Table of Contents
I. STRICT STYLE.
1. Introduction.
What is this Book? Who Can Use this Book?. Step by Step. Learning
by Modeling. Mainstream Composers. Why Vocal Music? Keeping a
Commonplace Book. Copying and Memorizing Music. Different Road Maps
through the Book.
2. Melody or Harmony?
Canon: The Melody as Surface of the Progression. Chord Factors.
Composing a Canon. Free Imitation. Fugue and Other Imitative
Genres. Puzzle Canon. Unpacking the Box.
3. Harmonizing a
Subject in Simple Counterpoint.
Simple Counterpoint or Chorale Style. Harmonic Rhythm, or “Steps.”
Fundamental Bass or Root Progression. Chord Factors. The Principal
Triads. Rules for Using Only Principal Triads in Simple
Counterpoint. Inverted Chords. Other Triads and Substitute Chords.
Rules for Exercises in Harmonizing Given Subjects Using All
Available Triads, Inverted Chords. Tips for Writing Good Bass
Lines.
4. Melodic Embellishment in Strict Style.
Strict Style. Dance Steps and Dissonance. Dance Rhythms. Rules for
Strict Style. Types of Embellishment. Compound Melody. Reduction.
5. Variation Techniques.
Chaconne, Passacaglia, Ground, Variation. Motives. Inventory of
Typical Motives. Motive as Embellishment. Harmonizing Motives.
Dissonance in More than Two Parts. Melodic Inversion. Chorale
Preludes. Motivic Variation. Chorale Cantus Firmus in Longer Note
Values. Retrograde and Retrograde Inversion. Other Motives.
6.
Imitation at the Unison or Octave Above a Free Bass.
A) Trio Sonata Openings. Tips for Good Three-Part Writing. Inverted
Chords and Substitute Chords. Total Reharmonization. B) Openings of
Keyboard Dances and Inventions.
7. Imitation at the
Fifth.
Why Imitate at the Fifth? Imitation at the Fifth in Trio Sonatas.
The Splice. Different Types of Splice: The Modulation. Imitating at
the Fifth in the Minor Mode. Note on Dorian and Mixolydian Key
Signatures.
8. Closing the Circle.
Back to the Tonic. The D/T Splice. Modulation and Remodulation.
Splice Plus Cadential. Chord Factors in Splice Pairs, The Third
Thematic Entry. The Retransition. Remodulation and Retransition in
Minor Keys. Non-Modulating Themes.
9. Exposition with Real
Answer.
Fugue vs. Trio Sonata. The Subject as Bass. The SATB Exposition.
The BTAS Exposition. Vocal Ranges. The Countersubject. The
Countersubject and Invertible Counterpoint at the Octave. The
Exposition with Other Orders of Entry. Two Subjects or Answers in a
Row. The Subject & Answer in Non-Adjacent Voices.
10. Tonal
Answer.
Real Answer v. Tonal Answer. Moving the Splice. Tonic Scale and
Dominant Scale. Reciprocity and Types of Subject. Why Tonal Answer?
Other Alterations and Scale Degrees. Analyzing Melodies. Writing
Tonal Answers. Countersubject and Counteranswer. Tonal Answer and
Harmonic Progression.
11. Thematic Presentations.
Summary of Chapters 5-10. The Exposition. Simple Fugues. Some
Aspects of Musical Variety. The “Unneccessary” Transition.
Overlapping witht the Cadence. Multiple Fugues. The First Type of
Double Fugue. A Lesson from Mattheson. The Second Type of Double
Fugue. The Third Type of Double Fugue. Invertibility in Double
Fugues. Triple and Quadruple Fugues. Permutation Fugue.
Invertibility in Triple and Quadruple Fugues. Unpacking Harmonic
“Boxes” Part II.
12. Episodes.
Part I: Types of Sequence. One-Chord Models. Two-Chord Models.
Multi-Chord Models. Harmonic Smudge. Realizing Sequentially. Canons
in Sequences. Part II: Structural Functions of Sequence. Sequences
in Themes. Sequences in Episodes. Deriving Motives from the Subject
& Countersubject. Using Sequences to Modulate. Ways to Harmoinze
the Suspension Chain.
13. Laying Out a Whole Piece.
Cadences. Authentic Cadences. Formal Cadences. Embellishing the
Arrival. Avoided Cadences. Mattheson on Cadences in Fugue. Final
Plagal Cadences. Subordinance Cadences. Placement of Formal
Cadences. Using Avoided Cadences to Modulate. Joining Up Sections.
Modulating by Means of Successive Entries. Fragmentary Entries. A
Case Study.
II. FREE STYLE AND ADVANCED TECHNIQUES.
14. Advanced Embellishment - Free Style.
Accented Passing Tones. Sense of Direction. Suspensions that
Resolve Upwards. Leap to and from Dissonances. Expanding a Harmony.
Transferred Resolutions. Layers of Dissonance. The Benefits of Free
Style.
15. Chromaticism and Sequences.
Ascending and Descending Chromaticism. The Diminished Seventh
Chord. Four Types of Descending Chromaticism. Other Substitutes.
Isolated Applied Dominants. Applied Dominants in Sequences. Applied
Dominants in Compound Melody. More Harmonic Smudges. Chromatic
Scales in Fugue Subjects. Chromaticism and Tonal Answer. A Famous
Difficult Example.
16. Multiple Counterpoint.
Basic Principles of Invertible Counterpoint. Why Use Invertible
Counterpoint?. Invertible Counterpoint at the Tenth. Parallel
Tenths. IC10 and Harmony. IC12. IC12 and Harmony. A Bach Story.
Double Counterpoint in Three Parts. Invertible Counterpoint at the
Octave and Tenth. Invertible Couterpoint at the Tenth and Twelfth.
Double Counterpoint in Four Parts: IC8, 10, and 12. Triple and
Quadruple Counterpoint. Composing Boxes of Artful Devices First and
Unpacking the Boxes. Uninverted Double Counterpoint.
17. Writing
an Original Subject.
Writing an Original Subject. Types of Subject. Harmonic Rhythm.
Borrowing and Assembly. Melody. Rhythm. Length of Subject. Head and
Tail—Beginning, Middle, and End. Overall Shape. Unpacking the Box
to Make a Subject. Real or Tonal Answer?. Multiple Splices. Hybrid
Themes. Starting on Unusual Scale Degrees. Unusual Scale Degrees
after the Splice. Unusual Subjects.
18. Stretto.
Stretto. Stretto and Tonal Answer. Stretto and Hybrid. Varying
Stretto. Combinations by Invertible.Counterpoint. Using Reduction
to Examine a Subject for Stretto Possibilities. Harmony and
Stretto. Time-Shifting the Countermelody. Stretto Fugue.
19.Other Techniques.
Augumentation/diminution. Melodic Inversion. Mirror Inversion.
Simultaneous Inversion. Pedal. Combined Techniques. Advanced Formal
Speculation.
20. Overall Design and Layout of a Fugue.
Key. Contrapuntal Intensity. Register and Texture. Marpurg on Fugal
Form. Fugue as Jewelry. Borrowed Form. JKF Fischer Fuga 3 in D
Minor. JKF Fischer Fuga 10 in F Major. Binary Form. Ritornello Form
in Fugue. Competing Analyses of the C Minor Fugue from WTC1.
Varying the Presentation of the Theme(s). Melodic Inversion.
Varying the Theme/Countermelody Pair. Introducing Episodes for
Contrast. Means of Varying Intensity.
Appendix I: Partimento
Fugues.
Appendix II: List of Fugue Subject Types from The Well-Tempered
Clavier.
Glossary and Index.
Bibliography.