Scarecrow Press
Pages: 148
•
Trim: 5¾ x 8½
978-0-8108-5409-3 • Paperback • January 2005 • $52.00 • (£40.00)
Henry Martin, Professor of Music at Rutgers University in Newark, has pursued a dual career as a composer-pianist and as a music theorist specializing in jazz and the Western tonal tradition.
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
Web Materials for Counterpoint: A Species Approach Based on Schenker's Counterpoint
As explained in the preface of the text, this Web site features worked-out music examples for chapters 1–19. In general, you should download the Web site pages for each chapter once you have finished reading the text. The best procedure for working with an example is to begin by writing the cantus firmus in ink (so you will not accidentally erase it) on a blank sheet of music paper, then work in pencil as you compose the counterpoint. You can also experiment writing directly with a computer music notation program, but there is no substitute for writing by hand, trying to hear your music mentally as you write, then eventually playing your examples on the piano or other keyboard. This procedure is far more beneficial than relying on automated computer playback.
The examples on the Web pages are created in step-by-step fashion with numbered steps enclosed in squares and brackets designating the relevant music. After writing the cantus firmus, read the text for Step 1 and write the music, then read the text and write the music for Step 2, and so forth. Play each step at the keyboard before proceeding to the next step. An even better procedure is to try to write the music for Step 1 yourself, then compare it against the Step 1 “solution” given in the Web site text. Your music is likely to be different than what is given. In what ways is your version stronger or weaker?
The chapters build through the final example of the Lassus duo “Beatus Homo,” given in chapter 19. This piece also contains an example of invertible counterpoint at the twelfth, a technique discussed in chapter 20.
Gain access to the examples by contacting textbooks@rowman.com for instructions on how to register.
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Lecture Notes. The Lecture Notes provide the tables and figures from the text.