Preface:
Note to the Student:
Note to the Instructor:
Introduction: Renaissance Musical Style and Notation
1. Mode
2. Introduction to Two-Part Species Counterpoint
3. First Species
4. Second Species
5. Third Species
6. Fourth Species
7. Mixed Values
8. Counterpoint with Repetition of a Motive
9. Motivic Variation
10. Cadence Formulas in Two Voices
11. Two Parts in Mixed Values
12. The Imitative Duo
13. Invertible Counterpoint
14. Three Parts
15. Three Parts in Mixed Values
16. The Three-Voice Invertible Canon
17. Four-Part Writing
18. Adding Three Parts in Mixed Values to a CF
19. Four Parts in Mixed Values
20. Composing a Whole Piece
Appendices
1: Text Setting
2: Canon Against a CF
3: Solmization
4: Sample Motive Placements
5: The Invertible Duo
Bibliography:
Index:
Peter Schubert is Associate Professor in the Faculty of Music at McGill University, Montreal.
"There is no other textbook in modal counterpoint quite like it.
Schubert's innovative division of rules into "hard" (rules never to
be violated) and "soft" (rules that may be violated if the occasion
demands) has proven very useful in the classroom, and his warm-up
exercises for each species are quite helpful. This certainly ranks
among the best music theory textbooks of the past ten
years."--Anton Vishio, Steinhardt School of Culture, Education, and
Human
Development, New York University
"This is one of the most successful textbooks in any area of music
I have used in sixteen years of university teaching. It is also
remarkably well edited. Its format is both instructor- and
student-friendly. This is a book of inspired musicality, pragmatic
pedagogy, scholarship, and wit."--Jeff Perry, Louisiana State
University
"There is no other textbook in modal counterpoint quite like it.
Schubert's innovative division of rules into "hard" (rules never to
be violated) and "soft" (rules that may be violated if the occasion
demands) has proven very useful in the classroom, and his warm-up
exercises for each species are quite helpful. This certainly ranks
among the best music theory textbooks of the past ten
years."--Anton Vishio, Steinhardt School of Culture, Education, and
Human
Development, New York University
"This is one of the most successful textbooks in any area of music
I have used in sixteen years of university teaching. It is also
remarkably well edited. Its format is both instructor- and
student-friendly. This is a book of inspired musicality, pragmatic
pedagogy, scholarship, and wit."--Jeff Perry, Louisiana State
University
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