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Counterpoint helps music theory and music composition students improve their musicianship by examining the voice leading that underlies Western tonal music. It proceeds by developing species counterpoint in the tradition of Johann Joseph Fux and his famous Gradus ad Parnassum (1725), but with attention to Heinrich Schenker's more in-depth study. For the sake of brevity, musical examples are available on the Scarecrow Press website, rather than within the book itself.
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Counterpoint helps music theory and music composition students improve their musicianship by examining the voice leading that underlies Western tonal music. It proceeds by developing species counterpoint in the tradition of Johann Joseph Fux and his famous Gradus ad Parnassum (1725), but with attention to Heinrich Schenker's more in-depth study. For the sake of brevity, musical examples are available on the Scarecrow Press website, rather than within the book itself.
Produktdetails
- Produktdetails
- Verlag: Scarecrow Press
- Seitenzahl: 148
- Erscheinungstermin: 4. Januar 2005
- Englisch
- Abmessung: 216mm x 140mm x 8mm
- Gewicht: 196g
- ISBN-13: 9780810854093
- ISBN-10: 0810854090
- Artikelnr.: 22222603
- Herstellerkennzeichnung
- Libri GmbH
- Europaallee 1
- 36244 Bad Hersfeld
- gpsr@libri.de
- Verlag: Scarecrow Press
- Seitenzahl: 148
- Erscheinungstermin: 4. Januar 2005
- Englisch
- Abmessung: 216mm x 140mm x 8mm
- Gewicht: 196g
- ISBN-13: 9780810854093
- ISBN-10: 0810854090
- Artikelnr.: 22222603
- Herstellerkennzeichnung
- Libri GmbH
- Europaallee 1
- 36244 Bad Hersfeld
- gpsr@libri.de
Henry Martin, born in Windsor, UK, brings a wealth of international experience and scientific knowledge to his writing. His journey has taken him across continents, living and working in diverse locations, including Britain, South Africa, Belgium, and several other countries in Africa, Europe, and the Middle East. With a Higher National Certificate in Chemistry and a background in veterinary medicine, Henry's career has spanned from laboratory work to managing a K9 security company. His professional path later led him into the world of computers, where he became a qualified Novell and Microsoft computer engineer. Henry's martial arts background in Aikido and Judo adds authenticity to the action scenes in his writing. His debut novel, "Sanctuary in Shadows", draws from his rich tapestry of experiences, blending scientific intrigue with pulse-pounding suspense. Now retired from his technical career, Henry has focused on writing. His first short story was published in Trembling with Fear magazine, marking the beginning of his literary journey. Henry views writing as creating a movie using only words, bringing vivid scenes to life for his readers. A private individual by nature, Henry prefers to let his work speak for itself. He resides in Belgium, where he crafts stories to challenge and entertain his readers.
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
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
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
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