Verfügbarkeit: Baroque counterpoint

Baroque counterpoint:

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Bibliographische Detailangaben
1. Verfasser:	Schubert, Peter 1946- (VerfasserIn)
Format:	Buch
Sprache:	English
Veröffentlicht:	Upper Saddle River, NJ Pearson Prentice Hall 2006
Schlagworte:	Geschichte 1700-1800 Geschichte 1600-1700 Geschichte 1680-1780 Contrepoint Musique - 17e siècle - Analyse et appréciation Musique - 18e siècle - Analyse et appréciation Musik Counterpoint Music > 17th century > Analysis, appreciation Music > 18th century > Analysis, appreciation Kontrapunkt Komposition > Musik Lehrbuch
Online-Zugang:	Inhaltsverzeichnis
Beschreibung:	Includes bibliographical references and index
Beschreibung:	IX, 374 Seiten Notenbeisp.
ISBN:	0131834428

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Datensatz im Suchindex

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adam_text	Contents Acknowledgments ix I PARTÍ Strict Style 1 Introduction 1 Why Study Counterpoint? 1 What Is This Book? 2 Who Can Use This Book? 3 Step-by-Step 3; Learning by Modeling 3; Mainstream Composers 4; Keeping a Commonplace Book — Copying and Memorizing Music 4; The Sound of Baroque Music 5; Why Vocal Music? 5 Recipe for Success 5; Notes on Baroque Harmony 5; Different Road Maps through the Book 6 2 Melody or Harmony? 8 Canon — The Melody as Surface of the Progression 9; Chord Factors 11 ; Composing a Canon — Unpacking the Box 12; Composing a Canon — The Melodic Approach 13; Puzzle Canon 14; Fugue and Other Imitative Genres 16 3 Harmonizing a Subject in Simple Counterpoint 17 Simple Counterpoint or Chorale Style 17; Harmonic Rhythm, or Steps 17; Fundamental Bass or Root Progression 19; Chord Factors 19; The Principal Triads 20; Rules for Using Only Principal Triads in Simple Counterpoint 20; Inverted Chords 24; Other Triads and Substitute Chords 25; Rules for Exercises in Harmonizing Given Subjects Using All Available Triads and Inverted Chords 26; Tips for Writing Good Bass Lines 26 4 Melodic Embellishment in Strict Style 29 Strict Style 29; Dance Steps and Dissonance 29; Dance Rhythms 30; Rules for Strict Style 31; The Types of Embellishment 32; Compound Melody 45; Reduction 46; Brief Summary of Rules for Strict Style 49 5 Variation Techniques 54 Why Variation? 54 Chaconne, Passacaglia, Ground, Variation 54; Motives 58; Inventory of Typical Motives 58; Motive as Embellishment 59; Harmonizing Motives 59; Faster Harmonic Rhythm 61; Dissonance in More Than Two Parts 61; Melodic Inversion 63; Chorale Preludes 64; vi Contents Motivic Variation 65; Chorale CantusFirmus in Longer Note Values 69; Retrograde and Retrograde Inversion 70; Other Motives 72 G Imitation at the unison or Octave 75 Imitative Trio Sonata Openings 75; Ήρε for Good Three-Part Writing 78; Inverted Chords and Substitute Chords 81; Total Reharmonization 84; Openings of Keyboard Dances and Inventions 86 7 Imitation at the Fifth 91 Why Imitate at the Fifth? 91 Imitation at the Fifth in Trio Sonatas 91; The Splice 93; Different Types of Splice 93; Not A Splice—The Modulation 95; Imitation at the Fifth in the Minor Mode 98; Note on Dorian and Mixolydian Key Signatures 100 ô Remodulation and a Third Entry 103 Back to the Tonic 103; The D/T Splice 103; Modulation and Remodulation 104; Splice Plus Modulation 106; Chord Factors in Splice Pairs 107; The Third Thematic Entry 108; The Retransition 110; Remodulation and Retransition in Minor Keys 112; Nonmodulating Themes 117 9 Fugue Exposition 122 Fugue versus Trio Sonata 122; The Subject as Bass 122; TheSATB Exposition 123; The BTAS Exposition 126; The Countersubject 127; Other Orders of Entry 130; Basic Principles of Invertible Counterpoint 130; Vocal Ranges and Other Orders of Entry 135; Two Subjects or Answers in a Row 135; The Subject and Answer in Nonadjacent Voices 136 10 Tonal Answer 141 Real Answer versus Tonal Answer 141; Moving the Splice 141; Tonic Scale and Dominant Scale 143; Reciprocity and Types of Subject 144; Why Tonal Answer? 145; Other Alterations and Scale Degrees 146; Analyzing Melodies 147; Writing Tonal Answers 150; When to Use Real Answer 151; Countersubject and Tonal Counteranswer 152; Diagonal Splice 152; Tonal Answer and Harmonic Progression 156 11 Thematic Presentations 160 Summary of Chapters 5-10 160; The Exposition 160; Simple Fugues 161; Some Aspects of Musical Variety 161; Multiple Fugues 162; The First Type of Double Fugue 163; How to Avoid Periodicity in the First Type of Double Fugue 168; A Lesson from Mattheson 170; The Second Type of Double Fugue 172; The Third Type of Double Fugue 175; Invertibility in Double Fugues 178; Triple and Quadruple Fugues 182; Permutation Fugue 182; Invertibilify in Triple and Quadruple Fugues 184; Unpacking Harmonic Boxes Part II 187 Contents vii 12 Sequences and Episodes 193 Sequences with One-Chord Models 193; Two-Chord Models 195; Multichord Models 201; Harmonic Smudge 203; Realizing Sequentially 204; Canons in Sequences 204; Ways to Harmonize the Suspension Chain 206; Sequences in Themes 208; Sequences in Episodes 210; Deriving Motives from the Subject and Countersubject 210; Using Sequences to Modulate 211; Joining Two Sequences 211 13 Laying Out a Whole Piece 217 Cadences 217; Mattheson on Cadences in Fugue 221 ; Placement of Formal Cadences 222; Placement of Subordinate Cadences 223; Joining Sections 224; Modulating by Means of Successive Entries 226; Fragmentary Entries 227; Motivic Unity 228; A Case Study 228 Free Style and Advanced Techniques 14 Advanced Embellishment — Free Style 236 Accented Dissonance 236; Sense of Direction 243; Suspensions that Resolve Upwards 244; Leaps to or from Dissonance 244; Expanding a Harmony (Voice Exchange) 249; Transferred Resolutions 250; Layers of Dissonance 253; The Benefits of Free Style 254 15 Chromaticism and Sequences 257 Ascending and Descending Chromaticism 257; The Diminished Seventh Chord 258; Two Types of Descending Chromaticism 259; Isolated Applied Dominants 263; Applied Dominants in Sequences 264; Sequences with Irregular Harmonic Rhythm 267; Sequences with Embedded Progressions 267; Applied Dominants in Compound Melody 269; More Harmonic Smudges 270; Chromatic Scales in Fugue Subjects 271 ; Chromaticism and Tonal Answer 272; A Famous Difficult Example 273 1 Ô Multiple Counterpoint 275 Why Use Invertible Counterpoint? 275 Invertible Counterpoint at the Tenth (IC10) 276; Parallel Tenths 278; IC10 and Harmony 279; IC12 280; IC12 and Harmony 283; A Bach Story 284; Invertible Counterpoint in Three Parts 284; Invertible Counterpoint at the Octave and Tenth 284; Invertible Counterpoint at the Tenth and Twelfth 285; Invertible Double Counterpoint in Four Parts: 1С 8,10, and 12 286; Triple and Quadruple Counterpoint 287; Composing Boxes of Artful Devices First ... 290; ,.. and then Unpacking the Boxes 292; Uninverted Double Counterpoint 293 17 Writing an Original Subject 297 Types of Subject 297; Harmonic Rhythm 300; Borrowing and Assembly 302; Melody 306; Rhythm 308; Length of Subject 309; Head and Tail—Beginning, Middle, and End 309; Overall Shape 311 ; Unpacking the Box to Make a Subject 312; Real or Tonal Answer? 312 viii Contents Multiple Splices 314; Hybrid Themes 317; Starting on Unusual Scale Degrees 318; Unusual Scale Degrees after the Splice 321; Unusual Subjects 321 18 Stretto 327 Stretto 327; Stretto and Tonal Answer 332; Stretto and Hybrid 334; Varying Stretto Combinations by Invertible and Uninverted Double Counterpoint 335; Using Reduction to Examine a Subject for Stretto Possibilities 335; Harmony and Stretto 336; Time-Shifting the Countermelody 336; Stretto Fugue 338 19 Other Techniques 341 Augmentation and Diminution 341; Melodic Inversion 344; Mirror Inversion 344; Simultaneous Inversion 345; Pedal 346; Combined Techniques 347 20 Overall Design and Layout of a Fugue 350 Key 350; Contrapuntal Intensity 350; Register and Texture 351; Marpurg on Fugai Form 351; Fugue As Jewelry 352; Borrowed Form 353; J. K. F. Fischer Fuga 3 in D Minor 353; J. K. F. Fischer Fuga 10 in F Major 354; Binary Form 359; Ritornello Form in Fugue 359; Competing Analyses of the С Minor Fugue from WTC I 363; Varying the Presentation of the ThemeCs) 365; Melodic Inversion 366; Varying the Theme/Countermelody Pair 366; Introducing Episodes for Contrast 367; Means of Varying Intensity 367 List of Works Consulted 369 Appendix 371 List of Subject Types and Orders of Entry in Fugue Expositions from The Well-Tempered Clavier Index 373
adam_txt	Contents Acknowledgments ix I PARTÍ Strict Style 1 Introduction 1 Why Study Counterpoint? 1 What Is This Book? 2 Who Can Use This Book? 3 Step-by-Step 3; Learning by Modeling 3; Mainstream Composers 4; Keeping a Commonplace Book — Copying and Memorizing Music 4; The "Sound" of Baroque Music 5; Why Vocal Music? 5 Recipe for Success 5; Notes on Baroque Harmony 5; Different Road Maps through the Book 6 2 Melody or Harmony? 8 Canon — The Melody as Surface of the Progression 9; Chord Factors 11 ; Composing a Canon — Unpacking the Box 12; Composing a Canon — The Melodic Approach 13; Puzzle Canon 14; Fugue and Other Imitative Genres 16 3 Harmonizing a Subject in Simple Counterpoint 17 Simple Counterpoint or Chorale Style 17; Harmonic Rhythm, or "Steps" 17; Fundamental Bass or Root Progression 19; Chord Factors 19; The Principal Triads 20; Rules for Using Only Principal Triads in Simple Counterpoint 20; Inverted Chords 24; Other Triads and Substitute Chords 25; Rules for Exercises in Harmonizing Given Subjects Using All Available Triads and Inverted Chords 26; Tips for Writing Good Bass Lines 26 4 Melodic Embellishment in Strict Style 29 Strict Style 29; Dance Steps and Dissonance 29; Dance Rhythms 30; Rules for Strict Style 31; The Types of Embellishment 32; Compound Melody 45; Reduction 46; Brief Summary of Rules for Strict Style 49 5 Variation Techniques 54 Why Variation? 54 Chaconne, Passacaglia, Ground, Variation 54; Motives 58; Inventory of Typical Motives 58; Motive as Embellishment 59; Harmonizing Motives 59; Faster Harmonic Rhythm 61; Dissonance in More Than Two Parts 61; Melodic Inversion 63; Chorale Preludes 64; vi Contents Motivic Variation 65; Chorale CantusFirmus in Longer Note Values 69; Retrograde and Retrograde Inversion 70; Other Motives 72 G Imitation at the unison or Octave 75 Imitative Trio Sonata Openings 75; Ήρε for Good Three-Part Writing 78; Inverted Chords and Substitute Chords 81; Total Reharmonization 84; Openings of Keyboard Dances and Inventions 86 7 Imitation at the Fifth 91 Why Imitate at the Fifth? 91 Imitation at the Fifth in Trio Sonatas 91; The Splice 93; Different Types of Splice 93; Not A Splice—The Modulation 95; Imitation at the Fifth in the Minor Mode 98; Note on Dorian and Mixolydian Key Signatures 100 ô Remodulation and a Third Entry 103 Back to the Tonic 103; The D/T Splice 103; Modulation and Remodulation 104; Splice Plus Modulation 106; Chord Factors in Splice Pairs 107; The Third Thematic Entry 108; The Retransition 110; Remodulation and Retransition in Minor Keys 112; Nonmodulating Themes 117 9 Fugue Exposition 122 Fugue versus Trio Sonata 122; The Subject as Bass 122; TheSATB Exposition 123; The BTAS Exposition 126; The Countersubject 127; Other Orders of Entry 130; Basic Principles of Invertible Counterpoint 130; Vocal Ranges and Other Orders of Entry 135; Two Subjects or Answers in a Row 135; The Subject and Answer in Nonadjacent Voices 136 10 Tonal Answer 141 Real Answer versus Tonal Answer 141; Moving the Splice 141; Tonic Scale and Dominant Scale 143; Reciprocity and Types of Subject 144; Why Tonal Answer? 145; Other Alterations and Scale Degrees 146; Analyzing Melodies 147; Writing Tonal Answers 150; When to Use Real Answer 151; Countersubject and Tonal Counteranswer 152; Diagonal Splice 152; Tonal Answer and Harmonic Progression 156 11 Thematic Presentations 160 Summary of Chapters 5-10 160; The Exposition 160; Simple Fugues 161; Some Aspects of Musical Variety 161; Multiple Fugues 162; The First Type of Double Fugue 163; How to Avoid Periodicity in the First Type of Double Fugue 168; A Lesson from Mattheson 170; The Second Type of Double Fugue 172; The Third Type of Double Fugue 175; Invertibility in Double Fugues 178; Triple and Quadruple Fugues 182; Permutation Fugue 182; Invertibilify in Triple and Quadruple Fugues 184; Unpacking Harmonic "Boxes" Part II 187 Contents vii 12 Sequences and Episodes 193 Sequences with One-Chord Models 193; Two-Chord Models 195; Multichord Models 201; Harmonic Smudge 203; Realizing Sequentially 204; Canons in Sequences 204; Ways to Harmonize the Suspension Chain 206; Sequences in Themes 208; Sequences in Episodes 210; Deriving Motives from the Subject and Countersubject 210; Using Sequences to Modulate 211; Joining Two Sequences 211 13 Laying Out a Whole Piece 217 Cadences 217; Mattheson on Cadences in Fugue 221 ; Placement of Formal Cadences 222; Placement of Subordinate Cadences 223; Joining Sections 224; Modulating by Means of Successive Entries 226; Fragmentary Entries 227; Motivic Unity 228; A Case Study 228 Free Style and Advanced Techniques 14 Advanced Embellishment — Free Style 236 Accented Dissonance 236; Sense of Direction 243; Suspensions that Resolve Upwards 244; Leaps to or from Dissonance 244; Expanding a Harmony (Voice Exchange) 249; Transferred Resolutions 250; Layers of Dissonance 253; The Benefits of Free Style 254 15 Chromaticism and Sequences 257 Ascending and Descending Chromaticism 257; The Diminished Seventh Chord 258; Two Types of Descending Chromaticism 259; Isolated Applied Dominants 263; Applied Dominants in Sequences 264; Sequences with Irregular Harmonic Rhythm 267; Sequences with Embedded Progressions 267; Applied Dominants in Compound Melody 269; More Harmonic Smudges 270; Chromatic Scales in Fugue Subjects 271 ; Chromaticism and Tonal Answer 272; A Famous Difficult Example 273 1 Ô Multiple Counterpoint 275 Why Use Invertible Counterpoint? 275 Invertible Counterpoint at the Tenth (IC10) 276; Parallel Tenths 278; IC10 and Harmony 279; IC12 280; IC12 and Harmony 283; A Bach Story 284; Invertible Counterpoint in Three Parts 284; Invertible Counterpoint at the Octave and Tenth 284; Invertible Counterpoint at the Tenth and Twelfth 285; Invertible Double Counterpoint in Four Parts: 1С 8,10, and 12 286; Triple and Quadruple Counterpoint 287; Composing Boxes of Artful Devices First . 290; ,. and then Unpacking the Boxes 292; Uninverted Double Counterpoint 293 17 Writing an Original Subject 297 Types of Subject 297; Harmonic Rhythm 300; Borrowing and Assembly 302; Melody 306; Rhythm 308; Length of Subject 309; Head and Tail—Beginning, Middle, and End 309; Overall Shape 311 ; Unpacking the Box to Make a Subject 312; Real or Tonal Answer? 312 viii Contents Multiple Splices 314; Hybrid Themes 317; Starting on Unusual Scale Degrees 318; Unusual Scale Degrees after the Splice 321; Unusual Subjects 321 18 Stretto 327 Stretto 327; Stretto and Tonal Answer 332; Stretto and Hybrid 334; Varying Stretto Combinations by Invertible and Uninverted Double Counterpoint 335; Using Reduction to Examine a Subject for Stretto Possibilities 335; Harmony and Stretto 336; Time-Shifting the Countermelody 336; Stretto Fugue 338 19 Other Techniques 341 Augmentation and Diminution 341; Melodic Inversion 344; Mirror Inversion 344; Simultaneous Inversion 345; Pedal 346; Combined Techniques 347 20 Overall Design and Layout of a Fugue 350 Key 350; Contrapuntal Intensity 350; Register and Texture 351; Marpurg on Fugai Form 351; Fugue As Jewelry 352; Borrowed Form 353; J. K. F. Fischer Fuga 3 in D Minor 353; J. K. F. Fischer Fuga 10 in F Major 354; Binary Form 359; Ritornello Form in Fugue 359; Competing Analyses of the С Minor Fugue from WTC I 363; Varying the Presentation of the ThemeCs) 365; Melodic Inversion 366; Varying the Theme/Countermelody Pair 366; Introducing Episodes for Contrast 367; Means of Varying Intensity 367 List of Works Consulted 369 Appendix 371 List of Subject Types and Orders of Entry in Fugue Expositions from The Well-Tempered Clavier Index 373
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genre	(DE-588)4123623-3 Lehrbuch gnd-content
genre_facet	Lehrbuch
id	DE-604.BV021629587
illustrated	Illustrated
index_date	2024-07-02T14:56:34Z
indexdate	2024-07-09T20:40:19Z
institution	BVB
isbn	0131834428
language	English
lccn	2005047669
oai_aleph_id	oai:aleph.bib-bvb.de:BVB01-014844508
oclc_num	59098864
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owner	DE-703 DE-12 DE-M29 DE-384 DE-B170 DE-11 DE-20 DE-W89 DE-1259
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physical	IX, 374 Seiten Notenbeisp.
publishDate	2006
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publisher	Pearson Prentice Hall
record_format	marc
spelling	Schubert, Peter 1946- Verfasser (DE-588)1023861909 aut Baroque counterpoint Peter Schubert, Christoph Neidhöfer Upper Saddle River, NJ Pearson Prentice Hall 2006 IX, 374 Seiten Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index Geschichte 1700-1800 Geschichte 1600-1700 Geschichte 1680-1780 gnd rswk-swf Contrepoint Musique - 17e siècle - Analyse et appréciation Musique - 18e siècle - Analyse et appréciation Musik Counterpoint Music 17th century Analysis, appreciation Music 18th century Analysis, appreciation Kontrapunkt (DE-588)4032307-9 gnd rswk-swf Komposition Musik (DE-588)4133320-2 gnd rswk-swf (DE-588)4123623-3 Lehrbuch gnd-content Kontrapunkt (DE-588)4032307-9 s Komposition Musik (DE-588)4133320-2 s Geschichte 1680-1780 z DE-604 Neidhöfer, Christoph 1967- Sonstige (DE-588)132578417 oth Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=014844508&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis
spellingShingle	Schubert, Peter 1946- Baroque counterpoint Contrepoint Musique - 17e siècle - Analyse et appréciation Musique - 18e siècle - Analyse et appréciation Musik Counterpoint Music 17th century Analysis, appreciation Music 18th century Analysis, appreciation Kontrapunkt (DE-588)4032307-9 gnd Komposition Musik (DE-588)4133320-2 gnd
subject_GND	(DE-588)4032307-9 (DE-588)4133320-2 (DE-588)4123623-3
title	Baroque counterpoint
title_auth	Baroque counterpoint
title_exact_search	Baroque counterpoint
title_exact_search_txtP	Baroque counterpoint
title_full	Baroque counterpoint Peter Schubert, Christoph Neidhöfer
title_fullStr	Baroque counterpoint Peter Schubert, Christoph Neidhöfer
title_full_unstemmed	Baroque counterpoint Peter Schubert, Christoph Neidhöfer
title_short	Baroque counterpoint
title_sort	baroque counterpoint
topic	Contrepoint Musique - 17e siècle - Analyse et appréciation Musique - 18e siècle - Analyse et appréciation Musik Counterpoint Music 17th century Analysis, appreciation Music 18th century Analysis, appreciation Kontrapunkt (DE-588)4032307-9 gnd Komposition Musik (DE-588)4133320-2 gnd
topic_facet	Contrepoint Musique - 17e siècle - Analyse et appréciation Musique - 18e siècle - Analyse et appréciation Musik Counterpoint Music 17th century Analysis, appreciation Music 18th century Analysis, appreciation Kontrapunkt Komposition Musik Lehrbuch
url	http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=014844508&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA
work_keys_str_mv	AT schubertpeter baroquecounterpoint AT neidhoferchristoph baroquecounterpoint

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