Counterpoint
We all know that counterpoint is difficult to write well, even though though the underlying harmony tends to become simpler the more that…
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- Study
- Introduction
- 1st Year Harmony
- Chapter 1 Preliminary
- Chapter 2 Triads And Progressions
- Chapter 3 Cadences And Simple Harmony
- Chapter 4 First Inversions Of Triads
- Chapter 5 Second Inversions Of Triads
- Chapter 6 Unaccented Passing Notes
- Chapter 7 The Dominant Seventh
- Chapter 8 The Mediant Triad
- Chapter 9 Accented Passing Notes
- Chapter 10 Suspensions
- Chapter 11 The Melodic Minor Scale
- Chapter 12 Elementary Modulation
- Chapter 13 Auxiliary Notes
- Chapter 14 Three-Part Work
- Chapter 15 Some Points Of Style
- 2nd Year Harmony
- Chapter 1 Further Use Of The Unessential (I)
- Chapter 2 More Advanced Modulation
- Chapter 3 Writing Modulating Passages
- Chapter 4 String Writing & Points Of Style
- Chapter 5 Further Use Of The Unessential (II)
- Chapter 6 Diminished & Augmented Triads
- Chapter 7 Secondary Sevenths (I)
- Chapter 8 Secondary Sevenths (II)
- Chapter 9 Secondary Sevenths (III)
- Chapter 10 Secondary Sevenths (IV)
- Chapter 11 Elliptical Resolutions
- Chapter 12 Chromatic Harmony (I)
- Chapter 13 Chromatic Harmony (II)
- Chapter 14 Chromatic Harmony (III)
- Chapter 15 Chromatic & Enharmonic Modulation (I)
- Chapter 16 Chromatic & Enharmonic Modulation (II)
- 3rd Year Harmony
- Chapter 1 Preliminary
- Chapter 2 Hints And Reminders …
- Chapter 3 Treatment Of Beginnings
- Chapter 4 On The Use Of Figures (I)
- Chapter 5 Treatment Of Endings
- Chapter 6 Points Of Style And Technique
- Chapter 7 On The Use Of Figures (II)
- Chapter 8 Figures In Modulating Passages
- Chapter 9 Analysis Of A Melody
- Chapter 10 String Accompaniments
- Chapter 11 Inner Melodies
- Free Counterpoint
- Polyphonic Composition
- Works
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Category: Counterpoint