MODAL AND TONAL COUNTERPOINT 
This book is a comprehensive study of the development of counterpoint from the fifteenthh century through the first half of the twentieth century. Featuring a discovery approach, the text emphasizes creativity and intuition over mechanical application of rules, enabling each student to gain a conceptual understanding of the fundamental principles of counterpoint.
Deriving the principles of counterpoint from the music itself, each chapter begins with a complete musical example followed by questions for class discussion. Chapter observations and subsequent musical examples amplify the concepts discovered by each student through individual analysis. The chapters on modal counterpoint feature both instrumental and traditional vocal models, and the chapters on tonal counterpoint feature music for chorus and larger ensembles as well as traditional keyboard examples.
This book surveys six centuries of counterpoint in a historical and stylistic framework. It combines the features of a text, anthology, and workbook in one volume. It offers over 70 complete examples from the literature in a balanced and varied anthology. Numerous graded exercises from simple tasks to challenging compositions are given in each chapter. It provides end-of-chapter lists of scores and sources for further study, an extensive glossary, a selected annotated bibliography, and a discography.
Published in 1992 by Schirmer Books, New York (now a division of Wadsworth). Italian Edition published in 2003 by Edizioni Curci, Milan.
MUSIC THEORY RESOURCE BOOK 
Ideal as a core or supplementary text for the standard two-year music theory course and for graduate courses in theory review, Music Theory Resource Book covers all the topics typically studied in the basic music theory sequence. Concise and accessible, it features a basic anthology of musical examples--most of them complete compositions--from a broad range of periods and styles. Each chapter begins with these musical examples, which are followed by thought-provoking discussion questions that encourage students to learn through a "discovery" approach. A succinct outline follows the discussion questions, summarizing the principles of music theory for easy reference and review. Exercises at the end of each chapter engage students in a variety of analytical and practical tasks ranging in difficulty from simple (designed for all students) to more challenging (intended for students with more extensive backgrounds).
Music Theory Resource Book covers topics not usually found in standard theory texts including basic acoustics, contrapuntal techniques, jazz harmony, musics from non-Western cultures, and music since 1950. The musical examples represent a wide variety of periods and genres and include such pieces as a mass movement by Josquin des Prez, a Russian folk tune, a lead sheet for a popular song, a choral piece by William Billings, an Indian raga, variations by Beethoven and Brahms, a chromatic motet by Lassus, and an organ work from the 1980s by Messiaen. Bach, Schumann, Chopin, Mozart, Franck, Debussy, Bartók, Hindemith, Dallapiccola, Stravinsky, Crumb, and Pärt are also represented, and other examples have been composed especially for this book. Several detailed appendices include profiles summarizing the stylistic traits and compositional techniques of the Medieval, Renaissance, Baroque, Classical, and Romantic periods. Another appendix features a guide to figured bass realization, and a comprehensive glossary of terms provides a reference resource for students.
Published in 2000 by Oxford University Press, New York
HANDBOOK FOR CREATIVE CHURCH MUSICIANS 
This "how-to" volume is for church musicians who wish to create special music for choirs, instruments, or congregations. In this book you will find an abundance of practical information on many aspects of creating music for worship, as well as a strong dose of music fundamentals and principles of basic harmony and counterpoint. The book ncludes chapters on writing descants, harmonization, arranging, writing chorale preludes, composing for voices, notation, and publication. Features dozens of musical examples. The book includes a helpful section on notating scores using Finale. Also provided are a comprehensive glossary and a handy chart giving ranges of instruments.
Published in 2001 by GIA Publications, Chicago
TWENTY-FIVE ORGAN HARMONIZATIONS: Alternate hymn settings, Vol. I
These alternate hymn harmonizations are a wonderful way to enliven hymn singing. They bring harmonic and rhythmic contrast to the standard settings found in hymnbooks. These settings are in several styles: Bach-like ornamental figuration, unexpected modulations and chord substitution, imitation and double canon, folk-like modal harmony, shape-note harmonic style, and gospel style. Most of the settings require an organ with full pedal board, but some of them can be played on or adapted to smaller instruments. Many of these settings can be used as organ voluntaries, with appropriate adjustment of tempo, dynamics, and registration.
TWENTY-FIVE ORGAN HARMONIZATIONS: Alternate hymn settings, Vol. II
Published by GIA Publications, Chicago
See my LIST OF COMPOSITIONS for various choral and instrumental works in print.