4. Exercises are integrated into the text rather than grouped at the ends of chapters or at the end of the text. This gives students immediate practice in the concepts just presented. As well, if they are doing the exercises for homework, they are close to the spot where the material can be reviewed as needed.

5. At the end of each chapter there are pages of questions that can be removed and made into game cards for the board game Contrapunctus, found in Chapter One. Or, these pages can be left in the book and used for study purposes. As well, the game cards and game board are available to be downloaded in EXTRAS (password required).

6. Because many students who are studying advanced theory have not played a simple minuet for some years,  a contrapuntal Baroque piece is included in most chapter reviews. Learning to play these pieces will help students prepare to compose in this style. 

7. The answer key for Understanding Counterpoint is intended for teachers and students engaged in self-directed study. Directions on how to obtain the free answer key pdf file are in the text.  

---

What’s in the book: Overview

Understanding Counterpoint is divided into four parts: 

Part One – Chapters One to Three: teaches the basic skills for writing counterpoint. 

Part Two – Chapters Four to Six: builds on the basic skills as the student learns to complete a  contrapuntal dance. 

Part Three – Chapters Seven to Nine: prepares the student to compose a fugue exposition. 

Part Four – Chapter Ten: teaches the skills of writing a figured bass realization and composing a melody above a given figured bass line.

What’s in the book: Chapter Notes 

Chapter One – Writing Melody: This chapter is about writing melodies in Baroque style. Much of the material also applies to bass lines, usually to a lesser extent. If you can write an effective Baroque melody, a bass line should not present new challenges.

Chapter Two  –  Writing 1:1 Counterpoint: This chapter introduces the simplest type of counterpoint, 1:1 counterpoint. The principles learned here form a foundation for future composition in more elaborate styles.

Chapter Three  –  Writing 2:1 Counterpoint: This chapter introduces 2:1 counterpoint, a ratio of counterpoint that appears frequently in Baroque dances. The concepts here are also applicable to free counterpoint.

Chapter Four –  Other Types of Counterpoint: This chapter introduces 3:1, 4:1 and free counterpoint. It includes information about characteristics of dances, some of which is review from rudiments and harmony courses. (This chapter will also be a useful resource for students later on, if they go on to prepare for the Advanced Harmony examination.) By the end of this chapter, students should be well prepared for the composition assignments in the following chapter.

Chapter Five  –  Writing Dances:  This chapter guides students through the process of completing a partly composed dance. The current syllabus requires the student to complete a bass line below a given melody, so most of the questions take that form. However, in the figured bass portion of the exam, the student may be asked to complete a melody, so the last two questions have a given bass line and the assignment is to complete the melody.

In this chapter only, the simple instructions come first and the more detailed instructions follow afterwards. After the information about dances in Chapter Four, students may be ready to try writing a dance with a minimum of assistance.  

Chapter Six –  Accidentals:  This chapter expands the student’s ability to handle notes with accidentals in the given line in a question on a counterpoint exam. In a complete dance, the reasons for accidentals are usually not too difficult to figure out. In an exam question where only part of a dance is given, it can be tricky to figure out the reason for an accidental. Developing skill in this area will help students work efficiently in an examination setting.

Chapter Seven  –  Invertible Counterpoint:  A knowledge of invertible counterpoint will be useful when students study fugue in Chapters Eight and Nine.

Chapter Eight  – The Fugue:  This chapter introduces the analysis of a fugue exposition, using fugues from The Well-Tempered Clavier as examples. (Students will also find this chapter useful when they prepare for the Analysis exam.)

Chapter Nine  – Writing Fugues:  This chapter describes how to finish a partly written fugue exposition in a counterpoint question. 

Chapter Ten  – Figured Bass:  This chapter contains guidelines for writing a figured bass realization. Figured bass realization is primarily about adding chords above a given bass line. Many of the elements of figured bass will already be familiar to students from their study of harmony. Students will likely find figured bass easier if they think of it as re-visiting the concepts learned in their study of harmony rather than an entirely new subject.     

Appendices:  Use Appendices One, Two and Three for review and reference as needed. 

Online Appendices

The “Inventions” Appendix is available in the EXTRAS section (password required) of this website. It was included because inventions are a type of contrapuntal piece that students usually encounter before they play fugues. As well, a question about inventions might appear on a counterpoint exam. 

The “Game Cards” Appendix includes the game cards from the ends of each chapter and some additional game cards to use when students play Contrapunctus with non-counterpoint students.

A Final Word 

Understanding Counterpoint provides clear and comprehensive instruction in counterpoint and figured bass. The text includes useful techniques and helpful guidelines as well as rules to abide by.  

It’s hard to overestimate the importance of playing the work and using the ear as a guide to revision. Students who combine application of the rules and guidelines with attention to how the music sounds will achieve excellent success in counterpoint.

 Elizabeth Colpitts, B. Mus., U.B.C.