Aranda Digital Corpus – The 38 Counterpoint Examples from Mateo de Aranda (1535)

• • • Mateo de Aranda The 38 Counterpoint Examples from Tractado de canto mensurable: y contrapuncto (Lisbon, 1535) Version 1: Clean Edition Modern edition, transcriptions, and editorial notes by Vicente Parrilla (2025) Prepared as part of the Research Foundation – Flanders (FWO)-funded doctoral project Renaissance Improvised Counterpoint: Rethinking Concept, Cognition, and Aural Foundations (FWO Project no. 11A9922N ), conducted at KU Leuven, LUCA School of Arts, and docARTES. Dataset DOI: https://doi.org/10.5281/zenodo.17839702 Project website: https://improvisedcounterpoint.com Author’s website: https://vicenteparrilla.com Licensed under CC BY 4.0 Editorial notes Index 1. Source, i 1.1 Treatise structure, ii 1.2 Complete source title, iii 1.3 Preserved copies, iii 2. Numbering and analytical systems, iii 2.1 Numbering system (only applicable to the analytical edition), iii 2.2 Interval labelling system, iii 2.3 Plainchants and counterpoint examples in Aranda’s 1535 treatise, iv 3. Bibliography, vii 1. Source This dataset presents the thirty-eight counterpoint examples transmitted in Mateo de Aranda’s treatise on mensural notation and counterpoint (Tractado de canto mensurable: y contrapuncto, Lisbon, 1535). Aranda’s examples, together with his concise and sometimes fragmented textual commentary, reveal a coherent hierarchy of contrapuntal priorities. In contrast to earlier assessments that interpreted deviations from foundational rules as flaws or licences, the combined evidence of the treatise and its musical examples demonstrates that these departures reflect an intentional approach in which imitation of the cantus firmus and motivic repetition frequently take precedence over strict rule observance. Although brief, the treatise contains substantial information about improvised counterpoint. Its explanations are distributed across several sections, requiring the reader to synthesise Aranda’s general rules, the scattered observations attached to individual examples, and the clarifications offered in the final De contrapuncto chapter. When examined together, these layers reveal the structural and conceptual logic underpinning Aranda’s method. The examples frequently display sophisticated instances of cantus firmus imitation, ostinato motives (passos forçados), and other contrapuntal devices that Aranda does not explicitly identify but that become apparent when cross-referenced with his remarks on exceptions. i The analysis of Aranda’s examples thus demonstrates how his indications of irregularities often point towards imitative procedures that would otherwise remain implicit. Aranda’s practice challenges the assumption that note-against-note counterpoint is a simple or elementary species. Even within the strict constraints of first-species counterpoint, his examples show a high level of craft, with many passages incorporating extended imitation or motivic repetition designed to lend coherence and musical meaning. His approach also illustrates how ordinary contrapuntal rules acquire expressive force when subordinated to a higher priority: the meaningful integration of the counterpoint with the cantus firmus. These examples therefore constitute a valuable resource for understanding early sixteenth-century improvised counterpoint and the pedagogical strategies associated with cathedral and collegiate traditions. The digital files in this dataset reproduce the musical examples as they are transmitted in Aranda’s treatise, in both a clean PDF edition and an analytical version with interval labels, along with accompanying MusicXML and MIDI (in MP3 format) files. Materials are intended for research, teaching, and performance practice in Renaissance counterpoint. They support further analytical, pedagogical, and performance-based engagement with this material and contribute to a reevaluation of Aranda’s role within the broader landscape of early modern contrapuntal practice. 1.1. Treatise structure Aranda’s 1535 treatise, Tractado de canto mensurable: y contrapuncto, can be divided into four main sections. Although it focuses on two primary subjects — rhythmic notation and counterpoint— it is structured so that each topic is presented twice. The first presentation offers a detailed introduction to each subject, supported by musical examples distributed across twelve Conclusiones (six for each topic). The second (Declaracion and De contrapuncto) provides a section-bysection commentary that expands on the initial material, offering clarifications on specific concepts and insights into the contrapuntal choices illustrated in the musical examples. While Table 1 below outlines the treatise’s contents section by section, it is helpful to first provide an overview of its four main divisions: 1. Conclusiones 1–6 on mensural music (rhythmic notation, sigs. a iiir to b [iiii]v [pages 5–24]). 2. Conclusiones 1–6 on counterpoint (sigs. b [v]r to c [vii]r [pages 25–45]). 3. “Declaracion de algunas cosas…” (“Explanation of certain topics…”), provides additional commentary on issues related to notation (sigs. c [vii]v to d [viii]v [pages 46–64]). ii 4. “De contrapuncto” (“On counterpoint,” sigs. d [viii]v to e [iii]v [pages 64–70]), offers further clarification on several of Aranda’s contrapuntal choices within his musical examples. A modern pagination of the treatise would range from 1 to 71, with the title page designated as page 1 and page 71 corresponding to the final colophon. 1.2. Complete source title Tractado de canto mensurable: y contrapuncto: nueuamente compuesto por Matheo de aranda maestro en musica. Dirigido al mui alto y illustrissimo señor don Alonso. Cardenal Infante de portugal. Arçobispo de Lixbõa. obispo Deuora. Comendatario de Alcobaça. Con Preuilegio Real. Lisboa, 1535, German Galhard. 1.3. Preserved copies This list follows the catalogue provided by Mazuela-Anguita (2012), App. 1, p. 6: 1. BM (London, British Library) (K.I.,f.2). In RISM 2. BNL (Lisboa, Biblioteca Nacional de Portugal). In RISM. This copy was not traced by Mazuela-Anguita (2012, App. 1, 6n5) 3. Évora, Biblioteca Pública (Res. n° 402). In RISM 4. Lisboa, Biblioteca da Academia das Ciências (inc.) See Alegria, “Notícia bibliográfica”, p. 51 5. Roriz, Biblioteca Mosteiro Beneditino de Singeverga (without signature, inc.) 6. Vila Viçosa, Biblioteca do Palácio Ducal (BDM 2°-80). In RISM 7. Facsimile (1962) 2. Numbering and analytical systems 2.1. Numbering system (only applicable to the analytical edition) Each example carries two identifiers: a sequential number in this edition (1–38 ), corresponding to its order in the sixteenth-century print, and an analytical code (1 1a ) designating its technical family. On the music examples, both identifiers appear together (from 1 1a to 38 14 ). 2.2. Interval labelling system This analytical edition includes colour-coded interval labels: red for perfect consonances, blue for imperfect consonances, and green (in bold) for dissonances. Interval numerals appear in uniform size in note-against-note examples, and in two sizes where multiple notes occur against each cantus firmus note (large for strong iii beats, small and raised for weak beats). Labels are placed on downbeats and midmeasure positions in duple metre, and on downbeats and both weak beats in triple metre. These annotations support focused listening, graded practice, and stylistic understanding. 2.3. Plainchants and counterpoint examples in Aranda’s 1535 treatise Aranda’s counterpoint corpus is built upon a coherent structural principle. He provides eight primary plainchants, one for each of the eight-modes system, and illustrates each with four distinct contrapuntal settings, one for every vocal range (cantus, altus, tenor and bassus). This yields thirty-two two-voice counterpoint examples, all conceived for improvised performance on the given plainchant. In addition, he includes a further set of plainchants, each likewise furnished with contrapuntal demonstrations derived from or related to the primary group, bringing the total to thirty-eight examples. As the examples in the treatise are not numbered in the original source, I have assigned modern reference numbers (1–38) to facilitate cross-reference and to integrate them consistently into the analytical discussion that follows. iv Table 1. Cantus firmi and counterpoint examples in Aranda’s 1535 treatise Example number Plainchant number (and notes length) Mode Voice range (and total number of performers ) Mensuratio n Counterpoi nt type Conclusion and signature 1 1 (27) 1 C (2) Binary Plain Third, b [vii]r 2 1 (27) 1 T (2) Binary Plain Third, b [vii]r 3 1 (27) 1 A (2) Binary Plain Third, b [vii]r 4 1 (27) 1 B (2) Binary Plain Third, b [vii]r 5 2 (19) 2 C (2) Binary Diminished, 1st manner Fourth, b [vii]v 6 2 (19) 2 T (2) Binary Diminished, 1st manner Fourth, b [viii]r 7 2 (19) 2 A (2) Binary Diminished, 1st manner Fourth, b [viii]r 8 2 (19) 2 B (2) Binary Diminished, 1st manner Fourth, b [viii]r 9 3 (15) 3 C (2) Binary Diminished, 2nd manner Fourth, b [viii]v 10 3 (15) 3 T (2) Binary Diminished, 2nd manner Fourth, b [viii]v 11 3 (15) 3 A (2) Binary Diminished, 2nd manner Fourth, b [viii]v 12 3 (15) 3 B (2) Binary Diminished, 2nd manner Fourth, b [viii]v 13 4 (14) 4 C (2) Ternary Diminished, 3rd manner Fourth, c [i]r 14 4 (14) 4 T (2) Ternary Diminished, 3rd manner Fourth, c [i]v 15 4 (14) 4 A (2) Ternary Diminished, 3rd manner Fourth, c [i]v 16 4 (14) 4 B (2) Ternary Diminished, 3rd manner Fourth, c [i]v v Table 1. Overview of the plainchants employed in Aranda’s 1535 treatise and of the thirty-eight counterpoint examples derived from them, presented in the order in which they appear in the treatise and arranged by mode, vocal range, mensuration and contrapuntal type. 17 1 (27) 1 C/T (2) Binary Syncopated dissonances Fourth, c [ii]r 18 5 (25) 5 C (2) Binary Plain Fifth, c [ii]v 19 5 (25) 5 T (2) Binary Plain Fifth, c [ii]v 20 5 (25) 5 A (2) Binary Plain Fifth, c [ii]v 21 5 (25) 5 B (2) Binary Plain Fifth, c [ii]v 22 6 (15) 6 C (2) Binary Diminished Fifth, c iiir 23 6 (15) 6 T (2) Binary Diminished Fifth, c iiir 24 6 (15) 6 A (2) Binary Diminished Fifth, c iiir 25 6 (15) 6 B (2) Binary Diminished Fifth, c iiir 26 7 (13) 7 C (2) Binary Diminished Fifth, c [iii]v 27 7 (13) 7 T (2) Binary Diminished Fifth, c [iii]v 28 7 (13) 7 A (2) Binary Diminished Fifth, c [iii]v 29 7 (13) 7 B (2) Binary Diminished Fifth, c [iii]v 30 8 (12) 8 C (2) Ternary Diminished Fifth, c [iii]v to c iiii r 31 8 (12) 8 T (2) Ternary Diminished Fifth, c iiii r 32 8 (12) 8 A (2) Ternary Diminished Fifth, c iiii r 33 8 (12) 8 B (2) Ternary Diminished Fifth, c iiii r 34 9 (19) 5 C/A (2) Binary Dissonance s Fifth, c [iiii]v 35 10 (15) 1 CAB (3) Binary Concerted Sixth, c [v]r 36 3 (15) 3 CAB (3) Binary Concerted Sixth, c [v]v 37 11 (15) 5 CATB (4) Binary Concerted Sixth, c [vi]r 38 12 (15) 7 CAB (3) Binary Concerted Sixth, c [vi]v vi Table legend: 1. In Aranda’s treatise, the voice ranges are labelled tiple, tenor, alta, and baxa. In the table, these have been transcribed as CATB (cantus, altus, tenor, and bassus) to avoid ambiguity between tiple and tenor. The modernised initials follow the order in the table and use C for cantus rather than T for tiple, since in Aranda’s examples the tenor appears after the cantus (CTAB). 2. Cantus firmus 9 (fifth mode, ex. 34, 19 notes) is a truncated version of Cantus firmus 5 (fifth mode, examples 18–21, 25 notes). 3. Cantus firmus 11 (fifth mode, ex. 37, 15 notes) is a truncated version of Cantus firmus 9 (fifth mode, ex. 34, 19 notes). 4. Cantus firmus 12 (seventh mode, ex. 38, 15 notes) is an extended version of Cantus firmus 7 (seventh mode, exx. 26–29, 13 notes). 5. In the concerted counterpoint examples, the bold letters indicate the voice carrying the cantus firmus melody. 3. Bibliography Alegria, José Augusto. História da Escola de Música da Sé de Évora. Fundação Calouste Gulbenkian, 1973. https://search.worldcat.org/title/2194339. Alegria, José Augusto. ‘Inéditos Musicais de Mateus d’Aranda: Colóquio-Artes: Revista de Artes Visuais, Música e Bailado’. Colóquio-Artes: Revista de Artes Visuais, Música e Bailado 15, no. 12 (1973): 71–72. Alegria, José Augusto. ‘Mateus d’Aranda, Mestre Da Capela Da Sé de Évora e Lente de Músicados Estudos Gerais de Coimbra: Anais Da Academia Portuguesa de História’. Anais Da Academia Portuguesa de História 27 (1982): 107–27. Alegria, José Augusto. O Ensino e Prática Da Música Nas Sés de Portugal: Da Reconquista Aos Fins Do Século XVI. Biblioteca Breve. Instituto de Cultura e Língua Portuguesa (Ministério da Educação), 1985. Alvarenga, João Pedro d’. ‘On Performing Practices in Midto Late 16th-Century Portuguese Church Music: The Cappella of Évora Cathedral’. Early Music (Oxford) 43, no. 1 (2015): 3–21. https://doi.org/10.1093/em/cau135. vii Alvarenga, João Pedro d’. ‘Polyphonic Church Music and Sources from Late Sixteenth-Century Évora Cathedral’. RPM: Revista Portuguesa de Musicologia 2, no. 1 (2015): 19–40. Alvarenga, João Pedro d’, and Manuel Pedro Ferreira. ‘The Liber Introitus of Miguel Da Fonseca, and a Possible Improvisatory Model’. In Heinrich Isaac and Polyphony for the Proper of the Mass in the Late Middle Ages and the Renaissance, edited by David J. Burn and Stefan Gasch. Épitome Musical. Brepols, 2011. Aranda, Mateo de. ‘Tractado de canto mensurable y contrapuncto’. 1535. https://clara.imslp.org/work/414472. Aranda, Mateo de. Tractado de Canto Mensurable y Contrapuncto. Edited by José Augusto Alegria. 1535. Facsimile ed. Fundação Calouste Gulbenkian, 1978. Aranda, Mateo de. ‘Tractado de cãto llano’. 1533. https://clara.imslp.org/work/285574. Aranda, Mateo de. Tractado de Cãto Llano. Edited by José Augusto Alegría. Rei Musicae Portugaliae Monumenta 2. 1533. Facsimile ed. Instituto de Alta Cultura, 1962. Barbosa, Maria Augusta Alves. ‘Vincentius Lusitanus, Ein Portugiesischer Komponist Und Musiktheoretiker Des 16. Jahrhunderts’. PhD diss., Secretaria de Estado da Cultura/Portugal, 1977. Canguilhem, Philippe, ed. Chanter sur le livre à la Renaissance. Les traités de contrepoint de Vicente Lusitano. Collection ‘Épitome musical.’ Brepols, 2013. Canguilhem, Philippe. ‘Singing Upon the Book According to Vicente Lusitano’. Early Music History 30 (October 2011): 55–103. https://doi.org/10.1017/S0261127911000052. Estudante, Paulo. ‘Les pratiques instrumentales de la musique sacrée portugaise dans son contexte ibérique. XVIe-XVIIe siècles. Le ms. 1 du fond Manuel Joaquim (Coimbra)’. PhD diss., Universidade de Évora, 2007. https://dspace.uevora.pt/rdpc/handle/10174/11969. viii ! " # tiple [C1] Secundus modus [F4] 1 $% & ' 2 (& ' 3 && ' 4 && ' 5 $% & ' 6(& ' 7 &) ' 8(( ' 9 &% & ' ! " 10 ((( ' 11 && ' 12 && ' 13 $& ' 14 && ' 15 &) ' 16 (( ' 17 &) ' 18 & * ' 19 + ' , Mateo de Aranda Tractado de canto mensurable y contrapuncto, 1535, p. 30 Exemplos 5 ex. 2a Contrapuncto para voz de tiple: sobre el canto llano presente. Passara un semibreve en un compas. *: Added note, apparently missing in the original. In the next example (no. 6, 2b), the same note appears in the same place and the remaining cadential notes (bars 16–18) are also identical. Transcription by Vicente Parrilla (2025). Created as part of the Research Foundation – Flanders (FWO)-funded doctoral project “Renaissance Improvised Counterpoint: Rethinking Concept, Cognition, and Aural Foundations” (FWO Project no. 11A9922N, conducted at KU Leuven, LUCA School of Arts, and docARTES). https://improvisedcounterpoint.com DOI: https://doi.org/10.5281/zenodo.17839702 | Licensed under CC BY 4.0. 5 ! " # tenor [F4] Secundus modus [F4] 1 $% $ & 2'% $ & 3''' & 4 $$ & 5 (% $ & 6''' & 7 $$ & 8 (% $ & 9''' & ! " 10 $$ & 11 '''' & 12 $% $ & 13 '$ & 14 $$ & 15 $) & 16 '' & 17 $) & 18 $* & 19 + & Mateo de Aranda Tractado de canto mensurable y contrapuncto, 1535, p. 31 Exemplos 6 ex. 2b Contrapuncto para boz de tenor:en termino del canto llano presente Passara un semibreve en un compas. Transcription by Vicente Parrilla (2025). Created as part of the Research Foundation – Flanders (FWO)-funded doctoral project “Renaissance Improvised Counterpoint: Rethinking Concept, Cognition, and Aural Foundations” (FWO Project no. 11A9922N, conducted at KU Leuven, LUCA School of Arts, and docARTES). https://improvisedcounterpoint.com DOI: https://doi.org/10.5281/zenodo.17839702 | Licensed under CC BY 4.0. 6 ! " # alta [C4] Secundus modus [F4] 1 $ % 2 &' & % 3(& % 4 &' & % 5((( % 6 &' & % 7(' & % 8((( % 9 ((& % ! " 10 && % 11 && % 12 (((( % 13 ((& % 14 && % 15 )(( % 16 (((( % 17 &$ % 18 & * % 19 + % Mateo de Aranda Tractado de canto mensurable y contrapuncto, 1535, p. 31 Exemplos 7 ex. 2c Contrapuncto para voz alta: sobre el canto llano presente. Passara un semibreve en un compas. Transcription by Vicente Parrilla (2025). Created as part of the Research Foundation – Flanders (FWO)-funded doctoral project “Renaissance Improvised Counterpoint: Rethinking Concept, Cognition, and Aural Foundations” (FWO Project no. 11A9922N, conducted at KU Leuven, LUCA School of Arts, and docARTES). https://improvisedcounterpoint.com DOI: https://doi.org/10.5281/zenodo.17839702 | Licensed under CC BY 4.0. 7 ! !" Secundus modus [F4] Baxa [F5] 1 # $% 2 # %& % 3 # '% 4 # %& % 5 # '& % 6 # ''' 7 # %% 8 # %% 9 # $( ! ! 10 # '' 11 # %% 12 # %% 13 # $ % 14 # %% 15 # %% 16 # %% 17 # %( 18 # % ) 19 # * Mateo de Aranda Tractado de canto mensurable y contrapuncto, 1535, p. 31 Exemplos 8 ex. 2d Contrapuncto para voz baxa: baxo del canto llano presente. Passara un semibreve en un compas Transcription by Vicente Parrilla (2025). Created as part of the Research Foundation – Flanders (FWO)-funded doctoral project “Renaissance Improvised Counterpoint: Rethinking Concept, Cognition, and Aural Foundations” (FWO Project no. 11A9922N, conducted at KU Leuven, LUCA School of Arts, and docARTES). https://improvisedcounterpoint.com DOI: https://doi.org/10.5281/zenodo.17839702 | Licensed under CC BY 4.0. 8 ! " # tiple [C1] Tercius modus [C4] 1 $% $ & 2'$ & 3 $(' & 4''$ & 5'% '))) & 6''(' & 7''$ & 8 '))))' & ! " 9 $(' & 10 '''' & 11 $(' & 12 '''' & 13 '))))' & 14 '$)) & 15 *+ & Mateo de Aranda Tractado de canto mensurable y contrapuncto, 1535, p. 32 Exemplos 9 ex. 3a Contrapuncto para voz de tiple: sobre el canto llano presente Passara un breve en un compas binariamente. Transcription by Vicente Parrilla (2025). Created as part of the Research Foundation – Flanders (FWO)-funded doctoral project “Renaissance Improvised Counterpoint: Rethinking Concept, Cognition, and Aural Foundations” (FWO Project no. 11A9922N, conducted at KU Leuven, LUCA School of Arts, and docARTES). https://improvisedcounterpoint.com DOI: https://doi.org/10.5281/zenodo.17839702 | Licensed under CC BY 4.0. 9 ! ! " tenor [C4] Tercius modus [C4] 1## $ 2%#% $ 3%%# $ 4 # & % $ 5 %''''( % $ 6'''# $ 7 %#% $ 8 %%# $ ! ! 9 %%%% $ 10 %#% $ 11 #&( % $ 12 '''# $ 13 %%'''' $ 14 %#% $ 15 %%#) $ Mateo de Aranda Tractado de canto mensurable y contrapuncto, 1535, p. 32 Exemplos 10 ex. 3b Contrapuncto para voz de tenor: en termino del canto llano presente. Passara un breve en un compas binariamente. Transcription by Vicente Parrilla (2025). Created as part of the Research Foundation – Flanders (FWO)-funded doctoral project “Renaissance Improvised Counterpoint: Rethinking Concept, Cognition, and Aural Foundations” (FWO Project no. 11A9922N, conducted at KU Leuven, LUCA School of Arts, and docARTES). https://improvisedcounterpoint.com DOI: https://doi.org/10.5281/zenodo.17839702 | Licensed under CC BY 4.0. 10 ! " # alta [C2] Tercius modus [C4] 1$% & ' 2 &&&& ' 3 &&$% ' 4 &% ' 5&&&& ' 6$( &)( & ' 7 )))&( & ' 8)))% ' ! " 9 %$& ' 10 &( &))) ' 11 &&&( & ' 12 )))% ' 13 &%)) ' 14 &%& ' 15 * ' Mateo de Aranda Tractado de canto mensurable y contrapuncto, 1535, p. 32 Exemplos 11 ex. 3c Contrapuncto para voz alta: sobre el canto llano presente. Passara un breve en un compas binariamente. Transcription by Vicente Parrilla (2025). Created as part of the Research Foundation – Flanders (FWO)-funded doctoral project “Renaissance Improvised Counterpoint: Rethinking Concept, Cognition, and Aural Foundations” (FWO Project no. 11A9922N, conducted at KU Leuven, LUCA School of Arts, and docARTES). https://improvisedcounterpoint.com DOI: https://doi.org/10.5281/zenodo.17839702 | Licensed under CC BY 4.0. 11 ! "# Tercius modus [C4] Baxa [F4] 1 $ %& % 2$ '% 3$ '& '((( 4$ '%' 5$ '%(( 6$ %)% 7$ ''' 8$ '& '((( ! " 9 $ %)% 10 $ (('' 11 $ %)& ' 12 $(((((' 13 $ '''% 14 $ '% 15 $ * Mateo de Aranda Tractado de canto mensurable y contrapuncto, 1535, p. 32 Exemplos 12 ex. 3d Contrapuncto para boz baxa: baxo del canto llano presente. Passara un breve en un compas binariamente. Transcription by Vicente Parrilla (2025). Created as part of the Research Foundation – Flanders (FWO)-funded doctoral project “Renaissance Improvised Counterpoint: Rethinking Concept, Cognition, and Aural Foundations” (FWO Project no. 11A9922N, conducted at KU Leuven, LUCA School of Arts, and docARTES). https://improvisedcounterpoint.com DOI: https://doi.org/10.5281/zenodo.17839702 | Licensed under CC BY 4.0. 12 ! " # $ tiple [C1 C2] Quartus modus [F3] 1 % &'& ( )2 '''&** ( 3&+% '*% ' ( 4 ***'''' ( 5'% '*% '*** ( 6 '''% '*** ( 7 &+''% ' ( ! " 8 *&**'% ' ( 9 ***'% '*** ( 10 &+% '*** ( 11 '''% '*** ( 12 '% '***'' ( 13 '''&' ( 14 , ( Mateo de Aranda Tractado de canto mensurable y contrapuncto, 1535, p. 33 Exemplos 13 ex. 4a Contrapuncto para voz de tiple: sobre el canto llano presente. Passara un breve en un compas ternariamente. Transcription by Vicente Parrilla (2025). Created as part of the Research Foundation – Flanders (FWO)-funded doctoral project “Renaissance Improvised Counterpoint: Rethinking Concept, Cognition, and Aural Foundations” (FWO Project no. 11A9922N, conducted at KU Leuven, LUCA School of Arts, and docARTES). https://improvisedcounterpoint.com DOI: https://doi.org/10.5281/zenodo.17839702 | Licensed under CC BY 4.0. 13 ! ! " # tenor [F3] Quartus modus [F3] 1 $% $&$$$ ' ( 2$% $&&&$$ ' 3)*$$$ ' 4&&&&$&&$$ ' 5 $&&&&$$% $ ' 6 &)&&$) ' 7&&$$$$ ' ! ! 8 )*% $&&& ' 9$$$$$% $ ' 10 &&&$$ * % $ ' 11 &&&$$) ' 12 $$$% $&% $ ' 13 &&&$)$ ' 14 + ' Mateo de Aranda Tractado de canto mensurable y contrapuncto, 1535, p. 34 Exemplos 14 ex. 4b Contrapuncto para voz de tenor: en termino del canto llano presente. Passara un breve en un compas ternariamente. Transcription by Vicente Parrilla (2025). Created as part of the Research Foundation – Flanders (FWO)-funded doctoral project “Renaissance Improvised Counterpoint: Rethinking Concept, Cognition, and Aural Foundations” (FWO Project no. 11A9922N, conducted at KU Leuven, LUCA School of Arts, and docARTES). https://improvisedcounterpoint.com DOI: https://doi.org/10.5281/zenodo.17839702 | Licensed under CC BY 4.0. 14 ! " # #$ Quintus modus [C3] Baxa [F5] 1 % & 2 % & 3% & 4% & 5% & 6% & 7% & 8% & 9% & 10 % & 11% & 12 % & 13% & 14 % & 15 % & 16 % & 17 % & 18 % & 19 % & 20 % & 21 % & 22 % & 23 % & 24 % & 25 ' ( Mateo de Aranda Tractado de canto mensurable y contrapuncto, 1535, p. 36 Exemplos 21 ex. 6d Contrapuncto para boz baxa: baxo de canto llano presente. Passara un semibreve en un compas. Transcription by Vicente Parrilla (2025). Created as part of the Research Foundation – Flanders (FWO)-funded doctoral project “Renaissance Improvised Counterpoint: Rethinking Concept, Cognition, and Aural Foundations” (FWO Project no. 11A9922N, conducted at KU Leuven, LUCA School of Arts, and docARTES). https://improvisedcounterpoint.com DOI: https://doi.org/10.5281/zenodo.17839702 | Licensed under CC BY 4.0. 21 ! " # # $ tiple [C1] Sextus modus [F3] 1%& ' ( 2)' ( 3'' ( 4%& ' ( 5)' ( 6'& ' ( 7 )' ( 8 ')) ( 9)))) ( 10 '' ( 11 '& ' ( 12 ))) ( 13 ))* ( 14 ' ( 15 + , Mateo de Aranda Tractado de canto mensurable y contrapuncto, 1535, p. 37 Exemplos 22 ex. 7a Contrapuncto para voz de tiple: sobre el canto llano presente. Passara un semibreve en un compas. Transcription by Vicente Parrilla (2025). Created as part of the Research Foundation – Flanders (FWO)-funded doctoral project “Renaissance Improvised Counterpoint: Rethinking Concept, Cognition, and Aural Foundations” (FWO Project no. 11A9922N, conducted at KU Leuven, LUCA School of Arts, and docARTES). https://improvisedcounterpoint.com DOI: https://doi.org/10.5281/zenodo.17839702 | Licensed under CC BY 4.0. 22 ! ! " " # tenor [F3] Sextus modus [F3] 1$% $ & 2'$ & 3$% $ & 4''' & 5$$ & 6$( & 7'' & 8$( & 9'' & 10 '''' & 11 $% $ & 12 ''' & 13 $( & 14 $ & 15 ) * Mateo de Aranda Tractado de canto mensurable y contrapuncto, 1535, p. 37 Exemplos 23 ex. 7b Contrapuncto para voz de tenor: en el termino del canto llano presente. Passara un semibreve en un compas. Transcription by Vicente Parrilla (2025). Created as part of the Research Foundation – Flanders (FWO)-funded doctoral project “Renaissance Improvised Counterpoint: Rethinking Concept, Cognition, and Aural Foundations” (FWO Project no. 11A9922N, conducted at KU Leuven, LUCA School of Arts, and docARTES). https://improvisedcounterpoint.com DOI: https://doi.org/10.5281/zenodo.17839702 | Licensed under CC BY 4.0. 23 ! " # # $ alta [C3] Sextus modus [F3] 1%% & 2%' & 3(( & 4%% & 5%) % & 6(' & 7(( & 8%% & 9 %) % & 10 (' & 11 % & 12 %% & 13 ((' & 14 % & 15 * + Mateo de Aranda Tractado de canto mensurable y contrapuncto, 1535, p. 37 Exemplos 24 ex. 7c Contrapuncto para voz alta: sobre el canto llano presente. Passara un semibreve en un compas. Transcription by Vicente Parrilla (2025). Created as part of the Research Foundation – Flanders (FWO)-funded doctoral project “Renaissance Improvised Counterpoint: Rethinking Concept, Cognition, and Aural Foundations” (FWO Project no. 11A9922N, conducted at KU Leuven, LUCA School of Arts, and docARTES). https://improvisedcounterpoint.com DOI: https://doi.org/10.5281/zenodo.17839702 | Licensed under CC BY 4.0. 24 ! ! " "# Sextus modus [F3] Baxa [F5] 1 $ %% 2 $ %& 3$ '' 4$ %% 5 $ '''' 6$ ''% 7$ %% 8$ %% 9$ %& 10 $ '' 11$ '''' 12 $ %% 13 $ %& 14 $ % 15 ( %& 16 '' 17 ) Mateo de Aranda Tractado de canto mensurable y contrapuncto, 1535, p. 37 Exemplos 25 ex. 7d Contrapuncto para voz baxa: baxo del canto llano presente. Passara un semibreve en un compas. Transcription by Vicente Parrilla (2025). Created as part of the Research Foundation – Flanders (FWO)-funded doctoral project “Renaissance Improvised Counterpoint: Rethinking Concept, Cognition, and Aural Foundations” (FWO Project no. 11A9922N, conducted at KU Leuven, LUCA School of Arts, and docARTES). https://improvisedcounterpoint.com DOI: https://doi.org/10.5281/zenodo.17839702 | Licensed under CC BY 4.0. 25 ! " # tiple [G1] Septimus modus [C3] 1$% & ' 2(&) ' 3&& ' 4$% & ' 5(&) ' 6&& ' 7*((( ' 8((& ' 9&*& ' 10 ((( ' 11&*++ ' 12++&( ) ' 13, ' Mateo de Aranda Tractado de canto mensurable y contrapuncto, 1535, p. 38 Exemplos 26 ex. 8a Contrapuncto para voz de tiple: sobre el canto llano presente. Passara un breve en un compas binariamente. Transcription by Vicente Parrilla (2025). Created as part of the Research Foundation – Flanders (FWO)-funded doctoral project “Renaissance Improvised Counterpoint: Rethinking Concept, Cognition, and Aural Foundations” (FWO Project no. 11A9922N, conducted at KU Leuven, LUCA School of Arts, and docARTES). https://improvisedcounterpoint.com DOI: https://doi.org/10.5281/zenodo.17839702 | Licensed under CC BY 4.0. 26 ! ! " tenor [C3] Septimus modus [C3] 1 ## $ 2 #% # $ 3&&'' $ 4 (% '&&& $ 5 '% '&' $ 6 #(' $ ! ! 7 ''# $ 8 #(# $ 9&&'' $ 10 (''' $ 11 '% '&&& $ 12 &&#' ) $ 13 * $ Mateo de Aranda Tractado de canto mensurable y contrapuncto, 1535, p. 38 Exemplos 27 ex. 8b Contrapuncto para voz de tenor: en termino del canto llano presente. Passara un breve en un compas binariamente. Transcription by Vicente Parrilla (2025). Created as part of the Research Foundation – Flanders (FWO)-funded doctoral project “Renaissance Improvised Counterpoint: Rethinking Concept, Cognition, and Aural Foundations” (FWO Project no. 11A9922N, conducted at KU Leuven, LUCA School of Arts, and docARTES). https://improvisedcounterpoint.com DOI: https://doi.org/10.5281/zenodo.17839702 | Licensed under CC BY 4.0. 27 ! " # alta [C1] Septimus modus [C3] 1$$ % 2 $&' ( % 3)(($ % 4$( % 5&' ()( % 6 $&' ( % 7 )))(( % ! " 8 ((&( % 9 ())))' ( % 10 )((( % 11 ()))))) % 12 ($(* % 13 + % Mateo de Aranda Tractado de canto mensurable y contrapuncto, 1535, p. 38 Exemplos 28 ex. 8c Contrapuncto para voz alta: sobre el canto llano presente. Passara un breve en un compas binariamente. Transcription by Vicente Parrilla (2025). Created as part of the Research Foundation – Flanders (FWO)-funded doctoral project “Renaissance Improvised Counterpoint: Rethinking Concept, Cognition, and Aural Foundations” (FWO Project no. 11A9922N, conducted at KU Leuven, LUCA School of Arts, and docARTES). https://improvisedcounterpoint.com DOI: https://doi.org/10.5281/zenodo.17839702 | Licensed under CC BY 4.0. 28 ! "# Septimus modus [C3] Baxa [F4] 1$ %&' & 2$ (((% 3$ )&&' & 4 $ (((% 5$ )&&' & 6 $ (((% 7$ )&&& ! " 8 $ &' &((( 9 $ &%& 10 $ &' &(& 11 $ &' &(& 12 $ &%& * 13 $ + Mateo de Aranda Tractado de canto mensurable y contrapuncto, 1535, p. 38 Exemplos 29 ex. 8d Contrapuncto para voz baxa: baxo del canto llano presente. Passara un breve en un compas binariamente. Transcription by Vicente Parrilla (2025). Created as part of the Research Foundation – Flanders (FWO)-funded doctoral project “Renaissance Improvised Counterpoint: Rethinking Concept, Cognition, and Aural Foundations” (FWO Project no. 11A9922N, conducted at KU Leuven, LUCA School of Arts, and docARTES). https://improvisedcounterpoint.com DOI: https://doi.org/10.5281/zenodo.17839702 | Licensed under CC BY 4.0. 29 ! " # $ tiple [C1] Octavus modus [C4] 1%& ' '' ( )2'&**& ( 3%& ' '' ( 4'&**& ( 5%+ '*''+ ' ( 6*&**& ( ! " 7%+ '*''+ ' ( 8*&**& ( 9%''+ '*& ( 10 **''**** ( 11 **''&', ( 12 - ( Mateo de Aranda Tractado de canto mensurable y contrapuncto, 1535, p. 39 Exemplos 30 ex. 9a Contrapuncto para voz de tiple: sobre el canto llano presente. Passara un breve en un compas ternariamente. Transcription by Vicente Parrilla (2025). Created as part of the Research Foundation – Flanders (FWO)-funded doctoral project “Renaissance Improvised Counterpoint: Rethinking Concept, Cognition, and Aural Foundations” (FWO Project no. 11A9922N, conducted at KU Leuven, LUCA School of Arts, and docARTES). https://improvisedcounterpoint.com DOI: https://doi.org/10.5281/zenodo.17839702 | Licensed under CC BY 4.0. 30 ! ! " # $ $ $ $ % % % [Cantus C1] Altus [C2] Tenor [CF C4] Basus [F3] 1 & & ' & 2 ()( (( ' () ( 3*( (** '*( 4 **( (& ' (** 5 (+( ( ' **( 6*( )& ' ) (* 7)( * ( ' (( ! ! " # $ $ $ $ 8 **)( (( ' (( 9*( , & ' & 10 (+( (( ' () ( 11 *( (** ' *( 12 *) *--- ($ ( ' )*$ -( 13 *) *--- (( ' ()* $- 14 --(* **( ' **( 15 & & ' & Mateo de Aranda Tractado de canto mensurable y contrapuncto, 1535, p. 43 Exemplo 37 ex. 13 [en concordancia de quatro vozes: contrapuncto de tiple y de voz alta y baxa con el canto llano en voz de tenor] [Third manner, fifth mode] Transcription by Vicente Parrilla (2025). Created as part of the Research Foundation – Flanders (FWO)-funded doctoral project “Renaissance Improvised Counterpoint: Rethinking Concept, Cognition, and Aural Foundations” (FWO Project no. 11A9922N, conducted at KU Leuven, LUCA School of Arts, and docARTES). https://improvisedcounterpoint.com DOI: https://doi.org/10.5281/zenodo.17839702 | Licensed under CC BY 4.0. 37 ! ! "# # [Tiple CF C3] Altus [C4] Basus [F3] 1 $ %&' (( 2 $ '' '' 3 $ ' & ' )))) 4 $ (()) ')) 5 $ ))&' '*' 6 $ (()&) (()& ) 7 $ (((' ( & )((( ! ! " 8 $ '' ' * ) 9 $ *& )() )))) 10 $ '*) *& )() 11 $ ))' ))' 12 $ '*) *&) ((( 13 $ )))) )))& ) 14 $ )')+ (((' 15 $ % % Mateo de Aranda Tractado de canto mensurable y contrapuncto, 1535, p. 44 Exemplo 38 ex. 14 contrapuncto de voz alta y voz baxa con el canto llano en voz de tiple [Fourth manner, seventh mode] Transcription by Vicente Parrilla (2025). Created as part of the Research Foundation – Flanders (FWO)-funded doctoral project “Renaissance Improvised Counterpoint: Rethinking Concept, Cognition, and Aural Foundations” (FWO Project no. 11A9922N, conducted at KU Leuven, LUCA School of Arts, and docARTES). https://improvisedcounterpoint.com DOI: https://doi.org/10.5281/zenodo.17839702 | Licensed under CC BY 4.0. 38