| Contents |
Memoir of the author -- Introduction on counterpoint. Preliminary propositions. Upon concords in strict counterpoint ; Upon discords in ditto ; Upon various kinds of movement -- Two-part counterpoint. First order, note against note ; Second order, two notes against one ; Third order, four crochets against one semibreve ; Fourth order, on syncopation ; Fifth order, florid counterpoint -- Three-part counterpoint. First order, note against note ; Second order, two minims against a semibreve ; Third order, four crochets against one semibreve ; Fourth order, on syncopation ; Fifth order, florid counterpoint -- Four-part counterpoint. First order, note against note ; First, second, and third order, examples of ; Fourth order, on syncopation ; Fifth order, florid counterpoint -- Counterpoint in five, six, seven, and eight real parts -- On imitation. Antecedent and consequent ; First section, by similar movement ; Second section, by contrary motion. On free or irregular imitation ; On regular or restricted imitation ; On several other sorts of imitation ; Augmentation, diminution ; Reversed accents, interrupted, convertible, periodic, canonic ; Finite and infinite canonic -- Third section, imitations in 3 and in 4 voices. Antecedent or theme, consequent ; Inverse contrary imitation -- On double counterpoint. First section. Inversion in the octave ; Inversion in the ninth ; Inversion in the tenth ; Inversion in the eleventh ; Inversion in the twelfth ; Inversion in the thirteenth ; Inversion in the fourteenth -- Second section. Triple and quadruple counterpoint ; In the octave ; In the tenth -- On fugue. Definition of the term fugue. On subject ; On response ; On counter-subject ; On stretto ; On pedal ; On tonal fugue ; On real fugue ; On fugue of imitation ; On the coda ; On digression ; On modulation ; On the entire composition of a fugue ; General remarks -- Extended examples, analysed throughout. Real fugue in 2 parts ; Tonal fugue in 2 parts ; Real fugue in 3 parts (instrumental character) ; Tonal fugue in 3 parts, with one counter-subject (In gloria Dei Patris, from Grand Mass in F) ; Tonal fugue in 4 parts, with one counter-subject ; Tonal fugue in 4 parts, with two counter-subjects ; Chromatic fugue in 4 parts, with three counter-subjects, with preliminary remarks thereon ; Concluding observations thereon ; Authentic and plagal cadence ; Tonal fugue of considerable development, in 8 parts and for two choirs (from Credo) ; M. Fetis's remarks thereon ; Real fugue in 8 parts, for two choirs, by J. Sarti -- Appendix. Given subjects or basses to serve for lessons in strict counterpoint ; Basses for counterpoint in 8 parts and two choirs. |
