| A Course of Counterpoint and Fugue (Volume I) Contributor(s): Cherubini, L. (Author) |
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ISBN: 1628451726 ISBN-13: 9781628451726 Publisher: Windham Press OUR PRICE: $16.14 Product Type: Paperback - Other Formats Published: August 2013 |
| Additional Information |
| BISAC Categories: - Music | Instruction & Study - Theory |
| Physical Information: 0.78" H x 6.69" W x 9.61" (1.32 lbs) 378 pages |
| Descriptions, Reviews, Etc. |
| Publisher Description: A COURSE OF COUNTERPOINT AND FUGUE, VOL. 1 By L. Cherubini Excerpt from Contents BOOK I - COUNTERPOINT I. Introduction Preliminary Notions Concords which may be used in strict Counterpoint Discords to be employed in strict Counterpoint Different kinds of movement, as conjunct, disjunct, similar, contrary, and oblique II. Counterpoint in two Parts First Species - Note against note False Relations III. Second Species in two Parts - two notes against one IV. Third Species in two Parts - four notes to each semibreve V. Fourth Species in two Parts - Syncopations VI. Fifth Species in two Parts - Florid Counterpoint VII. Counterpoint in three Parts First Species - note against note VIII. Second Species in three Parts - two minims to one semibreve IX. Third Species in three Parts - four crotchets to one semibreve X. Fourth Species in three Parts - Syncopations Syncopations on a pedal-note, with examples Second and fourth and third and fourth Species mixed, with examples XI. Fifth Species in three Parts - Florid Counterpoint Examples of the second and fifth Species combined Ditto of Florid Counterpoint in two of the three parts XII. Counterpoint in four Parts First Species - note against note Examples of the first, second, and third Species in four parts, and various combinations of them XIII. Fourth Species in four Parts - Syncopations Examples on Pedal Harmonies in four Parts Combinations of the second, third, and fourth Species XIV. Fifth Species in four Parts - Florid Counterpoint Examples of Florid Counterpoint in two and in three of the four Parts XV. Counterpoint in five, six, seven, and eight real Parts Example for five voices - note against note Ditto florid counterpoint in four of the parts Ditto in six Parts - note against note Ditto florid counterpoint in five of the parts Ditto in seven parts - note against note Ditto florid counterpoint in six of the parts Ditto in eight parts - note against note Ditto florid counterpoint in seven of the parts Examples of the sixth struck together with the seventh, and the eighth with the ninth Example for two Choirs in Florid Counterpoint without any given subject BOOK II - IMITATION XVI. On Imitation generally Imitation in two parts, in similar motion Examples in all Intervals XVII. Imitation by contrary motion Strict or regular imitation in contrary motion Retrograde imitation in contrary motion XVIII. Several other sorts of imitation: as Imitation by augmentation ----- diminution ----- with reversed accents, or by arsin and thesin Interrupted imitation Convertible imitations... ------------------------------------------------------------------------------------------------------------------------------------------ Windham Press is committed to bringing the lost cultural heritage of ages past into the 21st century through high-quality reproductions of original, classic printed works at affordable prices. This book has been carefully crafted to utilize the original images of antique books rather than error-prone OCR text. This also preserves the work of the original typesetters of these classics, unknown craftsmen who laid out the text, often by hand, of each and every page you will read. Their subtle art involving judgment and interaction with the text is in many ways superior and more human than the mechanical methods utilized today, and gave each book a unique, hand-crafted feel in its text that connected the reader organically to the art of bindery and book-making. We think these benefits are worth the occasional imperfection resulting from the age of these books at the time of scanning, and their vintage feel provides a connection to the past that goes beyond the mere words of the text. |