COUNTERPOINT FOURTH EDITION a Tel alos eT ten ey PR eaP Reese) sere — anna ees rae aise Dae Seer = a = 7 re a A 22. En bale aie aE yEEe ime maga ees ee Remraraine a cv A, mel ry AL poe ope wpe ek Says Fe a — aa ODE IE sae oan ines} ead ad i ae P : ijeoecits seers melee cre soee Se M.1 a Ee st eS eg FE Seed [re eed ee ee a ree ©. | aati oy eS = ‘i Peal ee ee | form ST _ | a fe eae ae te 4 a 5 = Sec eeS M = : KENT KENNANCOUNTERPOINT Based on Eighteenth-Century Practice FOURTH EDITION Kent Kennan Professor Emeritus of Music The University of Texas at Austin PRENTICE HALL, Upper Saddle River, New Jersey 07458Library of Congress Cataloging-in-Publcation Data Kexway, Ker WHEELER (date) ‘Counterpoint : based on eighteenth-century practice Kent Kennan —athed. pom Includes bibliographical references and index. ISBN 0-13-090746-X 1, Counterpoint—18th century, Tile MTS5.KS3._ 1999) 781.286—de21 9e-22174 cP MN Acquisitions editor: Bud Therien Editorial assistant; Mary Amon, Exitorial/production editor: B. Christenberry Art Director: Jayne Conte Manufacturing buyer: Bob Anderson All rights reserved, No part ofthis book may be ‘reproduced, in any form or by any means, without permission in writing from the publisher. Printed in the United States of America 9876 ISBN 0-13-08074b-x Prentice-Hall International (UK) Limited, London Prentice-Hall of Australia Py. Limited, Sydney Prentice-Hall of Canada, Inc, Toronto Prentice-Hall Hispanoamericana, S.A. Mexico Prentice-Hall of India Private Limited, New Delhi Prentice-Hall of Japan, Inc, Tokyo Prentice-Hall Asia Pte. Lid, Singapore Ezitora Prentice-Hall do Brasil, Lida., Rio de Janeiro Contents PREFACE ix Suggestions for use of this book, x Chapter 1 INTRODUCTION 1 Objectives, 1 The nature of counterpoint, 3 The stylistic approach, 2 “Siri” versus “free” counterpoint, 3 Historical perspective, 2 Chapter 2. THE SINGLE MELODIC LINE 5 Melodic contour, 5 The compound line, 10 Relative importance of notes, 8 Range, 11 Harmonic implications, 9 Other considerations, 11 SUGGESTED ASSIGNMENTS, 18 Chapter 3. PRINCIPLES OF TWO-VOICE COUNTERPOINT 19 Quality of individual lines, 20 Harmonic implications, 22 Independence between the lines, 20 Consonance versus dissonance, 30 Unity, 21 SUGGESTED ASSIGNMENTS, 33 ‘SELP-TEST, 34 a