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Goetschius, Counterpoint Applied

Percy Goetschius

Goetschius, Counterpoint Applied

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  1. Preface
  2. Introduction
  3. Chapter I. Condition 1: perfect melody. the conduct of the single part or voice
  4. Chapter II. Condition 2: harmonious union. the association of two parts (voices)
  5. Chapter III. Condition 3: individuality of parts
  6. Chapter IV. The development of thematic resources. the various modes of imitation
  7. Chapter V. The two-voice invention
  8. Chapter VI. The contrapuntal association of three melodic parts
  9. Chapter VII. The three-voice invention
  10. Chapter VIII. The invention for more than three voices
  11. Chapter IX. Free polyphonic forms. — the invention as prelude. — the fantasia, toccata, etc
  12. Chapter X. The small species of chorale-figuration
  13. Chapter XI. The large species of chorale-figuration
  14. Chapter XII. The four-voice fugue. — the exposition
  15. Chapter XIII. The fugue with less or more than four parts. — the three voice fugue
  16. Chapter XIV. Miscellaneous varieties of the fugue-form. — the concert-fugue
  17. Chapter XV. THE DOUBLE-FUGUE
  18. Chapter XVI. The triple-fugue
  19. Chapter XVII. THE ROUND, OR ROUND-CANON
  20. Chapter XVIII. The progressive canon
  21. Chapter XIX. The two-voice canon, accompanied. instrumental
  22. Chapter XX. The canon for more than two parts
  23. Chapter XXI. The double-canon, etc
  24. Chapter XXII. Canon as chorale elaboration