Tonal Counterpoint: Studies in Part-writing

acquired alto avoided Bach bass beat BEETHOVEN begin better cadence carefully Cello changing CHAPTER chief choral chord combinations composer composition connection contrapuntal counter counterpoint course cresc diatonic diminished dissonant dominant double double counterpoint effect especially example exercises fact fifth flowing four fourth Fugue fundamental gained give given harmony illustrate imitation implied important inner voices interest interval introduced inversion leading tone leap lower major means measure melody minor minor mode modulation motion move natural necessary observe octave original outline passage passing note perfect phrase pianoforte placed play position possible practice principles progression range repeated rhythm root rules scale secure seldom seventh short simple sixth skips soprano strings student style suspension syncopation taken tenor third tion tonic treated treatment triad two-part upper varied variety Viola Violin weak writing written