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Tonal Counterpoint for the 21st-Century Musician


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Table of Contents

Preface Introduction 1: Melody General Characteristics Melodic Organization Putting It All Together Beyond the Rules Exercises 2: First Species - 1:1 General Characteristics Putting It All Together Conclusion Exercises 3: Second Species - 2:1 General Characteristics How to Construct 2:1 Conclusion Exercises 4: Third Species - 3:1 and 4:1 Three Notes Against One (3:1) Four Notes Against One (4:1) Rhythmic Interplay between the Lines Beyond Third Species Exercises 5: Analyzing and Composing a Simple Piece in Two Parts General Characteristics of Musical Form Analyzing Form Binary Form Composing a Binary-Form Piece Beyond Form and Analysis Exercises 6: Double Counterpoint General Remarks and Principles How to Construct Double Counterpoint Exercises 7: Two-part Canon General Remarks and Principles Common Canons How to Write a Two-Part Canon Canon Transformations Still More Canons Conclusion Exercises 8: J. S. Bach's Two-part Invention Analyzing Inventions Section 1 Section 2 Concluding Measures Overall Construction Composing Inventions Exercises 9: Counterpoint in Three and Four Parts Back to the Species General Characteristics The Difference between Harmony and Counterpoint How to Construct Species Counterpoint in Three Parts How to Construct Species Counterpoint in Four Parts Beyond Four-Part Counterpoint Exercises 10: Fugue Bach and the Fugue Section 1: Exposition Section 2: Development Final Portion220 Overall Construction Composing Fugues Exercises Bibliography Index

About the Author

Teresa Davidian is head of the department of fine arts at Tarleton State University, a member of the Texas A&M University System. She is the author of articles on Debussy, the 1930s avant-garde movement, and music theory pedagogy.


Students today, having grown up in the age of digital technology, like their information fast and consider visual images as important as textual content. In this single-semester introduction, Davidian provides students with a textbook that is a direct reflection of the age in which they live. Throughout, the author explains how the techniques of 18th-century counterpoint still readily apply to how music is composed today. * Teaching Music *

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