of Universal Harmony

XXI. To explain the manner of singing all types of Duos in simple counterpoint, or note-against-note, and the rules that must be observed in this kind of Composition. 256. Where one sees 3 or 4 fundamental rules of Composition. 256.

XXII. To provide the manner of composing Duos note-against-note: where one sees the true understanding of the rules of Composition. 262.

XXIII. To consider three other Duos, and everything necessary to compose as many of them as one wishes. 264.

XXIV. To show that one can use some Dissonances in Duos in simple counterpoint, and the manner of composing Trios note-against-note. 267.

XXV. To give the theoretical idea for the examination of the preceding Trios. 269.

XXVI. To explain the other parts of Composition and their properties, and how one must compose for four parts. 272.

XXVII. To explain the manner of composing for five parts note-against-note, and consequently for three and four parts. 276.

XXVIII. To consider two Compositions for six parts, made by Eustache du Caurroy A very influential French composer of the late Renaissance (1549–1609), known for his mastery of counterpoint.. 279.

I. To explain what pertains to figured counterpoint A more complex style of music where different voices move at different speeds, rather than note-against-note., and to give examples of the twelve Modes. 283.

II. To explain the practice of Dissonances. Where one specifically sees examples of the second and the ninth: Now, since the Printers have consistently erred from page 191—which they placed instead of 291—up to page 323, which begins to be correct, I will mark the propositions according to what the numbers should be, and not following their error.

III. To explain a certain type of harmonic syncopation A rhythmic technique where a note is held across a beat, creating a temporary displacement of the pulse., which practitioners do not call syncopation. 294. But the Corollary of the 5th proposition gives examples of true syncopations.

IV. To explain the practice of the Tritone An interval of three whole tones, historically called "the devil in music" for its harsh sound., the Semidiapente A diminished fifth interval., and the Seventh in Duos. 195. original: "195" – likely another printer error for 295 given the author's previous warning.

V. To give examples of all the Dissonances in Compositions for 3 and 4 voices, and all possible ways of employing the Fourth. 298.

VI. To explain the practice of Consonances, and the sequence they can maintain among themselves to create pleasing Compositions. 307.

VII. To explain false relations A type of harmonic clash where a note in one part is followed by a chromatically altered version of the same note in another part., the use of which practitioners condemn. 312.

VIII. To explain Cadences—perfect, imperfect, and broken—which are used in Music. 315.

IX. To explain Fugues A composition where a short melody is introduced by one part and then successively taken up by others. and counter-fugues, along with Leads, Consequences, Imitations, and Canons. 317.

X. To determine what must be observed to compose excellently for 3 and 4 parts. 321.

XI. To explain the manner of regulating and beating time in Music in all sorts of ways. 324. See the 18th proposition of the 3rd book on Instruments.

XII. To explain everything pertaining to the Modes and tones of the Greeks and of the