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Modal Counterpoint, Renaissance Style
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Table of Contents

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:

About the Author

Peter Schubert is Associate Professor in the Faculty of Music at McGill University, Montreal.

Reviews

"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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