On Double Counterpoint

Inversion at the Eleventh

Double counterpoint at the eleventh or fourth, is now to be discussed, the combinations of which will be analyzed by the usual method of two rows of figures:

Counterpoint 1 2 3 4 5 6 7 8 9 10 11
Inversion 11 10 9 8 7 6 5 4 3 2 1

From this view, the sixth is – in this counterpoint – the principal interval, and it is by that one, we should commence or finish; it is by that one, that not only the discords must be prepared and resolved, but also the concords, which are changed into discords by inversion.

The interval of the eleventh forms the limit of this counterpoint. A developed example is hereby given of a counterpoint of this kind:

1st inversion

2nd inversion: Transpose the theme a fourth above, and the counterpoint an octave below

3rd inversion: Transpose the theme a fifth below, while the counterpoint remains in its original place

4th inversion: Transpose the theme a fourth above, and the counterpoint a fifth below

5th inversion: Transpose the theme a fourth above, or a fifth below, and the counterpoint a fourth above or a fifth below

Double counterpoint in the eleventh, is of all double counterpoints little used, that which may be employed with the fewest objections and difficulties.

  • cherubini_counterpoint_and_fugue/on_double_counterpoint/inversion_at_the_eleventh.txt
  • Last modified: 2018/08/10 19:35
  • by brian