Contents
- Part 1 Preface
- Part 2 Part One: Two-Part Counterpoint
- Chapter 3 1 Exercise Writing and the Cantus Firmus
- Chapter 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 Counterpoint
- Chapter 10 7 Three-Part First Species
- Chapter 11 8 Three-Part Second Species
- Chapter 12 9 Combined Counterpoint of the Second Species
- Chapter 13 10 Three-Part Third Species
- Chapter 14 11 Combined Counterpoint of the Second and Third Species
- Chapter 15 12 Three-Part Fourth Species
- Chapter 16 13 Three-Part Mixed Species
- Chapter 17 14 Combined Species Incorporating Syncopation
- Chapter 18 15 Combined Species with the Mixed Species; Imitation
- Part 19 Part Three: Free Composition
- Chapter 20 16 Modulation (Cadences to New Key Centers)
- Chapter 21 17 Two-Part Free Counterpoint to the First Cadence
- Chapter 22 18 More on Imitation; First Piece
- Chapter 23 19 Invertible Counterpoint (Octave)
- Chapter 24 20 More on Invertible Counterpoint
- Part 25 Appendices
- Chapter 26 1 Four-Part First Species
- Chapter 27 2 Four-Part Simple Species (Second, Third, Fourth, Mixed)
- Chapter 28 3 Five-, Six-, Seven-, and Eight-Part Counterpoint
- Chapter 29 4 Four-Part Combined Counterpoints
- Chapter 30 5 Three- or Four-Part Kyrie; Stretto
- Part 31 Bibliography
- Part 32 Index
- Part 33 About the Author