《《对位艺术》 GIOSEEO ZARLINO 德版》求取 ⇩

Introduction3

Chapter 1.What counterpoint is and why it is so called11

Chapter 2.The invention of clefs and written notes13

Chapter 3.The elements that make up counterpoint：the intervals15

Chapter 4.Division of the species discussed17

Chapter 5.Whether the fourth is a consonance；and how it happens that musiciand have not used it except in compositions for several voices18

Chapter 6.The division of the consonances imto perfect and imperfect19

Chapter 7.The fourth and the fifth are between the perfect and imperfect consonances20

Chapter 8.Which consonances are“fuller”and which more pleasing21

Chapter 9.The differences found among the imperfect consonances22

Chapter 10.The property or nature of the imperfct consonances22

Chapter 11.Special discussion of the unison23

Chapter 12.The first consonance：the diapason of octave24

Chapter 13.The diapente or fifth25

Chapter 14.The diatessaron or fourth27

Chapter 15.The ditone or major third27

Chapter 16.The semiditone or minor third28

Chapter 17.The musical value of the dissonant intervals28

Chapter 18.The large and small whole tones29

Chapter 19.The large and small semitones29

Chapter 20.The large hexachord or major sixth31

Chapter 21.The small hexachord or minor sixth32

Chapter 22.The diapente-plus-ditone or major seventh32

Chapter 23.The diapente-plus-semiditone or minor seventh33

Chapter 24.How the augmented and diminished forms of these intervals are used in practice，both naturally and accidentally34

Chapter 25.The effects of the signs ？，？，and？36

Chapter 26.What is required in every composition：first，the subject37

Chapter 27.Compositions must be composed primarily of consonances and only incidentally of dissonances38

Chapter 28.A composition must begin with a perfect consonance39

Chapter 29.Two consonances having the same ratio may not be placed one after the other ascending or descending without an intervening interval41

Chapter 30.When the parts of a composition are in harmonic relation，and how the semidiapente and tritone may be used44

Chapter 31.Considerations about nonharmonic relations in compositions for many voices46

Chapter 32.How two perfect or imperfect consonances of the same ratio may be written consecutively47

Chapter 33.Two or more perfect or imperfect consonances of different ratios may be written consecutively48

Chapter 34.After a perfect consonance it is well to write an imperfect con-sonance，and vice versa48

Chapter 35.The parts of a composition should progress in contrary motion49

Chapter 36.The parts of a composition may ascend or descend together49

Chapter 37.Leaps and widely separated voices should be avoided as much as possible50

Chapter 38.How to progress from one consonance to another51

Chapter 39.How to terminate a composition54

Chapter 40.How to write simple counterpoint，called note-against-note，for two voices54

Chapter 41.The unison and octave should be avoided as much as possible in counterpoint57

Chapter 42.Diminished counterpoinr for two voices：how dissonances may be used58

Chapter 43.The method of writing counterpoints upon a part or diminished subject63

Chapter 44.It is not necessary for the subject and the counterpoint to begin together65

Chapter 45.The parts must be well conceived；and what the singer must observe in performing66

Chapter 46.A part should not remain for long in the low or high register68

Chapter 47.A dissonance or minim rest between two perfect consonances of the same species ascending or descending together does not cancel the effect of consecutive consonances68

Chapter 48.The measure70

Chapter 49.The syncopation72

Chapter 50.The rests73

Chapter 51.Fugues or consequences75

Chapter 52.Imitations，and what they are79

Chapter 53.The cadence：its nature，species，and uses82

Chapter 54.How to evade cadences，and what to observe when the subject skips two or more steps87

Chapter 55.When a passage in one voice of a composition may be repeated and when not88

Chapter 56.Double counterpoints and what they are91

Chapter 57.What the contrapuntist must observe in addition to the rules given，and somelicenses he may take97

Chapter 58.The method of composing for more than two voices，and the names of the parts101

Chapter 59.Three-voice compositions and what must be observed in writ-ing them104

Chapter 60.How the fourth may be used in composing107

Chapter 61.Common rules108

Chapter 62.Various kinds of counterpoint；first the kind called double114

Chapter 63.Various kinds of counterpoint；first the kind called double119

Chapter 64.What must be observed when improvising a third part on two given parts122

Chapter 65.What must be observed in composing for four or more voices125

Chapter 66.Some advice about compositions for more than three voices128

Chapter 67.Tempus，modus，and prolation，and the quantitative organiza-tion of compositions134

Chapter 68.The perfection of note values137

Chapter 69.The imperfection of note values139

Chapter 70.The dot，its species，and its effects140

Chapter 71.The value of these devices to good harmony143

Chapter 72.The common steps，and the characteristics of diatonic，chro-matic，and enharmonic compositions145

Chapter 73.Whether in the last two genera the natural steps may be used simply without the steps peculiar to them147

Chapter 74.There are two styles in music，and the compositions of certain modern composers do not fall into any of the genera mentioned 148

Chapter 75.The diatonic may proceed melodically with the intervals of major or minor third，and this does not change its genus148

Chapter 76.Where no change of melodic style is heard in a composition，there cannot be any change of genus150

Chapter 77.The utility of these two genera，and how they may be used with good effect150

Chapter 78.The reason that chromatic compositions by certain moderns have poor effect152

Chapter 79.What was involved in composing in the genera154

Chapter 80.A rebuttal to the opinions of the chromaticists156