Counterpoint in Composition. The Study of Voice Leading. Felix Salzer. Columbia University Press. Counterpoint in Composition. Google Preview. Pub Date. Counterpoint in Composition has 39 ratings and 4 reviews. Denton Peter said: Counterpoint in Composition: The Study of Voice Leading by. Felix Salzer. It is nearly twenty years since Felix Salzer set forth, in his book Structural Hearing , certain basic principles of strict counterpoint after the model originated by.

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Back cover copy ‘Counterpoint in Composition’ began life not as a book, but as a collection of examples from the literature. Schachter felox it to show the connections between the simple procedures of species counterpoint and the complexities of composition, an approach to counterpoint deriving from the work of Heinrich Schenker.

Table of contents Introduction Part 1. The Techniques of Elementary Counterpoint 1. Cantus Firmus and First Species 1. Two-part Counterpoint, First Species 3.

Counterpoint in Composition : The Study of Voice Leading

Three-part Counterpoint, First Species 2. Three Notes against One 4.

Three-part Counterpoint Part 2. The Techniques of Prolonged Counterpoint 6. Counterpoint in Composition, I 1. The Direct Application of Species Counterpoint 2. Two Major Influences on Contrapuntal Texture 7.

Compositiom in Composition, II 1. Counterpoint within Prolonged Chords 3. The Evolution of Dissonance 4. Repetition and Articulation 5. Harmonic Influences on Voice Leading 6.

Chromaticism; Contrapuntal Leading-tone Chords 7. Octaves and Fifths 8. The Elements of Chorale Writing 2. Setting a Single Phrase 3. Setting Groups of Two or More Phrases 4. The Complete Chorale 9. Combination of Two Second Species 2. Combination of Second and Third Species 3. Combination of Second and Fourth Species 4.


Counterpoint in Composition : Felix Salzer :

Combination of Third and Fourth Species 5. Combination of Two Fifth Species 6. Progressions from Combined Species in Composition Voice-Leading Techniques in Historical Perspective ca. Review quote This book may become the most important music theory book for the next few generations of theorists, composers and performers.

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