Cromatic and homophonic counterpoint

I've been studying counterpoint and have read method and instructions from many different sources, but I've NEVER seen a book or something which explains anything about cromatic or homophonic counterpoint. I know that homophonic counterpoint is a topic planned to be discussed in a book by Schoenbeg, but he died, so...

If anybody knows about any kind of source to study these topics, I'd be very thankful to know it!

Thanks

Christian Perrotta

Homophonic counterpoint?

Could you eloborate?

In my head Homophonic means not contrapuntal, having just one main melody.

As for chromaticism, I don't see how it's that much different, I'm sure the books that you read state how to handle any interval.

If you know that all diminished or undiminished imperfect intervals(major/minor 3th/6th) are handled as consonants.

And all diminished perfects(diminished 5th 8th) and diminished dissonants(diminished 2nd 7th) are handled as dissonants.

And of course the perfect intervals as perfects.

And you have knowledge of false relations(if you care about that) you should know all you need for writing chromatically.

Homophonic and counterpoint are like... antonyms...! So i'm guessing in order to do homphonic counterpoint you need to divide by zero.

Well, guys, I may have used some wrong terms. The exact expression is "counterpoint in homophonic music" (which differs from the bachian counterpoint). I saw it a Schoenberb book as a plan for future publications. For the ones who want to know where I saw it, it's in the Appendix B of the book "Preliminary execices in counterpoint".

About the chromatic couterpoint, you guys are right. It's not as difficult as I thought. I'm working on a fugue whose subject has chromatic passages and I thought it'd be hardly difficult to handle with it. Turns out that it's not.

Anyway, thanks a lot.

What you might find interesting is the concept of heterophony, which has everything following the same melody, but being "off" in a way. Think of it like "jazz unisons" where the two are either in different keys or slightly off from each other. Ornette Coleman does a lot of it. It can also be heard in some middle eastern music.

I suppose homophonic counterpoint would simply be the first species of counterpoint as outlined by Joseph Fux, in which every note of the melody or cantus firmus is harmonised in the other voices with a note of equal duration. Not really anything that warrants too much thought or discussion with it being the simplest form of counterpoint.

I guess the only thing you can do to get a proper explanation of homophonic counterpoint would be to REVIVE SCHÖNBERG!!!