Consonance progressions from Johannes Tinctoris, Liber de arte contrapuncti (1477). List by Anna Maria Busse Berger (2005, 2009, 2015).*
| Chap. | Intervals | Content |
|---|---|---|
| 3 | 1–1, 1–3, 1–5, 1–8 | Concentrates on the unison |
| 4 | 3–1, 3–5, 3–6, 3–8, 3–10 | Tenor starting below the counterpoint, using both minor and major thirds |
| 3–1, 3–3, 3–5, 3–5, 3–6, 3–8, 3–10 | Tenor starting above the counterpoint | |
| 5 | 4 | The fourth does not occur in two-part interval progressions |
| 6 | 5–3, 5–5, 5–6, 5–8, 5–10, 5–12 | Tenor starting below; then repeated with the tenor above |
| 7 | 6–3, 6–5, 6–6, 6–8, 6–10, 6–12 | Tenor below; then repeated with the tenor above |
| 8 | 8–3, 8–5, 8–6, 8–8, 8–10, 8–12, 8–13, 8–15 | Tenor below; then repeated with the tenor above |
| 9 | 10–3, 10–5, 10–6, 10–8, 10–10, 10–12, 10–13, 10–15, 10–17 | Tenor below; then repeated with the tenor above |
| 10 | 11 | Like chap. 5 |
| 11 | 12–5, 12–6, 12–8, 12–10, 12–12, 12–13, 12–15, 12–17, 12–19 | Tenor below; then repeated with the tenor above |
| 12 | 13–10, 13–12, 13–13, 13–15, 13–17, 13–19 | Tenor below; then repeated with the tenor above |
| 13 | 15–10, 15–12, 15–13, 15–15, 15–17, 15–19, 15–20, 15–22 | Tenor below; then repeated with the tenor above |
| 14 | 17–10, 17–12, 17–13, 17–15, 17–17, 17–19, 17–20, 17–22 | Tenor below; then repeated with the tenor above |
| 15 | 18 | Like chap. 4 |
| 16 | 19–12, 19–13, 19–15, 19–17, 19–19, 19–20, 19–22 | Tenor below; then repeated with the tenor above |
| 17 | 20–17, 20–19, 20–20, 20–22 | Tenor below; then repeated with the tenor above |
| 18 | 22–17, 22–19, 22–20, 22–22 | Tenor below; then repeated with the tenor above |
*: As it appears in:
Medieval Music and the Art of Memory (Berkeley: University of California Press, 2005), 141.
“Models for Composition in the Fourteenth and Fifteenth Centuries,” in Memory and Invention: Medieval and Renaissance Literature, Art, and Music, ed. Anna Maria Busse Berger and Massimiliano Rossi, Villa I Tatti: The Harvard University Center for Italian Renaissance Studies (Florence: Leo S. Olschki, 2009), 61.
“Oral Composition in Fifteenth-Century Music,” in The Cambridge History of Fifteenth-Century Music, ed. Anna Maria Busse Berger and Jesse Rodin (Cambridge: Cambridge University Press, 2015), 143.