Counterpoint

Henry Martin, Professor of Music at Rutgers University in Newark, has pursued a dual career as a composer-pianist and as a music theorist specializing in jazz and the Western tonal tradition.

• Part 1 PrefacePart 2 Part One: Two-Part CounterpointChapter 3 1 Exercise Writing and the Cantus FirmusChapter 4 2 Two-Part First Species (Note Against Note)Chapter 5 3 Two-Part Second Species (Two Notes Against One)Chapter 6 4 Two-Part Third Species (Four Notes Against One)Chapter 7 5 Two-Part Fourth Species (Syncopation)Chapter 8 6 Two-Part Fifth Species (Mixed Counterpoint)Part 9 Part Two: Three-Part CounterpointChapter 10 7 Three-Part First SpeciesChapter 11 8 Three-Part Second SpeciesChapter 12 9 Combined Counterpoint of the Second SpeciesChapter 13 10 Three-Part Third SpeciesChapter 14 11 Combined Counterpoint of the Second and Third SpeciesChapter 15 12 Three-Part Fourth SpeciesChapter 16 13 Three-Part Mixed SpeciesChapter 17 14 Combined Species Incorporating SyncopationChapter 18 15 Combined Species with the Mixed Species; ImitationPart 19 Part Three: Free CompositionChapter 20 16 Modulation (Cadences to New Key Centers)Chapter 21 17 Two-Part Free Counterpoint to the First CadenceChapter 22 18 More on Imitation; First PieceChapter 23 19 Invertible Counterpoint (Octave)Chapter 24 20 More on Invertible CounterpointPart 25 AppendicesChapter 26 1 Four-Part First SpeciesChapter 27 2 Four-Part Simple Species (Second, Third, Fourth, Mixed)Chapter 28 3 Five-, Six-, Seven-, and Eight-Part CounterpointChapter 29 4 Four-Part Combined CounterpointsChapter 30 5 Three- or Four-Part Kyrie; StrettoPart 31 BibliographyPart 32 IndexPart 33 About the Author