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 A Practical Approach to Sixteenth-Century Counterpoint
Robert Gauldin
Practical work in writing counterpoint! Gauldin emphasizes the acquisition of writing skills in the contrapuntal discipline and the simulation of sixteenth-century sacred polyphonic idioms in this volume. The author follows a didactic method of a “non-species or direct” approach. While no previous contrapuntal training is necessary to absorb this material, some acquaintance with Baroque polyphonic terminology proves helpful. Key features include: musical examples illustrating specific devices are taken from musical literature or composed by the author; demonstrates the possibility of employing a single given pitch series within the contexts of different compositional techniques; includes a collection of complete or excerpted movements drawn from musical literature at the conclusion of each major textual division; emphasizes Palestrina and the Counter-Reformation sacred style; discusses various compositional procedures of the late Renaissance, including paraphrase, cantus firmus, familiar style, parody, polychoral technique, and chromaticism.
 $36.95 list, 312 pages 10-digit ISBN: 0-88133-852-4 13-digit ISBN: 978-0-88133-852-2 © 1985 Table of Contents
1. Preliminary Remarks 2. Melodic Writing with White Notes 3. Two-Voice Texture with White Notes 4. Melodic Writing with Black Notes 5. Two-Voice Texture with Black Notes 6. Other Aspects of Two-Voice Texture 7. Examples of Two-Voice Compositions for Analysis 8. Three-Voice Texture with White Notes 9. Cadences in Three-Voice Texture; Other White-Note Dissonance 10. Black Notes in Three-Voice Texture; Imitation and Reentries 11. Paraphrase Technique; Further Studies in Canon 12. Examples of Three-Voice Compositions for Analysis 13. General Considerations of Four-Voice Texture; Familiar Style 14. Imitation and Reentry in Four-Voice Texture; Cantus Firmus Technique 15. Examples of Four-Voice Compositions for Analysis 16. Aspects of Five- and Six-Voice Texture; Triple Meter 17. The Motet; Parody Technique 18. Examples of Five- and Six-Voice Compositions for Analysis 19. Eight-Voice Texture; Polychoral Style 20. Examples of Eight-Voice Compositions for Analysis 21. Additional Harmonic Devices in the Late Sixteenth Century 22. Extended Musica Ficta and Chromaticism Appendix 1 Appendix 2 Appendix 3 Bibliography Texts Historical Treatises (Available in English) Anthologies Related Books, Articles, and Analyses
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