Written in a style that is clear, simple, and informal writing style, Davidian artfully mixes the history of counterpoint with an outline of its structure, placing musical examples from J. S. Bach side by side with those from The Beatles to illustrate the universality and currency of counterpoint in music analysis and composition.
Written in a style that is clear, simple, and informal writing style, Davidian artfully mixes the history of counterpoint with an outline of its structure, placing musical examples from J. S. Bach side by side with those from The Beatles to illustrate the universality and currency of counterpoint in music analysis and composition.
Teresa Davidian is professor of music at Tarleton State University. She has written articles and papers on the music of Claude Debussy, the musical avant-garde of the 1930s, and American popular music. Her book Tonal Counterpoint for the 21st-Century Musician: An Introduction was published by Rowman & Littlefield.
Inhaltsangabe
Preface Introduction 1: Melody General Characteristics Melodic Organization Putting It All Together Beyond the Rules Exercises 2: First Species - 1:1 General Characteristics Putting It All Together Conclusion Exercises 3: Second Species - 2:1 General Characteristics How to Construct 2:1 Conclusion Exercises 4: Third Species - 3:1 and 4:1 Three Notes Against One (3:1) Four Notes Against One (4:1) Rhythmic Interplay between the Lines Beyond Third Species Exercises 5: Analyzing and Composing a Simple Piece in Two Parts General Characteristics of Musical Form Analyzing Form Binary Form Composing a Binary-Form Piece Beyond Form and Analysis Exercises 6:Double Counterpoint General Remarks and Principles How to Construct Double Counterpoint Exercises 7: Two-part Canon General Remarks and Principles Common Canons How to Write a Two-Part Canon Canon Transformations Still More Canons Conclusion Exercises 8: J. S. Bach's Two-part Invention Analyzing Inventions Section 1 Section 2 Concluding Measures Overall Construction Composing Inventions Exercises 9: Counterpoint in Three and Four Parts Back to the Species General Characteristics The Difference between Harmony and Counterpoint How to Construct Species Counterpoint in Three Parts How to Construct Species Counterpoint in Four Parts Beyond Four-Part Counterpoint Exercises 10: Fugue Bach and the Fugue Section 1: Exposition Section 2: Development Final Portion Overall Construction Composing Fugues Exercises Bibliography Index
Preface Introduction 1: Melody General Characteristics Melodic Organization Putting It All Together Beyond the Rules Exercises 2: First Species - 1:1 General Characteristics Putting It All Together Conclusion Exercises 3: Second Species - 2:1 General Characteristics How to Construct 2:1 Conclusion Exercises 4: Third Species - 3:1 and 4:1 Three Notes Against One (3:1) Four Notes Against One (4:1) Rhythmic Interplay between the Lines Beyond Third Species Exercises 5: Analyzing and Composing a Simple Piece in Two Parts General Characteristics of Musical Form Analyzing Form Binary Form Composing a Binary-Form Piece Beyond Form and Analysis Exercises 6:Double Counterpoint General Remarks and Principles How to Construct Double Counterpoint Exercises 7: Two-part Canon General Remarks and Principles Common Canons How to Write a Two-Part Canon Canon Transformations Still More Canons Conclusion Exercises 8: J. S. Bach's Two-part Invention Analyzing Inventions Section 1 Section 2 Concluding Measures Overall Construction Composing Inventions Exercises 9: Counterpoint in Three and Four Parts Back to the Species General Characteristics The Difference between Harmony and Counterpoint How to Construct Species Counterpoint in Three Parts How to Construct Species Counterpoint in Four Parts Beyond Four-Part Counterpoint Exercises 10: Fugue Bach and the Fugue Section 1: Exposition Section 2: Development Final Portion Overall Construction Composing Fugues Exercises Bibliography Index
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