Peter Schubert is on the faculty of McGill University. As a first-time teacher of species counterpoint I am impressed by this book's organization, clarity of explanation and vast quantity of practice exercises. For the sake of the beginner student fine nuances of style are skipped, especially in the early chapters, in favor of a thorough grounding in rules, divided into "hard" and "soft" categories. The former are regarded as unyielding benchmarks of correctness, while the latter have to do more with stylistic ease and euphony. The sheer quantity of rules may overwhelm some students; careful explanation by the instructor is necessary to avoid glazed-over eyes and discouragement. At least in my edition there is as yet no attempt to put some of the examples and exercises in audio form, as do many theory texts today. I also think answer keys for some of the shorter exercises would make this book even more useful, though of course such things tempt some students to peek.
Still, the organization of the material and the obvious expertise of the author make this textbook a most impressive entry in the music theory teaching sweepstakes.
Modal Counterpoint: Renaissance Style 2nd Edition
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Peter Schubert
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Peter Schubert
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ISBN-13:
978-0195331943
ISBN-10:
019533194X
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An exceptional text for undergraduate and graduate music students, Modal Counterpoint, Renaissance Style uses a wide variety of carefully graded exercises to present guidelines for writing and analyzing 16th-century music. The only species counterpoint text that draws directly on Renaissance
treatises, it provides a conceptual framework to guide students through composition and analysis as it teaches them general structural principles. With stylistically diverse examples including not only motets and mass movements but also French chansons, German chorale settings, English canzonets,
Italian madrigals, and Spanish organ hymns, villancicos, and ricercars, the book gives students a "real-life" feel for the subject. It distinguishes between technical requirements ("hard" rules) and stylistic guidelines ("soft" rules), and includes coordinated exercises that allow students to
develop their skills systematically. The concluding chapters provide the formal and conceptual building blocks for longer pieces and encourage students to understand analysis and composition as complementary activities. By the end of the book, students are writing real compositions, not just drill
exercises. The text also features progressively graded exercises, historical asides that explain important topics and issues of the period, and some notes in the preface on using the book in the classroom. Combining the historical accuracy of "style-oriented" texts with the more systematic species
counterpoint approach, this book offers a unique alternative to other methods.
Now in its second edition, Modal Counterpoint, Renaissance Style integrates improvisation activities and new repertoire examples into many chapters; revises the chapter on three-part writing (Chapter 14) so that it pays more attention to rules and strategies; reworks the chapters on cadences
(Chapter 10) and on writing two parts in mixed values (Chapter 11) to make them more accessible to students; incorporates clarified instructions throughout; and includes a summary of rules.
treatises, it provides a conceptual framework to guide students through composition and analysis as it teaches them general structural principles. With stylistically diverse examples including not only motets and mass movements but also French chansons, German chorale settings, English canzonets,
Italian madrigals, and Spanish organ hymns, villancicos, and ricercars, the book gives students a "real-life" feel for the subject. It distinguishes between technical requirements ("hard" rules) and stylistic guidelines ("soft" rules), and includes coordinated exercises that allow students to
develop their skills systematically. The concluding chapters provide the formal and conceptual building blocks for longer pieces and encourage students to understand analysis and composition as complementary activities. By the end of the book, students are writing real compositions, not just drill
exercises. The text also features progressively graded exercises, historical asides that explain important topics and issues of the period, and some notes in the preface on using the book in the classroom. Combining the historical accuracy of "style-oriented" texts with the more systematic species
counterpoint approach, this book offers a unique alternative to other methods.
Now in its second edition, Modal Counterpoint, Renaissance Style integrates improvisation activities and new repertoire examples into many chapters; revises the chapter on three-part writing (Chapter 14) so that it pays more attention to rules and strategies; reworks the chapters on cadences
(Chapter 10) and on writing two parts in mixed values (Chapter 11) to make them more accessible to students; incorporates clarified instructions throughout; and includes a summary of rules.
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Editorial Reviews
Review
"There is no other textbook in modal counterpoint quite like it. Schubert's innovative division of rules into "hard" (rules never to be violated) and "soft" (rules that may be violated if the occasion demands) has proven very useful in the classroom, and his warm-up exercises for each species are
quite helpful. This certainly ranks among the best music theory textbooks of the past ten years."--Anton Vishio, Steinhardt School of Culture, Education, and Human Development, New York University
"This is one of the most successful textbooks in any area of music I have used in sixteen years of university teaching. It is also remarkably well edited. Its format is both instructor- and student-friendly. This is a book of inspired musicality, pragmatic pedagogy, scholarship, and wit."--Jeff
Perry, Louisiana State University
About the Author
Peter Schubert is an Associate Professor in the Faculty of Music at McGill University in Montreal.
Product details
- Publisher : Oxford University Press; 2nd edition (December 18, 2007)
- Language : English
- Spiral-bound : 368 pages
- ISBN-10 : 019533194X
- ISBN-13 : 978-0195331943
- Item Weight : 1.9 pounds
- Dimensions : 0.9 x 10.9 x 9.1 inches
-
Best Sellers Rank:
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- #97 in Literary Theory
- #326 in Linguistics (Books)
- #460 in Music (Books)
- Customer Reviews:
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4.6 out of 5 stars
4.6 out of 5
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Reviewed in the United States on September 13, 2004
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14 people found this helpful
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Reviewed in the United States on December 20, 2013
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Bought this for a workshop on the topic as it was recommended by the instructor. Had no idea there were such tightly constructed rules on composition in the Renaissance... Thank goodness for the rule breakers.
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Reviewed in the United States on December 3, 2012
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This book has a clear modern writing style with plenty of good examples. As a graduate student in composition I found it an engaging and efficient way to learn the information I was interested in.
2 people found this helpful
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Reviewed in the United States on August 16, 2013
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Easy to read, many many exercises, great approach to the subject. A lot of examples from the literature - this is especially helpful.
3 people found this helpful
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Reviewed in the United States on October 1, 2017
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Shipped fast, just what I needed
Reviewed in the United States on July 10, 2006
MCRS is the most comprehensive textbook in print (as of 2006) that teaches 16th century counterpoint in terms of species. (The Jeppesen counterpoint book also deals with species, but has only c.f. exercises, and is not organized in a student-friendly way.) Schubert's music examples are drawn primarily from Renaissance music treatises rather than repertoire, in order to illustrate the various species; the relatively small number of repertoire examples includes more French chansons than excerpts from Palestrina or Lassus. There are considerably more exercises and assignments--from preparatory "warmups" through analyses and error detections to c.f. fragments and complete cf's--than can be covered in a 15- week course. Canon and invertible counterpoint are recurring topics. My students found the organization of "hard" and "soft" rules helpful. The exercises can be time-consuming, so teachers considering adopting this book as a course text should allow ample time to go through it in advance to decide which exercises to use and to actually write out their solutions.
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Reviewed in the United States on March 20, 2013
Errata for 'Modal Counterpoint, Renaissance Style' by Peter Schubert
Page 2
Ex.I-2: C time sig. should read 2/1
Ex. I-2: m.8, alto, last quarter B-flat should read B-natural
Page 3
Line 8: "labeled in the example" should be deleted (or add missing labels)
Page 10
Ex. 1-1b: last line, 3rd measure fill in G-A-B-C
Page 14
Ex. 1-3e: "(see Exx. 14-6 and 14-7)" should read "(see Exx. 14-9 and 14-10)"
Page 15
Ex. 1-3g: "(see Exx. 14-6 and 14-7)" should read "(see Exx. 14-9 and 14-10)"
Page 23
ill. #6: 2nd ex. w/ pyramid upside down should say "avoid"
Page 25
Ex. 2-6b: treble 8ve clef in first two exx. should be alto clef
Ex. 2-6b: clef in 3rd Ex. should be normal treble clef
Page 51
line 9: "25 percent" should read "20 percent"
Page 55
Exercise 4-D2: first CF note A should read G
Page 61
line 16: "shown in Example 5-4" should read "shown in Example 5-5"
Page 70
line 5: "high point to the next." should read "high point to the next
temporary low point or vice-versa."
Page 72
line 1: "third-species Mixolydian" should read "third-species Hypomixolydian"
Ex. 5-D2: 4th staff, last note low G should be an octave higher
Page 87
ill. rule 4: last example, "X" should be over quarter-note G
Page 92
Ex. 7-5a: add brackets in mm. 4-11 over B-G-A-A-A and A-F-G-G-G
Page 93
Exx. 7-5b & c: same as above
Page 99
Exercise 7-C2: signature in middle line should be B-flat (not C-flat!)
Page 146
Puzzle-canon exercise: fourth canon, last note C should be D
Page 169
line 1: "Example 5-2" should read "Example 5-4"
Page 178
line 11: "stepwise in one direction (you" should read "stepwise (you"
Page 187
Ex. 14-9: m.5, top line, tenor octave clef should be regular treble clef
Page 188
Ex. 14-9: m. 16, middle line, 7th note should be F, not G
Page 188
Ex. 14-10: m. 7, beat 4, middle voice, dot missing
Page 192
line 15: "Compare numbers 4 and 7." should read "Compare numbers 4 and 6."
Page 194
Ex. 14-12, #7: middle line, tenor octave clef should be regular treble clef
Page 221
lines 3-4: delete "In each ...and bracketed" or have students
label & bracket in Exx. 16-8 and 16-9
Page 225
line 3: "in the mode indicated" delete (or teacher must specify mode)
Page 252
line 10: "at the asterisk" should read "in m. 23" (or add * in alto, m. 23)
Page 283
Ex. 19-14: bass, m. 14, reverse note E and rest
Page 308
Ex. App. 1-1: underline both first and third syllables in "Be - ne - dic -tus"
Page 316
Appendix 4: 15th CF note breve D should be semibreve D
Other minor/obvious mistakes are excluded.
Page 2
Ex.I-2: C time sig. should read 2/1
Ex. I-2: m.8, alto, last quarter B-flat should read B-natural
Page 3
Line 8: "labeled in the example" should be deleted (or add missing labels)
Page 10
Ex. 1-1b: last line, 3rd measure fill in G-A-B-C
Page 14
Ex. 1-3e: "(see Exx. 14-6 and 14-7)" should read "(see Exx. 14-9 and 14-10)"
Page 15
Ex. 1-3g: "(see Exx. 14-6 and 14-7)" should read "(see Exx. 14-9 and 14-10)"
Page 23
ill. #6: 2nd ex. w/ pyramid upside down should say "avoid"
Page 25
Ex. 2-6b: treble 8ve clef in first two exx. should be alto clef
Ex. 2-6b: clef in 3rd Ex. should be normal treble clef
Page 51
line 9: "25 percent" should read "20 percent"
Page 55
Exercise 4-D2: first CF note A should read G
Page 61
line 16: "shown in Example 5-4" should read "shown in Example 5-5"
Page 70
line 5: "high point to the next." should read "high point to the next
temporary low point or vice-versa."
Page 72
line 1: "third-species Mixolydian" should read "third-species Hypomixolydian"
Ex. 5-D2: 4th staff, last note low G should be an octave higher
Page 87
ill. rule 4: last example, "X" should be over quarter-note G
Page 92
Ex. 7-5a: add brackets in mm. 4-11 over B-G-A-A-A and A-F-G-G-G
Page 93
Exx. 7-5b & c: same as above
Page 99
Exercise 7-C2: signature in middle line should be B-flat (not C-flat!)
Page 146
Puzzle-canon exercise: fourth canon, last note C should be D
Page 169
line 1: "Example 5-2" should read "Example 5-4"
Page 178
line 11: "stepwise in one direction (you" should read "stepwise (you"
Page 187
Ex. 14-9: m.5, top line, tenor octave clef should be regular treble clef
Page 188
Ex. 14-9: m. 16, middle line, 7th note should be F, not G
Page 188
Ex. 14-10: m. 7, beat 4, middle voice, dot missing
Page 192
line 15: "Compare numbers 4 and 7." should read "Compare numbers 4 and 6."
Page 194
Ex. 14-12, #7: middle line, tenor octave clef should be regular treble clef
Page 221
lines 3-4: delete "In each ...and bracketed" or have students
label & bracket in Exx. 16-8 and 16-9
Page 225
line 3: "in the mode indicated" delete (or teacher must specify mode)
Page 252
line 10: "at the asterisk" should read "in m. 23" (or add * in alto, m. 23)
Page 283
Ex. 19-14: bass, m. 14, reverse note E and rest
Page 308
Ex. App. 1-1: underline both first and third syllables in "Be - ne - dic -tus"
Page 316
Appendix 4: 15th CF note breve D should be semibreve D
Other minor/obvious mistakes are excluded.
6 people found this helpful
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Top reviews from other countries
Mr. J. Steele
5.0 out of 5 stars
Best Renaissance Counterpoint book
Reviewed in the United Kingdom on June 20, 2012Verified Purchase
I have just finished working through this book after two years and it's by far the best book about 16th century counterpoint I've come across - and I have used several.
The benefit it has over other methods is that it goes back to the original Renaissance method books and uses exercises from those, unlike say Jeppesen, where I now realize (having worked through this book) that Jeppesen didn't know as much about Palestrina as he made out! There's nothing in Jeppesen about modal ranges for instance.
The main thing wrong with it is the large number of typos, and also in some places I could have done with more worked examples, and the paper is very thin for a book that if used properly needs to be more robust.
Also it's ridiculously expensive. I found the book six months before I bought it and the price made me wait. Eventually I took the plunge and am very glad that I did, but I still can't see why it has to be so expensive.
I've just noticed that Peter Schubert has written a Baroque Counterpoint book so I guess I shall have to buy that - but that's even more expensive.
The benefit it has over other methods is that it goes back to the original Renaissance method books and uses exercises from those, unlike say Jeppesen, where I now realize (having worked through this book) that Jeppesen didn't know as much about Palestrina as he made out! There's nothing in Jeppesen about modal ranges for instance.
The main thing wrong with it is the large number of typos, and also in some places I could have done with more worked examples, and the paper is very thin for a book that if used properly needs to be more robust.
Also it's ridiculously expensive. I found the book six months before I bought it and the price made me wait. Eventually I took the plunge and am very glad that I did, but I still can't see why it has to be so expensive.
I've just noticed that Peter Schubert has written a Baroque Counterpoint book so I guess I shall have to buy that - but that's even more expensive.
3 people found this helpful
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Jenny Lundström
5.0 out of 5 stars
Five Stars
Reviewed in the United Kingdom on October 12, 2014Verified Purchase
Everything I hoped for. All I need in terms of counterpoint theory.
One person found this helpful
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mumontherun78
1.0 out of 5 stars
Kindle edition is terrible
Reviewed in Australia on April 11, 2021Verified Purchase
Sadly, it is missing the majority of pages, the pages that are present are out of order, and impossible to find the page you want. The image is also sideways on the page.
Amazon Customer
5.0 out of 5 stars
Five Stars
Reviewed in Canada on September 4, 2016Verified Purchase
Excellent book. Well laid out and organized.
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