Show pagesourceOld revisionsBacklinksBack to top Share via Share via... Twitter LinkedIn Facebook Pinterest Telegram WhatsApp Yammer Reddit TeamsRecent ChangesSend via e-MailPrintPermalink × Table of Contents A Treatise on Counterpoint and Fugue, by Luigi Cherubini Table of Contents Extended Examples, Analysed Throughout Appendix This is an old revision of the document! A Treatise on Counterpoint and Fugue, by Luigi Cherubini Table of Contents Title Page Memoir of Cherubini Introduction on Counterpoint Preliminary Propositions Two-Part Counterpoint - Note Against Note Second Order - Two Notes Against One Third Order - Four Notes Against One Fourth Order - On Syncopation Fifth Order - Florid Counterpoint Three-Part Counterpoint - Note Against Note Second Order - Two Half Notes Against a Whole Third Order - Four Quarter Notes Against a Whole Fourth Order - On Syncopation Fifth Order - Florid Counterpoint Four-Part Counterpoint - Note Against Note First, Second, and Third Order (Examples) Fourth Order - On Syncopation Fifth Order - Florid Counterpoint Counterpoint in Five, Six, Seven, and Eight Real Parts On Imitation First Section - By Similar Movement Second Section - By Contrary Movement On Several Other Sorts of Imitation Third Section - Imitations in 3 and 4 voices Inverse Contrary Imitation On Double Counterpoint Inversion at the Octave Inversion at the Ninth Inversion at the Tenth Inversion at the Eleventh Inversion at the Twelfth Inversion at the Thirteenth Inversion at the Fourteenth Triple and Quadruple Counterpoint at the Octave Triple and Quadruple Counterpoint at the Twelfth Conclusion On Fugue On Counter-Subject, Stretto, and Pedal On Tonal and Real Fugues On Fugue of Imitation On Coda in Fugue On Digression and Modulation Extended Examples, Analysed Throughout Real Fugue in Two Parts Real Fugue in Two Parts - Example Two Tonal Fugue in Two Parts Real Fugue in Three Parts Tonal Fugue in Three Parts Tonal Fugue in Four Parts, with One Counter-Subject Tonal Fugue in Four Parts, with Two Counter-Subjects Chromatic Fugue in Four Parts, with Three Counter-Subjects Tonal Fugue in Eight Parts Real Fugue in Eight Parts Appendix Given Subjects or Lessons to Serve as Basses in Strict Counterpoint Basses for Counterpoint in Eight Parts and Two Choirs cherubini_counterpoint_and_fugue/contents.1532623492.txt.gz Last modified: 2018/07/26 16:44by brian