A Course of Counterpoint and Fugue (Volume I)

A COURSE OF COUNTERPOINT AND FUGUE, VOL. 1
By L. Cherubini


Excerpt from Contents

BOOK I — COUNTERPOINT
I. Introduction
Preliminary Notions
Concords which may be used in strict Counterpoint
Discords to be employed in strict Counterpoint
Different kinds of movement, as conjunct, disjunct, similar, contrary, and oblique
II. Counterpoint in two Parts
First Species — Note against note
False Relations
III. Second Species in two Parts — two notes against one
IV. Third Species in two Parts — four notes to each semibreve
V. Fourth Species in two Parts — Syncopations
VI. Fifth Species in two Parts — Florid Counterpoint
VII. Counterpoint in three Parts
First Species — note against note
VIII. Second Species in three Parts — two minims to one semibreve
IX. Third Species in three Parts — four crotchets to one semibreve
X. Fourth Species in three Parts — Syncopations
Syncopations on a pedal-note, with examples
Second and fourth and third and fourth Species mixed, with examples
XI. Fifth Species in three Parts — Florid Counterpoint
Examples of the second and fifth Species combined
Ditto of Florid Counterpoint in two of the three parts
XII. Counterpoint in four Parts
First Species — note against note
Examples of the first, second, and third Species in four parts, and various combinations of them
XIII. Fourth Species in four Parts — Syncopations
Examples on Pedal Harmonies in four Parts
Combinations of the second, third, and fourth Species
XIV. Fifth Species in four Parts - Florid Counterpoint
Examples of Florid Counterpoint in two and in three of the four Parts
XV. Counterpoint in five, six, seven, and eight real Parts
Example for five voices — note against note
Ditto florid counterpoint in four of the parts
Ditto in six Parts — note against note
Ditto florid counterpoint in five of the parts
Ditto in seven parts — note against note
Ditto florid counterpoint in six of the parts
Ditto in eight parts — note against note
Ditto florid counterpoint in seven of the parts
Examples of the sixth struck together with the seventh, and the eighth with the ninth
Example for two Choirs in Florid Counterpoint without any given subject

BOOK II — IMITATION
XVI. On Imitation generally
Imitation in two parts, in similar motion
Examples in all Intervals
XVII. Imitation by contrary motion
Strict or regular imitation in contrary motion
Retrograde imitation in contrary motion
XVIII. Several other sorts of imitation: as
Imitation by augmentation
----- diminution
----- with reversed accents, or by arsin and thesin
Interrupted imitation
Convertible imitations...

------------------------------------------------------------------------------------------------------------------------------------------

Windham Press is committed to bringing the lost cultural heritage of ages past into the 21st century through high-quality reproductions of original, classic printed works at affordable prices.

This book has been carefully crafted to utilize the original images of antique books rather than error-prone OCR text. This also preserves the work of the original typesetters of these classics, unknown craftsmen who laid out the text, often by hand, of each and every page you will read. Their subtle art involving judgment and interaction with the text is in many ways superior and more human than the mechanical methods utilized today, and gave each book a unique, hand-crafted feel in its text that connected the reader organically to the art of bindery and book-making.

We think these benefits are worth the occasional imperfection resulting from the age of these books at the time of scanning, and their vintage feel provides a connection to the past that goes beyond the mere words of the text.

A COURSE OF COUNTERPOINT AND FUGUE, VOL. 1
By L. Cherubini
Excerpt from Contents

BOOK I — COUNTERPOINT
I. Introduction
Preliminary Notions
Concords which may be used in strict Counterpoint
Discords to be employed in strict Counterpoint
Different kinds of movement, as conjunct, disjunct, similar, contrary, and oblique
II. Counterpoint in two Parts
First Species — Note against note
False Relations
III. Second Species in two Parts — two notes against one
IV. Third Species in two Parts — four notes to each semibreve
V. Fourth Species in two Parts — Syncopations
VI. Fifth Species in two Parts — Florid Counterpoint
VII. Counterpoint in three Parts
First Species — note against note
VIII. Second Species in three Parts — two minims to one semibreve
IX. Third Species in three Parts — four crotchets to one semibreve
X. Fourth Species in three Parts — Syncopations
Syncopations on a pedal-note, with examples
Second and fourth and third and fourth Species mixed, with examples
XI. Fifth Species in three Parts — Florid Counterpoint
Examples of the second and fifth Species combined
Ditto of Florid Counterpoint in two of the three parts
XII. Counterpoint in four Parts
First Species — note against note
Examples of the first, second, and third Species in four parts, and various combinations of them
XIII. Fourth Species in four Parts — Syncopations
Examples on Pedal Harmonies in four Parts
Combinations of the second, third, and fourth Species
XIV. Fifth Species in four Parts - Florid Counterpoint
Examples of Florid Counterpoint in two and in three of the four Parts
XV. Counterpoint in five, six, seven, and eight real Parts
Example for five voices — note against note
Ditto florid counterpoint in four of the parts
Ditto in six Parts — note against note
Ditto florid counterpoint in five of the parts
Ditto in seven parts — note against note
Ditto florid counterpoint in six of the parts
Ditto in eight parts — note against note
Ditto florid counterpoint in seven of the parts
Examples of the sixth struck together with the seventh, and the eighth with the ninth
Example for two Choirs in Florid Counterpoint without any given subject

BOOK II — IMITATION
XVI. On Imitation generally
Imitation in two parts, in similar motion
Examples in all Intervals
XVII. Imitation by contrary motion
Strict or regular imitation in contrary motion
Retrograde imitation in contrary motion
XVIII. Several other sorts of imitation: as
Imitation by augmentation
----- diminution
----- with reversed accents, or by arsin and thesin
Interrupted imitation
Convertible imitations...

------------------------------------------------------------------------------------------------------------------------------------------

Windham Press is committed to bringing the lost cultural heritage of ages past into the 21st century through high-quality reproductions of original, classic printed works at affordable prices.

This book has been carefully crafted to utilize the original images of antique books rather than error-prone OCR text. This also preserves the work of the original typesetters of these classics, unknown craftsmen who laid out the text, often by hand, of each and every page you will read. Their subtle art involving judgment and interaction with the text is in many ways superior and more human than the mechanical methods utilized today, and gave each book a unique, hand-crafted feel in its text that connected the reader organically to the art of bindery and book-making.

We think these benefits are worth the occasional imperfection resulting from the age of these books at the time of scanning, and their vintage feel provides a connection to the past that goes beyond the mere words of the text.