ML446.G38

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 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- voices testure, 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 & 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- Extebnded musica ficta and charomaticism

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.