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Index
Title Page
Dedication
Copyright Page
Contents
Foreword by Alfred Mann
Introduction to The English Translation
Preface
Part I: Preliminaries
I. OUTLINE HISTORY OF CONTRAPUNTAL THEORY
Counterpoint and Harmony Contrasted
The Ninth to the Fourteenth Centuries: The Beginnings of Contrapuntal Theory
The Fifteenth Century: Crystallization of Principles
The Sixteenth Century: The Style of Palestrina
The Seventeenth Century: Some Pedagogical Developments
The Eighteenth Century: The Style of Bach
The Nineteenth Century: Palestrina or Bach?
The “Palestrina Movement” after Fux
II. Technical Features
Notation
The Ecclesiastical Modes
Melody
Harmony
Part II: Contrapuntal Exercises
Introduction
III. Two-Part Counterpoint
First Species
Second Species
Third Species
Fourth Species
Fifth Species
Free Two-Part Counterpoint
Imitation
IV. Three-Part Counterpoint
First Species
Second Species
Third Species
Fourth Species
Fifth Species
Imitation
V. Four-Part Counterpoint
First Species
Second Species
Third Species
Fourth Species
Fifth Species
Imitation
VI. Counterpoint in More Than Four Parts
VII. The Canon
VIII. The Motet
IX. The Mass
Appendix
The Vocal Fugue
Double, Triple, and Quadruple Counterpoint
Summary of The Most Important Contrapuntal Laws and Rules
Melody
Consonant Combinations
Dissonant Combinations
Index
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