Guide to Readings

Haydn, Elementarbuch Rules of counterpoint (general), 208/09 - 217/17( consonances, motions) Definition of counterpoint, 216/17 - 218/19 ( equal/unequal, figured, double) 1st species, 220/21 - 222/23 2nd species, 222/23 - 230/31 3rd species, 231/31 - 236/37 Niedt, Musical Guide Bass diminution, 41-42 Bass diminution (systematic presentation), 74-87 rising 2nd - 8ve, 74-81 falling 2nd - 8ve, 81-86 sustained note, 87 Model bass and diminution, 88-101 Right-hand diminution (on a model prog.), 101-118 Model fig. bass and diminution, 118-121 Suite movements, 163-178 Counterpoint (summary of fig. bass rules), 236-249 Canon, 250-255 Kirnberger, Art of Strict Musical Composition Simple counterpoint, 158-172 fifths, 165-169 indep. of line, 171 (bottom) -72 Florid counterpoint, 205-236 diminution, 207-208 passing notes, 210-211 arpeggiations (polyphonic melody), 218-225 passing motions, 225-228 syncopations, 228-231 aria as embellished chorale, 233-236 Salzer-Schachter, Counterpoint in Composition 1st species, 12-24 2nd species, 39-50 3rd species, 56-70 4th species, 78-89 5th species, 101-109 Benjamin, Counterpoint in the Style of J.S. Bach Canon, 121-37 Invertible counterpoint, 109-20 Invention, 142-64 Fugue, 218-80 Gauldin, Practical Approach to 18th-Century Counterpoint Baroque melody, 26-30 Voice-leading reduction, 51-54 Diminution, 57-64, 66-67, 96-101 Chorale preludes (2-voice), 75-81 Invention, 122ff Double counterpoint, 113ff, 186ff Kennan, Counterpoint, 3rd ed. (1987) Canon, 90-113 Invertible counterpoint, 114-24 Invention, 125-43 Fugue, 205-36 Mason, Essentials of 18th-Century Counterpoint Invention, 65-84 Fugue, 119-137 Back to Music 103 home page...