditto below ; Two free parts added in the middle ; Two upper parts added ; One part above and on in the middle ; Two parts below ; One above and one below ; Summary of these examples ; the added parts themselves in double counterpoint ; Adding plain chords ; Additional parts improving weak progressions ; Added parts to examples previously given; from Bach ; Example from Handel ; Ditto from Beethoven ; Ditto form Cherubini ; Double counterpoint in the tenth with added parts ; Ditto in the twelfth by Bach ; Ditto by Mozart ; Directions for working exercises |
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8. Double counterpoint in the rarer intervals : The rarer double counterpoint only employed incidentally ; Double counterpoint in the ninth: table of inversions ; Example by Marpurg ; Ditto by Lobe ; Ditto by Beethoven ; Double counterpoint in the eleventh: table of inversions ; Example by Cherubini ; Ditto by Bach ; Ditto by Beethoven ; Double counterpoint in the thirteenth: table of inversions ; Example by Cherubini ; Ditto by Bach ; Simultaneous double counter point in the octave and thirteenth; example by Handel ; Ditto by Beethoven ; Double counterpoint tin the fourteenth: table of inversions ; Example by Marpurg ; Ditto by Bach ; Double counterpoint in the ninth and fourteenth, by Bach ; Ditto in the thirteenth and fourteenth, by Beethoven ; Simultaneous counterpoint in the twelfth and fourteenth, by Beethoven ; The cause of the difficulty of these rarer counterpoints |
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9. Triple and quadruple counterpoint : Triple and quadruple counterpoint defined ; Triple counterpoint: the possible combinations ; Triple counterpoint in the strict style useless ; The addition of thirds to a double counterpoint in the octave ; A faulty example The only legitimate kind ; Treatment of the fifth of a chord ; Consecutive chords of the sixth unavailable ; Selection of chords ; Each part to appear once in the bass ; Example from Cherubini ; Example from Bach ; Ditto from Handel ; Ditto from Mozart ; Ditto from Cherubini ; Ditto form Beethoven ; Ditto from Haydn ; Quadruple counterpoint: it's possible positions ; General principles ; Example by Cherubini ; Ditto by Bach ; Ditto by Cherubini ; An example by Haydn analyzed |
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10. Imitation : Imitation defined ; Strict and free imitation ; Direct imitation ; Ditto by inversion ; Ditto with reversed accents (per arsin et thesin) ; Ditto by augmentation and diminution ; Invertible imitation ; Interrupted imitation ; Retrograde imitation ; Partial imitation ; Close imitation May be accompanied by free parts ; Example: in the unison and octave ; In the fourth below ; At various intervals ; Sequential, on a pedal bass ; At various intervals ; Direct and inverted; by diminution and augmentation ; By augmentation ; By diminution, inverted and direct ; Close imitation by contrary motion ; Double imitation by inversion ; Canonic imitation in four parts ; Directions for the practice of imitation ; The use of imitation in actual composition |
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11. Definition of canon ; Alteration of intervals ; Finites and infinite canon ; Varieties of canon ; The round ; Two methods of composing a round ; Importance of melodic interest ; A round composed; the first phrase ; The second phrase ; The third part ; The cadence ; A fourth part added ; Example by Dr. Hayes ; Ditto by Mozart, for four voices ; Ditto for six voices ; Dittos by Beethoven for three voices ; The round with instrumental accompaniment ; Ditto for mixed voices; example by Cherubini ; Employment of this kind of canon in opera |
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12. Two-part canons : Canons employed incidentally ; How other canons differ from rounds ; Varieties of two-part canon ; Finite canon by direct imitation ; An example worked ; Choice of intervals of reply ; Interval of time ; Strict and free imitation in canon ; Infinite canon; "making the join" ; Examples ; Importance of symmetry and form ; Canons in the fourth and fifth ; An infinite canon by inverse movement ; Canons by augmentation and diminution ; Infinite canon by augmentation; example by C. P. E. Bach ; Ditto by Mozart ; Ditto by Schubert ; Ditto by Haydn ; Ditto by Mozart ; Ditto by Dussek ; Ditto by Clementi |
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13. Canons with free parts -- accompanied canons : Definition of "free parts" ; Various positions ; The free parts should be composed simultaneously with the canon ; Example worked ; A canon with two free parts ; Examples ; By Bach ; Ditto by Haydn ; Example by Schumann ; Directions for work |
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14. The canon on a canto fermo, or choral : A more difficult variety of florid counterpoint ; Cause of the difficulty ; Examples ; How to begin a canon on a canto fermo ; Examples; a canon in the seventh ; Ditto in the fifth ; Ditto in the octave ; A minor canto fermo; canon in the fourth ; Ditto in the octave at half a bar's distance ; Ditto by inverse movement ; The advantages of this kind of work ; Two kinds of canon on a choral the choral itself treated in canon ; Example analyzed ; Examples by Bach ; The choral treated as a canto fermo with an independent canon upon it ; Examples of Bach's "canonic variations" |
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15. Canons on one subject, in more than two parts : Canons for more than two voices ; the most usual intervals ; The method of composing ; Illustration of ditto ; General principles ; Infinite three-part canon by Byrd, in the octave and fourth ; Ditto by Friedemann Bach ; Three-part canons by Mozart ; Three-part canon on a canto fermo , by Azopardi ; Four-part canon in the fifth and octave by Albrechtsberger ; Ditto with close imitation, by Mozart ; Four-part canon by Clementi ; Infinite four-part canon in the unison, by F. Bach ; Four-part canon with free parts, by Mozart ; Infinite canon for six voices, by Kirnberger ; Ditto for nine voices by Marpurg ; The nomenclature of canons ; "Open" and "close" canons ; Examples of close canon ; An infinite canon for twelve voices |
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16. Canons with more than one subject : Double and triple canons ; General directions ; Infinite canon, 4 in2, by Mendelssohn ; Finite canon, 4 in 2, by Bach ; Example by Mozart ; Ditto by Schumann ; Canon by Mozart, 4 in 2, by inversion ; Ditto, 4 in 2, with a free bass, by Bach ; Ditto, 6 in 3, by Mozart ; Ditto, 6 in 2, by Raff ; Ditto, 8 in 4, by Mozart ; Ditto, by Cherubini ; Ditto, 12 in 4, by Mozart ; The practical use of such canonic writing |
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17. Curiosities of canon : Ingenuity of the old theorists ; Canons with double and triple augmentation ; The retrograde canon (canon cancrizans) explained; example by Bach ; Retrograde canon, 8 in 4, by Byrd ; Reverse retrograde canon; example by Lobe ; Ditto by Bolck ; Ditto by Corder ; Canonic imitation by inverse contrary movement; example by Cherubini ; The circular canon; example by Bach ; The polymorphous canon ; Example by Stolzel analyzed ; A subject to work ; The riddle-canon; examples from Martini ; Ditto by Bach, referred to ; Curious riddle-canon, by Link ; Solution of ditto ; Canon, 4 in 2, on a canto fermo, with free part, by Byrd ; Canon, 6 in 2, with free part, by Tallis ; Infinite canon, 7 in 1, on a ground bass by Bach ; Canon, 36 in 1, Romano. |
| Language |
English text. |
| Subject |
Counterpoint.
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Counterpoint. |
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Canon (Musical form)
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Canon (Musical form) |
| Genre/Form |
Textbooks.
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Textbooks.
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| Other Editions: |
Reproduction of (manifestation): Prout, Ebenzer, 1835-1909. Double counterpoint and canon London, Augener & Co. [1893] (OCoLC)2024472 |
| ISBN |
0838303129 |
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9780838303122 |
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