Counterpoint: strict and free (Book, 1890) [WorldCat.org]
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Counterpoint: strict and free

Author: Ebenezer Prout
Publisher: London : Augener Ltd., 1890.
Series: Augener's edition, no. 9183.
Edition/Format:   Print book : EnglishView all editions and formats
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Additional Physical Format: Online version:
Prout, Ebenezer, 1835-1909.
Counterpoint: strict and free.
London : Augener Ltd., 1890
(OCoLC)919794298
Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Ebenezer Prout
OCLC Number: 14409661
Description: xiv, 259, [1] pages : music ; 22 cm.
Contents: 1. Introduction : Meaning of the word counterpoint ; How it differs from harmony ; Simple and double counterpoint ; Triple and quadruple counterpoint ; Strict counterpoint ; Free counterpoint ; The use of the study of counterpoint ; Open score ; The C clefs ; The compass of the voices 2. Melodic and harmonic progression : Conjunct and disjunct motion ; The best leaps ; The leap of an augmented interval ; The leap of a diminished interval ; The leap of a seventh ; Leap of a seventh or ninth, with one intermediate note ; Approaching and quitting large leaps ; The leap to an accented note ; Repeating the same note ; Similar motion: forbidden consecutives ; Hidden octaves and fifths ; Discords with the bass ; The diminished fifth and augmented fourth, when allowed ; Overlapping and crossing of parts ; Selection of harmonies ; Forbidden positions of chords ; The harmonies available for strict counterpoint ; Progression of the mediant chord in the major key ; Root progressions ; Root rising a fourth ; Root falling a fourth ; Root rising a third ; Root falling a third ; Root rising a second ; Root falling a second ; Importance of considering root progressions 3. The harmonizing of a given melody in the strict style : Necessity of well-defined tonality ; The subject, or canto fermo ; Transposition of the subject ; Position of the chords ; The cadence ; Modulation, when to be used ; How to begin and exercise ; What to consider in choosing chords ; Repetition of a note of melody ; Anticipating the harmony of an accented beat ; A melody harmonized ; The melody in the bass, with faulty harmony ; The same, harmonized correctly ; The melody in the treble, badly harmonized ; The same, correctly harmonized ; The student's difficulties illustrated ; The melody in a middle voice ; The melody worked in the alto ; Melody in the tenor ; Harmonizing a melody in a minor key ; Danger of incorrect melodic progression ; Chord progressions in a minor key ; A melody in a minor key harmonized ; Melody in the bass ; Melody in the treble ; Melody in the alto ; Melody in the tenor : How to acquire the instinct for good root progressions; Exceptions to the principles here laid down 4. Two-part counterpoint: first species : Two-part counterpoint ; The five species of strict counterpoint ; The first species ; No discords allowed ; Implied harmony ; Outline chords ; Ambiguous intervals ; The forms of cadence ; The first chord ; Contrary and similar motion ; Consecutive thirds and sixths ; Oblique motion forbidden ; The "false relation of the triton" ; Its real nature explained ; How to avoid it ; Clear tonality essential ; The minor seventh of the minor scale, when used ; An exercise worked ; Subject in the treble ; Subject in the alto ; Subject in the tenor ; Subject in the bass ; Counterpoint in a minor key ; Subject in the treble ; Subject in the alto ; Subject in the tenor ; Subject in the bass ; The proper way of working 5. Two-part counterpoint: second species : The second species of counterpoint ; The first bar ; Accented an unaccented beats ; Outline chords ; Treatment of passing and auxiliary notes ; When these are impossible ; Auxiliary notes ; One and two chords in a bar ; Faulty progressions ; Fifths and octaves between unaccented notes, when possible ; How to save hidden fifths and octaves ; Unisons, and crossing parts ; Implied second inversions ; The first chord ; The cadence ; The major sixth, and minor seventh in the minor key, how used ; Monotonous counterpoint ; Examples worked in major key ; Ditto in a minor key 6. Two-part counterpoint: third species : The third species of counterpoint ; One and two chords to one note of the subject with counterpoint of four notes to one ; The first note a concord ; The second, third, and fourth notes ; Arpeggio of a chord ; Two consecutive passing notes ; Changing notes ; Their position ; Their order ; When unavailable ; Passing notes in the minor key ; Consecutive ditto ; The minor seventh as a harmony note ; Consecutives between harmony notes ; The fifth of a chord, when available in the bass ; A doubled leading note ; Harmony notes treated as passing notes ; Progression form a second to a unison, crossing of parts ; The best position for a leap in the counterpoint ; The first chord ; The cadence ; Examples worked ; Counterpoint of three notes against one ; Passing and changing notes ; The cadence ; Examples worked ; Counterpoint of six or eight notes to one ; Compound duple and simple triple time in a six-note counterpoint ; Examples ; Directions for working the third species 7. Two-part counterpoint: fourth species : The fourth species of counterpoint ; Syncopation, its nature explained ; Suspension ; What suspensions are allowed in strict counterpoint ; Position of harmony notes in fourth species ; This species oftener a variation of the second than of the third ; Fourth species with two notes against one ; Syncopation sometimes impossible ; Breaking the syncopation ; Consecutive thirds or sixths ; The cadence ; The commencement ; Examples ; Double counterpoint illustrated ; The fourth species in a minor key, difficulty of avoiding monotony ; Examples ; Transposing the subject ; Syncopation with three notes against one ; "Ornamental resolutions" ; Two chords against one note of the subject ; The cadence ; Examples ; Counterpoint of the fourth species with four notes against one ; The practical use of the fourth species 8. Two-part counterpoint: fifth species : Florid counterpoint defined ; Employment of preceding species ; Ornamental resolutions ; The employment of quavers ; One chord in each bar ; The commencement ; The cadence ; Need of variety in this species ; Examples in a major key ; Ditto in a minor key ; The fifth species in triple time 9. Three-part counterpoint : Two of the three parts in the first species ; The fundamental difference between two-part and three-part counterpoint ; Combinations of the voices ; Position of the parts ; Complete chords ; The fourth, when a consonance ; Hidden fifths and octaves ; The false relation of the triton ; Consecutive thirds and sixths ; Employment of the unison, repetition of a note ; Root-progressions ; The commencement ; The penultimate chord in the cadence ; Cadence of the first species ; Examples of the first species ; Cadence of the second species ; Examples of the second species ; Cadence of the third species ; Examples of the third species with four notes against one ; Ditto with three notes against one ; Cadence of the fourth species ; Examples of the fourth species ; Cadence of the fifth species ; Examples of the fifth species ; The fourth and fifth species in triple time ; Variation of counterpoint, choice of keys ; Additional subjects 10. Four-point counterpoint : The general principles of four-part counterpoint ; Overlapping of parts ; The use of the unison, repetition of the same note ; Repetition of a chord in different positions ; Combination of voices ; The cadences ; Difference between harmony and counterpoint illustrated ; Four-part counterpoint of the first species ; The cadence in the second species ; Examples of the second species ; Ditto of the third species ; Ditto of the fourth species ; Ditto of the fifth species 11. Combined counterpoint : Combined counterpoint defined ; Its two kinds ; Its special difficulty ; Illustrations ; The employment of dissonances ; Combined counterpoint in three parts ; Two parts of second species ; Two parts of third species ; Two parts of fourth species ; Two parts of fifth species ; Combination of second and third species ; Second and fourth species ; Second and fifth species ; Third and fourth species ; Third and fifth species ; Fourth and fifth species ; Combined counterpoint in four parts ; Examples ; The use of combined counterpoint 12. Counterpoint in five, six, seven, and eight parts : Counterpoint in more than four parts ; Its increased difficulty ; Relaxation of strictness of rules of five parts ; The additional voice ; First species in five parts ; Second species in five parts ; Third species ; Fourth species ; Fifth species ; Combined counterpoint in five parts ; Counterpoint of six, seven and eight parts, further relaxation of the rules ; The best method of working counterpoint in many parts ; First species in six parts ; Ditto in seven parts ; Ditto in eight parts; Second species in six parts ; Third species in seven parts ; Fourth species in six pats ; Fifth species in eight parts ; Combined species in six parts ; Ditto in seven parts ; Ditto in eight parts ; Conclusion 13. Free counterpoint in general : The object of counterpoint ; The harmonies possible in free counterpoint ; The laws of root-progression in free counterpoint ; Approaching a discord ; The treatment of auxiliary notes ; Chromatic auxiliary notes ; Anticipations ; Suspensions ; Needful warnings ; A bad example of free counterpoint analyzed 14. Free counterpoint upon a canto fermo, imitative counterpoint : Free counterpoint on a canto fermo ; To be written in four parts ; The cadences ; Examples of first species ; Ditto of second species ; Ditto of third species ; Ditto of fifth species ; Combined free counterpoint of the fifth species ; Imitative counterpoint ; Direct imitation, example ; How to write it ; Imitation by inversion, augmentation, and diminution ; Example explained ; The use of imitative counterpoint 15. Cadences : Various forms of cadence ; Compared to stops in punctuation ; The use of cadences ; Authentic and plagal cadences ; Position of the accents in the authentic cadence ; Varieties of the authentic cadence ; Leading up to a cadence ; Repetition of tonic and dominant chords in a final cadence ; The plagal cadence ; Mostly used at the close of a movement ; Preceded by an interrupted or inverted cadence, employment of the "Tierce de Picardie" ; Use of the minor seventh of the key ; A different form of plagal cadence ; Exceptional forms of full cadence ; The inverted cadence ; The half cadence ; The interrupted cadence ; Cadences only used at the end of a phrase 16. The harmonizing of chorals, and other melodies : The use of counterpoint in harmonizing melodies ; The position of the cadences ; Rhythm defined ; Finding the place of the cadences ; The cadential possibilities of melodic progressions ; Phrase ending on the tonic ; Phrase ending on the supertonic ; Phrase ending on the mediant ; Phrase ending on the subdominant ; Phrase ending on the dominant ; Phrase ending on the submediant ; Phrase ending on the leading note ; Modulation ; Variety of cadence ; Length of harmony notes in chorals ; Repetition of the same chord, melody note, or bass note ; Harmony to be changed in approaching an accented beat ; The use of the 6/4 chord ; Auxiliary notes ; A choral harmonized ; The same choral harmonized by Bach ; Simple harmony recommended ; The choral in a middle voice ; The harmonizing of more florid melodies ; Use of auxiliary notes ; Notes of small value ; Passing notes in the accompaniment ; A melody harmonized ; A weak harmony ; A stronger harmony ; The melody in a middle voice ; The harmonizing of pianoforte music ; Broken chords and arpeggios ; Rule for their treatment ; Examples ; Freedom of writing by the great masters ; Strict observance of rule recommended 17. The application of counterpoint to practical composition : Free counterpoint used in actual composition ; The practical use of counterpoint ; Counterpoint on "Plain Song" by Bach ; The same subject treated by Cherubini ; Counterpoint on a choral, by Bach ; Ditto by Handel ; The choral in instrumental music ; The choral in opera ; Counterpoint as an added part to a known theme ; Combinations of different subjects, example by Handel ; Ditto by Bach ; Ditto by Mozart ; Example by Wagner ; Conclusion.
Series Title: Augener's edition, no. 9183.
Responsibility: by Ebenezer Prout.

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