Counterpoint: strict and free (Book, 1890) []
skip to content
Counterpoint: strict and free Preview this item
ClosePreview this item

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

(not yet rated) 0 with reviews - Be the first.

More like this

Find a copy online

Find a copy in the library

&AllPage.SpinnerRetrieving; Finding libraries that hold this item...


Additional Physical Format: Online version:
Prout, Ebenezer, 1835-1909.
Counterpoint: strict and free.
London : Augener Ltd., 1890
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.


User-contributed reviews
Retrieving GoodReads reviews...
Retrieving DOGObooks reviews...


Be the first.

Similar Items

Related Subjects:(1)

Confirm this request

You may have already requested this item. Please select Ok if you would like to proceed with this request anyway.

Close Window

Please sign in to WorldCat 

Don't have an account? You can easily create a free account.