Introduction -- Melody -- General characteristics of counterpoint ; pedagogical foundations -- Two-voice note-against-note counterpoint -- Simple diminution ;2:1 elaboration of the counterpointing voice -- Further rhythmic diminution ; two voice choral preludes -- Free counterpoint ; simple two-reprise form -- Further diminution techniques in two-voice texture -- Real imitation and double counterpoint -- The two-part canon and invention -- Introduction to three-voice texture ; note against-note and simple diminution -- Further rhythmic diminution ; three-voice chorale preludes -- Chromaticism -- Free counterpoint in three voices ; extended two-reprise forms -- Tonal imitation ; further studies in invertible counterpoint -- Additional contrapuntal devices ; further study of canon -- The three-voice fugue -- Introduction to four-voice texture ; further study in chorale prelude -- Variations -- Further studies in fugue -- Choral writing -- The pedagogical foundations of counterpoint in the classical period -- Examples of counterpoint in the classical period -- Appendix : Characteristics of dance movements.