{"product_id":"a-course-of-counterpoint-and-fugue-volume-i-9781628451726","title":"A Course of Counterpoint and Fugue (Volume I)","description":"\u003cb\u003eA COURSE OF COUNTERPOINT AND FUGUE, VOL. 1\u003c\/b\u003e \u003cbr\u003eBy L. Cherubini \u003cp\u003e\u003c\/p\u003e \u003cbr\u003e\u003cb\u003eExcerpt from Contents\u003c\/b\u003e \u003cp\u003e\u003c\/p\u003eBOOK I - COUNTERPOINT \u003cbr\u003eI. Introduction \u003cbr\u003ePreliminary Notions \u003cbr\u003eConcords which may be used in strict Counterpoint \u003cbr\u003eDiscords to be employed in strict Counterpoint \u003cbr\u003eDifferent kinds of movement, as conjunct, disjunct, similar, contrary, and oblique \u003cbr\u003eII. Counterpoint in two Parts \u003cbr\u003eFirst Species - Note against note \u003cbr\u003eFalse Relations \u003cbr\u003eIII. Second Species in two Parts - two notes against one \u003cbr\u003eIV. Third Species in two Parts - four notes to each semibreve \u003cbr\u003eV. Fourth Species in two Parts - Syncopations \u003cbr\u003eVI. Fifth Species in two Parts - Florid Counterpoint \u003cbr\u003eVII. Counterpoint in three Parts \u003cbr\u003eFirst Species - note against note \u003cbr\u003eVIII. Second Species in three Parts - two minims to one semibreve \u003cbr\u003eIX. Third Species in three Parts - four crotchets to one semibreve \u003cbr\u003eX. Fourth Species in three Parts - Syncopations \u003cbr\u003eSyncopations on a pedal-note, with examples \u003cbr\u003eSecond and fourth and third and fourth Species mixed, with examples \u003cbr\u003eXI. Fifth Species in three Parts - Florid Counterpoint \u003cbr\u003eExamples of the second and fifth Species combined \u003cbr\u003eDitto of Florid Counterpoint in two of the three parts \u003cbr\u003eXII. Counterpoint in four Parts \u003cbr\u003eFirst Species - note against note \u003cbr\u003eExamples of the first, second, and third Species in four parts, and various combinations of them \u003cbr\u003eXIII. Fourth Species in four Parts - Syncopations \u003cbr\u003eExamples on Pedal Harmonies in four Parts \u003cbr\u003eCombinations of the second, third, and fourth Species \u003cbr\u003eXIV. Fifth Species in four Parts - Florid Counterpoint \u003cbr\u003eExamples of Florid Counterpoint in two and in three of the four Parts \u003cbr\u003eXV. Counterpoint in five, six, seven, and eight real Parts \u003cbr\u003eExample for five voices - note against note \u003cbr\u003eDitto florid counterpoint in four of the parts \u003cbr\u003eDitto in six Parts - note against note \u003cbr\u003eDitto florid counterpoint in five of the parts \u003cbr\u003eDitto in seven parts - note against note \u003cbr\u003eDitto florid counterpoint in six of the parts \u003cbr\u003eDitto in eight parts - note against note \u003cbr\u003eDitto florid counterpoint in seven of the parts \u003cbr\u003eExamples of the sixth struck together with the seventh, and the eighth with the ninth \u003cbr\u003eExample for two Choirs in Florid Counterpoint without any given subject \u003cp\u003e\u003c\/p\u003eBOOK II - IMITATION \u003cbr\u003eXVI. On Imitation generally \u003cbr\u003eImitation in two parts, in similar motion \u003cbr\u003eExamples in all Intervals \u003cbr\u003eXVII. Imitation by contrary motion \u003cbr\u003eStrict or regular imitation in contrary motion \u003cbr\u003eRetrograde imitation in contrary motion \u003cbr\u003eXVIII. Several other sorts of imitation: as \u003cbr\u003eImitation by augmentation \u003cbr\u003e----- diminution \u003cbr\u003e----- with reversed accents, or by arsin and thesin \u003cbr\u003eInterrupted imitation \u003cbr\u003eConvertible imitations... \u003cp\u003e\u003c\/p\u003e------------------------------------------------------------------------------------------------------------------------------------------ \u003cp\u003e\u003c\/p\u003eWindham Press is committed to bringing the lost cultural heritage of ages past into the 21st century through high-quality reproductions of original, classic printed works at affordable prices. \u003cp\u003e\u003c\/p\u003eThis book has been carefully crafted to utilize the original images of antique books rather than error-prone OCR text. This also preserves the work of the original typesetters of these classics, unknown craftsmen who laid out the text, often by hand, of each and every page you will read. Their subtle art involving judgment and interaction with the text is in many ways superior and more human than the mechanical methods utilized today, and gave each book a unique, hand-crafted feel in its text that connected the reader organically to the art of bindery and book-making. \u003cp\u003e\u003c\/p\u003eWe think these benefits are worth the occasional imperfection resulting from the age of these books at the time of scanning, and their vintage feel provides a connection to the past that goes beyond the mere words of the text.\u003cbr\u003e","brand":"Windham Press","offers":[{"title":"Default Title","offer_id":50856170815762,"sku":"9781628451726","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0831\/4771\/8930\/files\/img_1ac9df01-9385-413a-8922-6cf03b0b5232.jpg?v=1737497777","url":"https:\/\/surprise-castle.myshopify.com\/products\/a-course-of-counterpoint-and-fugue-volume-i-9781628451726","provider":"Surprise Castle","version":"1.0","type":"link"}