• 1. General Stylistic AspectsTextureText SettingNotation and Performance PracticeRhythm and MeterNote ValuesRestsDots and TiesHarmonyGeneral ObservationsAccidentals (Musica ficta)CadencesChordsMelodyGeneral ObservationsIntervals and Treatment of LeapsOther Aspects of MelodyTypical Quarter-Note Idioms2. Two-Voice CounterpointGeneral ObservationsRhythmTexturePhrase and FormMotivic (Thematic) OrganizationTechnical DetailsMotion RelationshipsIntervallic RelationshipsCadential IdiomsComments on Two-Voice CompositionImitation in Two-Voice TextureGeneral ObservationsInvertible Counterpoint at the OctaveInvertible Counterpoint at the Twelfth3. Three-Voice CounterpointGeneral ObservationsTexture and RhythmHarmonyDissonance TreatmentCadential IdiomsImitationComments on ImitationComments on Three-Voice Composition4. Counterpoint in Four Voices5. The MotetGeneral ObservationsImitationComments on Motet WritingSuggestions for Further StudyAppendix: An Anthology of Complete WorksBibliographyDiscographyIndex

"Here, at last, is a book that dealt with the modal contrapuntal style in a musical and compositional way... the emphasis is always on the music itself and... on the craft of composing in this style. This is a very significant addition to the library of books on modal counterpoint." -- Dr. Robert Nelson, Professor of Music Theory and Composition, University of Houston"The author is quite well-respected in the field, known as a composer but even more particularly as a teacher devoted to issues of effective pedagogy. This is a thoughtful and significant contribution to the study of Renaissance (or modal) counterpoint." -- Dr. Sharon G. Levy, Professor of Theory and Composition at Peabody Conservatory

• 1. General Stylistic AspectsTextureText SettingNotation and Performance PracticeRhythm and MeterNote ValuesRestsDots and TiesHarmonyGeneral ObservationsAccidentals (Musica ficta)CadencesChordsMelodyGeneral ObservationsIntervals and Treatment of LeapsOther Aspects of MelodyTypical Quarter-Note Idioms2. Two-Voice CounterpointGeneral ObservationsRhythmTexturePhrase and FormMotivic (Thematic) OrganizationTechnical DetailsMotion RelationshipsIntervallic RelationshipsCadential IdiomsComments on Two-Voice CompositionImitation in Two-Voice TextureGeneral ObservationsInvertible Counterpoint at the OctaveInvertible Counterpoint at the Twelfth3. Three-Voice CounterpointGeneral ObservationsTexture and RhythmHarmonyDissonance TreatmentCadential IdiomsImitationComments on ImitationComments on Three-Voice Composition4. Counterpoint in Four Voices5. The MotetGeneral ObservationsImitationComments on Motet WritingSuggestions for Further StudyAppendix: An Anthology of Complete WorksBibliographyDiscographyIndex

"Here, at last, is a book that dealt with the modal contrapuntal style in a musical and compositional way... the emphasis is always on the music itself and... on the craft of composing in this style. This is a very significant addition to the library of books on modal counterpoint." -- Dr. Robert Nelson, Professor of Music Theory and Composition, University of Houston"The author is quite well-respected in the field, known as a composer but even more particularly as a teacher devoted to issues of effective pedagogy. This is a thoughtful and significant contribution to the study of Renaissance (or modal) counterpoint." -- Dr. Sharon G. Levy, Professor of Theory and Composition at Peabody Conservatory

• 1. General Stylistic AspectsTextureText SettingNotation and Performance PracticeRhythm and MeterNote ValuesRestsDots and TiesHarmonyGeneral ObservationsAccidentals (Musica ficta)CadencesChordsMelodyGeneral ObservationsIntervals and Treatment of LeapsOther Aspects of MelodyTypical Quarter-Note Idioms2. Two-Voice CounterpointGeneral ObservationsRhythmTexturePhrase and FormMotivic (Thematic) OrganizationTechnical DetailsMotion RelationshipsIntervallic RelationshipsCadential IdiomsComments on Two-Voice CompositionImitation in Two-Voice TextureGeneral ObservationsInvertible Counterpoint at the OctaveInvertible Counterpoint at the Twelfth3. Three-Voice CounterpointGeneral ObservationsTexture and RhythmHarmonyDissonance TreatmentCadential IdiomsImitationComments on ImitationComments on Three-Voice Composition4. Counterpoint in Four Voices5. The MotetGeneral ObservationsImitationComments on Motet WritingSuggestions for Further StudyAppendix: An Anthology of Complete WorksBibliographyDiscographyIndex

"Here, at last, is a book that dealt with the modal contrapuntal style in a musical and compositional way... the emphasis is always on the music itself and... on the craft of composing in this style. This is a very significant addition to the library of books on modal counterpoint." -- Dr. Robert Nelson, Professor of Music Theory and Composition, University of Houston"The author is quite well-respected in the field, known as a composer but even more particularly as a teacher devoted to issues of effective pedagogy. This is a thoughtful and significant contribution to the study of Renaissance (or modal) counterpoint." -- Dr. Sharon G. Levy, Professor of Theory and Composition at Peabody Conservatory