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F‑Pn Esp. 219: Navigational overview

A structured guide to the 247 counterpoint examples

This page provides a structured navigational overview of the 247 counterpoint examples transmitted in Chapters 1–5 of Vicente Lusitano’s Libro secondo: De contrapunto (F-Pn Esp. 219). The overview begins with Chapter 1, section 2 (Del arte de contrapunto, fols. 17v–38r), and continues through the subsequent chapters on concerted counterpoint, canons, counterpoint on mensural music, and composition. For a general outline of the treatise and its internal organisation, see the Treatise index.

The tables facilitate orientation within the manuscript and support cross-referencing between the source, the numbering adopted in Philippe Canguilhem’s 2013 edition, the modern digital edition, and the associated MusicXML, MIDI, and audio materials. The numbering used here refers to the individual contrapuntal examples transmitted in the manuscript and therefore corresponds to the MusicXML and MIDI files. The CRCE audio recordings employ a separate global numbering system (crce-001–crce-420), since multiple recorded realisations are provided for certain examples.

Note: On small screens, horizontal scrolling may be required to access the rightmost columns.

Quick navigation

  1. Chapter 1 - Two-voice counterpoint
  2. Chapter 2 - Concerted counterpoint
  3. Chapter 3 - Canons
  4. Chapter 4 - Counterpoint on mensural music
  5. Chapter 5 - On composition

Chapter 1 - Two-voice counterpoint

Table 1. Overview of the 125 counterpoint examples transmitted in Chapter 1, section 2 (Del arte de contrapunto), fols. 17v-38r.

Ex. and
file no.
(MIDI/XML)		 Fol. Canguilhem
no.		 Type CF length
(notes)		 Recorded
by LS
001 18r 1a Sp. 1 27 Yes
002 18r 1b Sp. 2 27
003 18v 1c Sp. 3 27
004 18v 1d Sp. 4 27
005 19r 2 Sp. 5 27
006 19r 3 Sp. 6 13
007 19r 4 Sp. 7 13
008 19v 5 Sp. 8 13
009 19v 6a Sp. 9 13
010 19v 6b Sp. 10 13 Yes
011 19v 6c Sp. 11 13
012 20r 6d Sp. 12 13
013 20v 7a Sp. 13 8 (non-Alleluia)
014 20v 7b Sp. 14 10 (non-Alleluia)
015 21r 8a Sp. 15 13 Yes
016 21r 8b Sp. 16 13
017 21r 8c Sp. 17 13
018 21r 8d Sp. 18 13
019 21r 9 Parallel
consonances		 4 interval
successions
020 21v 10a Sp. 19 13
021 21v 10b Sp. 20 13
022 21v 10c Sp. 21 13
023 21v 10d Sp. 22 13 Yes
024 22v 11a Sp. 23 13
025 22v 11b Sp. 24 13
026 22v 11c Sp. 25 13
027 22v 11d Sp. 26 13
028 23r 12a Sp. 27 13
029 23r 12b Sp. 28 13
030 23r 12c Sp. 29 13
031 23r–23v 12d Sp. 30 13
032 23v 13a Sp. 31 13
033 23v 13b Sp. 32 13
034 23v 13c Sp. 33 9
035 24r 13d Sp. 34 13
036 24v 14 Dissonances
and suspension		 cadences
037 24v 15a Dim. 1 13 Yes
038 24v 15b Dim. 2 13
039 24v 15c Dim. 3 13
040 24v 15d Dim. 4 13 Yes
041 25r 16a Dim. 5 13
042 25r 16b Dim. 6 13
043 25r 16c Dim. 7 13
044 25r 16d Dim. 8 13
045 25v 17a Dim. 9 13
046 25v 17b Dim. 10 13
047 25v 17c Dim. 11 13
048 25v 17d Dim. 12 13 Yes
049 26r 18 Simultaneous
skips		 10 prohibited
interval
successions
050 26v 19a Dim. 13 13
051 26v 19b Dim. 14 13
052 26v 19c Dim. 15 13
053 26v 19d Dim. 16 13
054 27r 20a Dim. 17 27
055 27r 20b Dim. 18 27
056 27r 20c Dim. 19 27 Yes
057 27r 20d Dim. 20 27
058 27v 21a Dim. 21 13 Yes
059 27v 21b Dim. 22 13
060 27v 21c Dim. 23 13
061 27v 21d Dim. 24 13
062 28r 22a Dim. 25 13 Yes
063 28r 22b Dim. 26 13
064 28r 22c Dim. 27 13
065 28r 22d Dim. 28 13
066 28v 23a Dim. 29 27
067 28v 23b Dim. 30 27
068 28v–29r 23c Dim. 31 27
069 29r 23d Dim. 32 27
070 29–29v 24a Dim. 33 27 Yes
071 29v 24b Dim. 34 27
072 30r 24c Dim. 35 27 Yes
073 30r 24d Dim. 36 27
074 30v 25a Dim. 37 27
075 30v 25b Dim. 38 27
076 30v 25c Dim. 39 27
077 30v 25d Dim. 40 27
078 31r 26a Syn. Sp. 1 13
079 31r 26b Syn. Sp. 2 13
080 31r 26c Syn. Sp. 3 13
081 31r 26d Syn. Sp. 4 13
082 31v 27a Syn. Sp. 5 13
083 31v 27b Syn. Sp. 6 13
084 31v 27c Syn. Sp. 7 13
085 31v 27d Syn. Sp. 8 13
086 32r 28a Syn. Sp. 9 13
087 32r 28b Syn. Sp. 10 13
088 32r 28c Syn. Sp. 11 13
089 32r 28d Syn. Sp. 12 13
090 32v 29a Syn. Sp. 13 13
091 32v 29b Syn. Sp. 14 13
092 32v 29c Syn. Sp. 15 13
093 32v 29d Syn. Sp. 16 13
094 32v 30a Syn. Sp. 17 13
095 33r 30b Syn. Sp. 18 13
096 33r 30c Syn. Sp. 19 13
097 33r 30d Syn. Sp. 20 13
098 33r 31a Syn. Sp. 21 13
099 33r 31b Syn. Sp. 22 13
100 33r 31c Syn. Sp. 23 13
101 33r 31d Syn. Sp. 24 13 Yes
102 33v 32a Syn. Sp. 25 13
103 33v 32b Syn. Sp. 26 13
104 33v 32c Syn. Sp. 27 13
105 33v 32d Syn. Sp. 28 13
106 34r 33a Syn. Sp. 29 13
107 34r 33b Syn. Sp. 30 13
108 34r 33c Syn. Sp. 31 13
109 34r 33d Syn. Sp. 32 13
110 34v 34a Dim. 41 13
111 34v 34b Dim. 42 13
112 34v 34c Dim. 43 13
113 34v 34d Dim. 44 13
114 35r 35a Dim. 45 27 Yes
115 35v 35b Dim. 46 27
116 35v 35c Dim. 47 27
117 36r 35d Dim. 48 27
118 36v 36a Dim. 49 27
119 36v 36b Dim. 50 27
120 37r 36c Dim. 51 27
121 37r 36d Dim. 52 27
122 37v 37a Dim. 53 27 Yes
123 37v 37b Dim. 54 27
124 38r 37c Dim. 55 27
125 38r 37d Dim. 56 27

Table legend

The following column headings and abbreviations are used in the summary tables:

  • Ex. and file no. (MIDI/XML): Editorial example number, which also functions as the three-digit identifier used for the associated MIDI file (distributed here as MP3) and the corresponding MusicXML file.
  • Fol.: Manuscript folio reference (F-Pn Esp. 219).
  • Canguilhem no.: Example numbering used in Philippe Canguilhem’s 2013 edition.
  • Type: Type of counterpoint (e.g. species, diminished, syncopated species).
  • CF length (notes): Length of the cantus firmus expressed as number of notes.
  • Recorded by LS: Indicates examples recorded by Les Sacqueboutiers for the companion website to Philippe Canguilhem’s edition.

Abbreviations used in table entries:

  • Dim.: diminished counterpoint
  • Sp.: species counterpoint
  • Syn.: syncopated
  • Syn. Sp.: syncopated species
  • Ky.: Kyrie (mensural model from Gombert’s Missa Philomena)
  • Sec.: Seculorum (Saeculorum amen formula used as mensural model)

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Chapter 2 - Concerted counterpoint

Table 2. Overview of the 15 counterpoint examples transmitted in Chapter 2 (Del contrapunto conçertado), fols. 38v-44v.

Ex. and
file no.
(MIDI/XML)		 Fol. Canguilhem
no.		 List
no.		 CF length
(notes)		 Improvisers
no.		 Performers
no.		 Recorded
by LS
126 39r 38 1 13 2 3 Yes
127 39v 39 2 13 2 3 Yes
128 39v 40 3 13 2 3
129 40r 41 4 13 2 3 Yes
130 40v 42 5 13 2 3 Yes
131 41r 43 6 13 2 3
132 41v 44 7 13 2 3 Yes
133 41v 45 8 13 2 3
134 42r 46 9 13 3 4 Yes
135 42v 47 10 13 4 5 Yes
136 43r 48 Dim. 13 1 2
137 43r 49 11 27 2 3 Yes
138 44r 50 12 27 2 3
139 44r 51 13 13 2 3
140 44v 52 14 27 2 3

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Chapter 3 - Canons

Table 3. Overview of the 35 counterpoint examples transmitted in Chapter 3 (De las fugas), fols. 44v-48v.

File no.
(MP3/
XML)		 Example
no.		 Fol. Cangui-
lhem
no.		 Impro-
visers
no.		 Perfor-
mers
no.		 List
no.		 CF length
(notes)		 Recorded
by LS
141 141 45r 53 1 3 1 27
142 141 (real.
canon)		 1
143 142 45v 54 1 4 2 27
144 142 (real.
canon)		 1
145 142b
(gymell)		 45v 54 1 5 3 27
146 143 46r 55a 1 3 4 27 Yes
147 143 (real.
canon)		 1
148 144 46r 55b 1 3 5 27
149 144 (real.
canon)		 1
150 145 46r 55c 1 3 6 27
151 145 (real.
canon)		 1
152 146 46v 56a 1 3 7 13 Yes
153 146 (real.
canon)		 1
154 147 46v 56b 1 3 8 13 Yes
155 147 (real.
canon)		 1
156 148 46v 56c 1 3 9 13
157 148 (real.
canon)		 1
158 149 46v 57a 1 3 10 13
159 149 (real.
canon)		 1
160 150 47r 57b 1 3 11 13
161 150 (real.
canon)		 1
162 151 47r 57c 1 3 12 13 Yes
163 151 (real.
canon)		 1
164 152 47r 57d 1 3 13 13
165 152 (real.
canon)		 1
166 153 47r 57e 1 3 14 13 Yes
167 153 (real.
canon)		 1
168 154 47v 58a 1 3 15 13
169 154 (real.
canon)		 1
170 155 47v 58b 1 4 16 13 Yes
171 155 (real.
canon)		 1
172 156 47v 58c 1 3 17 13
173 156 (real.
canon)		 1
174 157 47v 58d 1 3 18 13
175 157 (real.
canon)		 1
176 158 47v 58e 1 3 19 13
177 158 (real.
canon)		 1
178 159 47v 58f 1 3 20 13 Yes
179 159 (real.
canon)		 1
180 159 (alt.
ficta)		 1
181 160 47v 58g 1 3 21 13 Yes
182 160 (real.
canon)		 1
183 161 48r 58h 1 3 22 13 Yes
184 161 (real.
canon)		 1
185 162 48r 58i 1 3 23 13
186 162 (real.
canon)		 1
187 163 48r 58j 1 3 24 13 Yes
188 163 (real.
canon)		 1
189 164 48r 58k 1 3 25 13 Yes
190 164 (real.
canon)		 1
191 165 48r 59a 1 3 26 13
192 165 (real.
canon)		 1
193 166 48r 59b 1 4 27 13 Yes
194 166 (real.
canon)		 1
195 167 48v 60a 1 3 28 13 Yes
196 167 (real.
canon)		 1
197 168 48v 60b 1 4 29 13
198 168 (real.
canon)		 1
199 169 48v 61 1 3 30 13 Yes
200 169 (real.
canon)		 1
201 242 44bis 87a 1 3 31 13
202 242 (real.
canon)		 1
203 243 44bis 87b 1 3 32 13
204 243 (real.
canon)		 1
205 244 44bis 87c 1 3 33 13
206 244 (real.
canon)		 1
207 245 44bis 87d 1 3 34 13
208 245 (real.
canon)		 1
209 246 44bis 88 1 (large
melodic
interval
leaps)

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Chapter 4 - Counterpoint on mensural music

Table 4. Overview of the 38 counterpoint examples transmitted in Chapter 4 (Del contrapunto sobre canto de organo), fols. 48v-57v.

File no.
(MIDI/
XML)		 Example no. List
no.		 Fol. Cangui-
lhem
no.		 Perfor-
mers
no.		 Gombert’s
mensural models
+ techniques		 Recorded
by LS
210 170 1 49v 62a 2 Ky. + Sp.
211 171 2 50r 62b 2 Ky. + Syn. Sp.
212 172 3 50r 62c 2 Ky. + Sp. Yes
213 173 4 50r 62d 2 Ky. + Syn. Sp.
214 174 5 50r 62e 2 Ky. + Syn. Sp.
215 175 6 50r 63a 2 Ky. + Sp.
216 176 7 50r 63b 2 Ky. + Syn. Sp.
217 177 8 50v 64a 2 Ky. + Syn. Sp.
218 178 9 50v 64b 2 Ky. + Sp.
219 179 10 50v–51r 64c 2 Ky. + Syn. Sp.
220 180 11 51r 65a 2 Ky. in canon
(8ve lower)
221 181 12 51r 65b 2 Ky. in canon
(5th lower)
222 182 13 51r 65c 2 Ky. in canon
(4th lower)
223 183 14 51v 65d 2 Ky. in canon
(4th higher)		 Yes
224 184 15 51v 65e 2 Ky. in canon
(5th higher)
225 185 16 51v 66 2 Ky. + Si tantos
halcones
226 186 17 52r 67a 2 Ky. + Sec.
(1st mode)		 Yes
227 187 18 52r 67b 2 Ky. + Sec.
(2nd mode)		 Yes
228 188 19 52r 67c 2 Ky. + Sec.
(3rd mode)		 Yes
229 189 20 52v 67d 2 Ky. + Sec.
(4th mode)		 Yes
230 190 21 52v–53 67e 2 Ky. + Sec.
(5th mode)		 Yes
231 191 22 53r 67f 2 Ky. + Sec.
(6th mode)		 Yes
232 192 23 53r 67g 2 Ky. + Sec.
(7th mode)		 Yes
233 193 24 53r 67h 2 Ky. + Sec.
(8th mode)		 Yes
234 194 25 53v 68a 2 Ky. + retrograde
Ky. (unison)
235 195 26 53v 68b 2 Ky. + retrograde
Ky. (5th lower)
236 196 27 54r 68c 2 Ky. + retrograde
Ky. (4th lower)
237 197 28 54r 69a 3 Ky. + 2 canonic vv.
238 197b (real.
canon)
239 198 29 54r 69b 3 Ky. + 2 canonic vv.
240 198b (real.
canon)
241 199 30 54v 69c 3 Ky. + 2 canonic vv. Yes
242 199b (real.
canon)
243 200 31 54v–55r 70a 4 Ky. + 2 canonic vv.
+ 1 CF by the hand		 Yes
244 200b (real.
canon)
245 201 32 55r 70b 4 Ky. + 2 canonic vv.
+ 1 CF by the hand
246 201b (real.
canon)
247 202 33 55r 70c 4 Ky. + 2 canonic vv.
+ 1 CF by the hand
248 202b (real.
canon)
249 203 34 55v 71 4 Ky. + new line
+ 2 CFs by the hand		 Yes
250 204 35 56r 72 3 Et resurrexit (duo)
+ new line on top		 Yes
251 205 36 56v 73 3 Et resurrexit (duo)
+ new line below		 Yes
252 206 37 57r 74a 4 Crucifixus (trio)
+ new line on top
253 207 38 57v 74b 4 Crucifixus (trio)
+ new line below		 Yes

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Chapter 5 - On composition

Table 5. Chapter 5. Overview of the 34 counterpoint examples transmitted in Chapter 5 (De la conpostura), fols. 57v-62r.

File no.
(MIDI/
XML)		 Exam-
ple no.		 Fol. Cangui-
lhem
no.		 Lusitano’s description Translation
254 208 57v 75a la via de la conpostura (a 3) the path of composition (a 3)
255 209 57v 75b la via de la conpostura (a 4) the path of composition (a 4)
256 210 58r 75c Exemplo de las que sean de evitar (a 3) example of those things that must be avoided (a 3)
257 211 58r 76 concorde harmonia (a 3) concordant harmony (a 3)
258 212 58r 77a exemplo de las conpasibles (a 3) example of procedures tolerated in composition (a 3)
259 213 58r 77b el tenor […] en quarta con el baxo (a 4) the tenor makes a fourth with the bass (a 4)
260 214 58v 77c (a 4, tenor cadence 5–6) (a 4, teno cadence 5–6)
261 215 58v 78 (a 4) (a 4)
262 216 58v 79 de como se haran a 5 (a 5) how to proceed at 5 voices (a 5)
263 217 59r 80 fugir tal cosa (a 3) avoid such a thing (a 3)
264 218 59r 81 de como se haran con 6 bozes (a 6) how to proceed with 6 voices (a 6)
265 219 59v 82a a 2 concordantes 2 concordant voices
266 220 59v 82b a 2 concordantes 2 concordant voices
267 221 59v 82c a 2 concordantes 2 concordant voices
268 222 59v 82d a 2 concordantes 2 concordant voices
269 223 59v 83a de como el tiple clausula con tenor y baxo
(a 3 concordantes)		 how the treble cadences with tenor and bass
the treble cadencing at the octave (a 3 concordant)
270 224 59v 83b de como el tenor clausula primero en octava
con el baxo y despues el tiple y baxo (a 3 concordantes)		 how the tenor cadences first at the octave with the bass,
and then the treble likewise at the octave (a 3 concordant)
271 225 59v 83c En quinta puede el tenor hazer clausula con
el baxo antes una nota de la clausula final, y la boz
alta haze la clausula en la ultima (a 3 concordantes)		 the tenor may cadence at the fifth with the bass,
and the upper voice cadences on the final note (a 3
concordant)
272 226 60r 84a (a 4 concordantes) (a 4 concordant)
273 227 60r 84b de como fenesçe en octava (a 4 concordantes) how it ends at the octave (a 4 concordant)
274 228 60r 84c de quando clausula en dezena (a 4 concordantes) when it cadences at the tenth (a 4 concordant)
275 229 60r 84d de quando clausula en octava
para feneçer en dozena o dezena (a 4 concordantes)		 when it cadences at the octave
to finish at the twelfth or tenth (a 4 concordant)
276 230 60r 84e clausular en clausula del modo despues del tiple
aver clausulado semejante clausula a la pasada (a 4)		 to cadence in the mode after the treble
has made the same cadence before (a 4 concordant)
277 231 60r 85a el tiple haze clausula de octava con el tenor, que esta
la penultima figura dezena con el baxo, y las otras bozes
hazen clausula antes desto o depues (a 5 concordantes)		 the treble cadences at the octave with the tenor
whose penultimate figure lies at the tenth with the bass,
while the other voices cadence before or after (a 5
concordant)
278 232 60r 85b Pueden clausular como las quatro bozes (a 5
concordantes)		 the five voices may cadence
as the four voices do (a 5 concordant)
279 233 60v 85c Pueden aon las quatro bozes clausular entre si despues
destas aver hecho la semejante clausula (a 5
concordantes)		 the five voices may also cadence after the four
have made the same cadence (a 5 concordant)
280 234 60v 85d quando el tiple y el baxo, antes de la final clausula,
dan dezena y luego la octava o quinzena (a 5
concordantes)		 when treble and bass, before the final cadence,
give the tenth and then the octave or fifteenth (a 5
concordant)
281 235 60v 85e quando el tenor hiziere la clausula sobre la penultima
figura, y las otras en la ultima (a 5 concordantes)		 when the tenor makes the cadence on the penultimate
figure and the others on the final (a 5 concordant)
282 236 60v 86a (a 6 concordantes) (a 6 concordant)
283 237 61r 89a el prinçipio de todas las minimas deve ser bueno the beginning of all minims must be consonant
284 238 61r 89b Mas no daremos 7ª y luego 8ª en este modo we must not give a seventh
followed by an octave in this manner
285 239 61r 89c si las partes se mueven no daremos las tales
falsas, por que son mui sentibles		 if the parts move, do not give such false relations,
for they are very harsh
286 240 61r 89d si es bueno aprovo lo vuestro, y sino condano. Ellos
dizen que no es bueno y con ello confiesan su error		 if it is good, I approve yours; if not, I condemn it.
They say it is not good, and thus confess their error
287 241 62r 86b las quatro bozes hazen clausula, y depues algunas
pasan adelante		 the four voices cadence, and then some move on;
do not give mi against fa in the second (the semitone)

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This navigational overview is intended as a practical reference tool for working with Lusitano’s counterpoint examples across the manuscript, the modern digital edition, and the associated audio corpus.

A fully documented version of this overview, including methodological notes and extended table metadata, is available in the project datasets on Zenodo (PDF) and GitHub (Markdown).

The complete datasets, including machine-readable tables and editorial metadata, are available for download via the project’s Zenodo community.

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