02948cam a2200325I  4500001001300000003000600013005001700019008004100036010001700077040009000094015001400184035001900198050001400217082001500231100002400246245004900270260003500319300002900354336002600383337002800409338002700437490003200464504005700496520008800553505177700641650001802418650004402436776010902480830003302589ocm00180271 OCoLC20151023232331.0711209s1956    nyug     b    000 0 eng d  a   56007555   aHEIbengcHEIdOCLdUKMdOCLCQdUV0dAU@dCNTABdLS1dOCLCQdOCLCFdOCLCOdMXLdZAAPA  aGB57-4286  a(OCoLC)180271 00aMT55b.A804a781.422191 aAtKisson, Harold F.10aBasic counterpointc[by] Harold F. AtKisson.  aNew York,bMcGraw-Hill,c1956.  a171 pagesbmusicc24 cm.  atextbtxt2rdacontent  aunmediatedbn2rdamedia  avolumebnc2rdacarrier1 aMcGraw-Hill series in music  aIncludes bibliographical references (pages 129-131).  aThe techniques of polyphonic composition in the sixteenth and eighteenth centuries.0 aIntroduction : The melodic line, the phrase, and the ecclesiastical modes -- 1. Preliminary considerations : Cadences, musica ficta, melodic skips, rhythmic structure, and the suspensional suncope -- 2. Two-part writing : Passing dissonance in half note values ; Suspensions : Cadential suspensions ; Ornamentation of suspensions: the 7-6 with change of bass -- Canon and free imitation ; Interior cadences: rests ; Quarter and eighth notes : General rules for the use of quarter notes ; Dotted half and single quarter notes ; Quarter notes in pairs only: accented quarter note passing tones ; Extended quarter note passages ; Eight notes ; The ornamentated and extended portamento devices ; The cambiata figure -- The setting of words ; Double counterpoint -- 3. Three-part writing : Harmonic material ; Passing dissonance ; Suspensions ; Final Cadences : The Phrygian cadence -- Interior cadences ; The fifth in combination with the sixth ; Final cadence formulas ; Invertible counterpoint and canon : Triple counterpoint ; Canon -- 4. Writing in four or more parts : Harmonic material ; Suspensions and the 6/5 ; Passing dissonance ; Cadences ; Quadruple and quintuple counterpoint and canon -- 5. Some aspects of composition in the seventeenth century : [Tonality , modulation, cadences, and note values] -- 6. Two-part writing: the two-part invention : [Imitation, harmonic material, the dominant seven chord, musica ficta and modulation, suspensions, passing dissonance and the use of sixteenth notes, melodic sequences, and cadences] -- 7. Three-part writing: the sinfonia : [Imitation, harmonic structures, suspensions, and passing dissonance] -- 8. Four-part writing: the fugue : Chromaticism : Major keys ; Minor keys -- The fugue : The exposition ; Development. 0aCounterpoint. 7aCounterpoint.2fast0(OCoLC)fst0088133308iOnline version:aAtKisson, Harold F.tBasic counterpoint.dNew York, McGraw-Hill, 1956w(OCoLC)647108728 0aMcGraw-Hill series in music.