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...

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