Table of Contents

A Treatise on Counterpoint and Fugue

by Luigi Cherubini

Table of Contents

  1. Two-Part Counterpoint - Note Against Note
    1. Second Order - Two Notes Against One
    2. Third Order - Four Notes Against One
    3. Fourth Order - On Syncopation
    4. Fifth Order - Florid Counterpoint
  2. Three-Part Counterpoint - Note Against Note
    1. Second Order - Two Half Notes Against a Whole
    2. Third Order - Four Quarter Notes Against a Whole
    3. Fourth Order - On Syncopation
    4. Fifth Order - Florid Counterpoint
  3. Four-Part Counterpoint - Note Against Note
    1. First, Second, and Third Order (Examples)
    2. Fourth Order - On Syncopation
    3. Fifth Order - Florid Counterpoint
  4. Counterpoint in Five, Six, Seven, and Eight Real Parts
  5. On Imitation
    1. First Section - By Similar Movement
    2. Second Section - By Contrary Movement
      1. On Several Other Sorts of Imitation
    3. Third Section - Imitations in 3 and 4 voices
      1. Inverse Contrary Imitation
  6. On Double Counterpoint
    1. Inversion at the Octave
    2. Inversion at the Ninth
    3. Inversion at the Tenth
    4. Inversion at the Eleventh
    5. Inversion at the Twelfth
    6. Inversion at the Thirteenth
    7. Inversion at the Fourteenth
    8. Triple and Quadruple Counterpoint at the Octave
    9. Triple and Quadruple Counterpoint at the Tenth
    10. Triple and Quadruple Counterpoint at the Twelfth
    11. Conclusion
  7. On Fugue
    1. On Counter-Subject, Stretto, and Pedal
    2. On Tonal and Real Fugues
    3. On Fugue of Imitation
    4. On Coda in Fugue
    5. On Digression and Modulation

Extended Examples, Analysed Throughout

  1. Real Fugue in Two Parts
  2. Real Fugue in Two Parts - Example Two
  3. Tonal Fugue in Two Parts
  4. Real Fugue in Three Parts
  5. Tonal Fugue in Three Parts
  6. Tonal Fugue in Four Parts, with One Counter-Subject
  7. Tonal Fugue in Four Parts, with Two Counter-Subjects
  8. Chromatic Fugue in Four Parts, with Three Counter-Subjects
  9. Tonal Fugue in Eight Parts
  10. Real Fugue in Eight Parts

Appendix