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