LEADER 05288oam 2200733I 450 001 9910450955103321 005 20200520144314.0 010 $a1-138-45331-5 010 $a1-135-94663-9 010 $a1-280-10778-2 010 $a9786610107780 010 $a0-203-49411-3 024 7 $a10.4324/9780203494110 035 $a(CKB)1000000000254491 035 $a(EBL)182816 035 $a(SSID)ssj0000292909 035 $a(PQKBManifestationID)11245986 035 $a(PQKBTitleCode)TC0000292909 035 $a(PQKBWorkID)10272060 035 $a(PQKB)11202668 035 $a(MiAaPQ)EBC182816 035 $a(Au-PeEL)EBL182816 035 $a(CaPaEBR)ebr10728269 035 $a(CaONFJC)MIL10778 035 $a(OCoLC)852755883 035 $a(OCoLC)59224406 035 $a(EXLCZ)991000000000254491 100 $a20180706d2003 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe craft of tonal counterpoint /$fThomas Benjamin 205 $a2nd ed. 210 1$aNew York :$cRoutledge,$d2003. 215 $a1 online resource (650 p.) 300 $a"Anthology (all works are by J.S. Bach)": p. 296-297. 300 $aRev. ed. of: Counterpoint in the style of J.S. Bach. 1986. 311 $a0-203-60350-8 311 $a0-415-94391-4 320 $aIncludes bibliographical references and index. 327 $aCover; Title; Copyright; Contents; Dedication; Acknowledgments; Preface to the Second Edition; Notes to the Instructor; Notes to the Student; Introduction; Chapter 1 Line and Other Elements of Style; Shape; Tonal Framework; Range and Tessitura; Structural Pitches; Filling In (Motivic) Figures; Phrase and Cadence; Cadence Figures; Meter and Rhythm; Melodic Intervals; Details of Line; Scales; Chromaticism; Tendency Tones; Nonharmonic (Nonchord) Tones; Means of Coherence; Compound Line; Suggestions for Melodic Writing; Melodic Writing Checklist; Chapter 2 Nonimitative Two-Voice Writing 327 $aGeneral ObservationsSpecific Details of Voice Relationships; A Note on Compound Meter; Contrapuntal Analysis Checklist; Essentials of Two-Voice Counterpoint; Chapter 3 Chromaticism in Two Voices; Nonfunctional (Nonessential, Decorative, Melodic) Chromaticism; Functional (Essential, Harmonic) Chromaticism; Harmonies Related to Chromatic Lines; The Neapolitan Triad; Augmented-Sixth Chords; Chapter 4 Composition of Binary Dance Forms; Chapter 5 Double (Invertible) Counterpoint; Double Counterpoint at the Octave or Fifteenth; Double Counterpoint at the Twelfth; Double Counterpoint at the Tenth 327 $aChapter 6 Imitation Canon; Imitation; Canon; Variants in the Imitative Process; Chapter 7 The Two-Voice Invention; The Exposition: Theme and Countertheme; The Episode; The Invention as a Whole; Analysis of a Complete Invention; Chapter 8 Three-Voice Counterpoint I: Texture, Rhythm, Harmony; Texture and Rhythm; Range and Spacing; Relative Motion; Harmony; Cadential Figures; Nonharmonic Tones; Chapter 9 Three-Voice Counterpoint II: Chromaticism, Triple Counterpoint, Canon; Chromaticism; Cross-Relation; Triple (Triple Invertible) Counterpoint; Accompanied Two-Voice Canon; Canon in Three Voices 327 $aChapter 10 Fugue IThe Subject; The Answer; The Exposition; Chapter 11 Fugue II; Overall Structure; The Episode; Middle Entries; The Counterexposition; Augmentation and Diminution; Inversion; Stretto; Pedal Point; The Ending Section; Analysis of a Complete Fugue; Chapter 12 Four-Voice Counterpoint; Texture and Rhythm; Harmony; Four-Voice Fugue; Other Fugal Variants; Chapter 13 Variation Forms; The Passacaglia; The Chaconne; The Goldberg Variations (Clavieru?bung, Part IV); Chapter 14 Cantus Firmus Procedure: The Chorale Prelude; The Ornamented Chorale Harmonization 327 $aCantus with Motivic CounterpointsCanonic Treatment of Cantus and/or Accompanying Parts; Chorale Prelude Involving "Vorimitation" (Preimitation); Chorale Prelude with "Obbligato" Melody; Conclusion; Appendix 1: Harmony; Appendix 2: Composing for the Organ; Glossary; Bibliography; Anthology; Index 330 $aThe Craft of Tonal Counterpoint is an introductory text to the analysis and composition of tonal counterpoint. Using examples from the music of J.S. Bach - the master of this style - the author takes students through a series of carefully graded, cumulative exercises that stress both analysis and writing. Benjamin covers chromaticism and fugal writing in exceptional detail. The exercises cover a wide range of formats, including error detection, linear pitch reduction, analysis and composition. The book also incorporates a 100-page anthology of scores, effective for analysis, in-cla 606 $aCounterpoint$vTextbooks 606 $aMusical analysis$vMusic collections 608 $aElectronic books. 615 0$aCounterpoint 615 0$aMusical analysis 676 $a781.2/86 700 $aBenjamin$b Thomas. 701 $aBenjamin$b Thomas$0704057 701 2$aBach$b Johann Sebastian$f1685-1750.$0533945 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910450955103321 996 $aThe craft of tonal counterpoint$92005890 997 $aUNINA