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CRCE, vol. 1 (Aranda)

Corpus of Recorded Counterpoint Examples (CRCE), vol. 1: Mateo de Aranda — 38 Counterpoint Examples.

This page provides volume-based access to the recordings included in CRCE, vol. 1. For navigation across the full corpus, see the search interface.

Further down the page you will find the dataset description and editorial context. Playback and navigation may also be controlled via keyboard commands. The audio files may be downloaded here. Headphones recommended.

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Ex. 1 · Note Against Note · Reference Realisation
Two Voices · Soprano–Tenor · CF: Mode 1
01:03
Ex. 2 · Note Against Note · Reference Realisation
Two Voices · Tenor–Tenor · CF: Mode 1
01:02
Ex. 3 · Note Against Note · Reference Realisation
Two Voices · Alto–Tenor · CF: Mode 1
01:02
Ex. 4 · Note Against Note · Reference Realisation
Two Voices · Tenor–Bass · CF: Mode 1
01:02
Ex. 5 · Diminished Counterpoint · Reference Realisation
Two Voices · Soprano–Bass · CF: Mode 2
00:44
Ex. 6 · Diminished Counterpoint · Reference Realisation
Two Voices · Tenor–Bass · CF: Mode 2
00:44
Ex. 7 · Diminished Counterpoint · Reference Realisation
Two Voices · Alto–Bass · CF: Mode 2
00:44
Ex. 8 · Diminished Counterpoint · Reference Realisation
Two Voices · Bass–Bass · CF: Mode 2
00:44
Ex. 9 · Diminished Counterpoint · Reference Realisation
Two Voices · Soprano–Tenor · CF: Mode 3
00:36
Ex. 9b · Diminished Counterpoint · Reference Realisation No Ficta
Two Voices · Soprano–Tenor · CF: Mode 3
00:36
Ex. 10 · Diminished Counterpoint · Reference Realisation
Two Voices · Tenor–Tenor · CF: Mode 3
00:36
Ex. 11 · Diminished Counterpoint · Reference Realisation
Two Voices · Alto–Tenor · CF: Mode 3
00:36
Ex. 12 · Diminished Counterpoint · Reference Realisation
Two Voices · Tenor–Bass · CF: Mode 3
00:36
Ex. 13 · Diminished Counterpoint · Reference Realisation
Two Voices · Soprano–Tenor · CF: Mode 4
00:34
Ex. 14 · Diminished Counterpoint · Reference Realisation
Two Voices · Tenor–Tenor · CF: Mode 4
00:33
Ex. 15 · Diminished Counterpoint · Reference Realisation
Two Voices · Alto–Tenor · CF: Mode 4
00:33
Ex. 15b · Diminished Counterpoint · Reference Realisation No Ficta
Two Voices · Alto–Tenor · CF: Mode 4
00:33
Ex. 16 · Diminished Counterpoint · Reference Realisation
Two Voices · Tenor–Bass · CF: Mode 4
00:34
Ex. 17 · Dissonances Suspension · Reference Realisation
Two Voices · Soprano–Tenor–Tenor · CF: Mode 1
01:02
Ex. 18 · Note Against Note · Reference Realisation
Two Voices · Soprano–Tenor · CF: Mode 5
00:55
Ex. 19 · Note Against Note · Reference Realisation
Two Voices · Tenor–Tenor · CF: Mode 5
00:56
Ex. 20 · Note Against Note · Reference Realisation
Two Voices · Alto–Tenor · CF: Mode 5
00:56
Ex. 21 · Note Against Note · Reference Realisation
Two Voices · Tenor–Bass · CF: Mode 5
00:56
Ex. 22 · Diminished Counterpoint · Reference Realisation
Two Voices · Soprano–Tenor · CF: Mode 6
00:36
Ex. 23 · Diminished Counterpoint · Reference Realisation
Two Voices · Tenor–Tenor · CF: Mode 6
00:36
Ex. 24 · Diminished Counterpoint · Reference Realisation
Two Voices · Alto–Tenor · CF: Mode 6
00:36
Ex. 25 · Diminished Counterpoint · Reference Realisation
Two Voices · Tenor–Bass · CF: Mode 6
00:38
Ex. 26 · Diminished Counterpoint · Reference Realisation
Two Voices · Soprano–Tenor · CF: Mode 7
00:32
Ex. 27 · Diminished Counterpoint · Reference Realisation
Two Voices · Tenor–Tenor · CF: Mode 7
00:32
Ex. 28 · Diminished Counterpoint · Reference Realisation
Two Voices · Alto–Tenor · CF: Mode 7
00:32
Ex. 29 · Diminished Counterpoint · Reference Realisation
Two Voices · Tenor–Bass · CF: Mode 7
00:31
Ex. 30 · Diminished Counterpoint · Reference Realisation
Two Voices · Soprano–Tenor · CF: Mode 8
00:30
Ex. 31 · Diminished Counterpoint · Reference Realisation
Two Voices · Tenor–Tenor · CF: Mode 8
00:30
Ex. 32 · Diminished Counterpoint · Reference Realisation
Two Voices · Alto–Tenor · CF: Mode 8
00:30
Ex. 33 · Diminished Counterpoint · Reference Realisation
Two Voices · Tenor–Bass · CF: Mode 8
00:30
Ex. 34 · Dissonances Suspension · Reference Realisation
Two Voices · Soprano–Alto–Tenor · CF: Mode 5
00:43
Ex. 35 · Concerted Counterpoint · Full Texture Realisation
Three Voices · Soprano–Alto–Tenor · CF: Mode 1
00:35
Ex. 36 · Concerted Counterpoint · Full Texture Realisation
Three Voices · Soprano–Tenor–Bass · CF: Mode 3
00:35
Ex. 37 · Concerted Counterpoint · Full Texture Realisation
Four Voices · Soprano–Alto–Tenor–Bass · CF: Mode 5
00:36
Ex. 38 · Concerted Counterpoint · Full Texture Realisation
Three Voices · Soprano–Soprano–Bass · CF: Mode 7
00:36
Track 041 · Cantus Firmus · Cantus Firmus Playalong
One Voice · Tenor · CF: Mode 1
01:03
Track 042 · Cantus Firmus · Cantus Firmus Playalong
One Voice · Bass · CF: Mode 2
00:44
Track 043 · Cantus Firmus · Cantus Firmus Playalong
One Voice · Tenor · CF: Mode 3
00:36
Track 044 · Cantus Firmus · Cantus Firmus Playalong
One Voice · Tenor · CF: Mode 4
00:34
Track 045 · Cantus Firmus · Cantus Firmus Playalong
One Voice · Tenor · CF: Mode 5
00:56
Track 046 · Cantus Firmus · Cantus Firmus Playalong
One Voice · Tenor · CF: Mode 6
00:36
Track 047 · Cantus Firmus · Cantus Firmus Playalong
One Voice · Tenor · CF: Mode 6
00:37
Track 048 · Cantus Firmus · Cantus Firmus Playalong
One Voice · Tenor · CF: Mode 7
00:32
Track 049 · Cantus Firmus · Cantus Firmus Playalong
One Voice · Tenor · CF: Mode 8
00:30
Track 050 · Cantus Firmus · Cantus Firmus Playalong
One Voice · Tenor · CF: Mode 5
00:43
Track 051 · Cantus Firmus · Cantus Firmus Playalong
One Voice · Tenor · CF: Mode 1
00:36
Track 052 · Cantus Firmus · Cantus Firmus Playalong
One Voice · Tenor · CF: Mode 5
00:36
Track 053 · Cantus Firmus · Cantus Firmus Playalong
One Voice · Tenor · CF: Mode 7
00:36

Editorial context

Dataset description

The Corpus of Recorded Counterpoint Examples (CRCE), vol. 1: Mateo de Aranda — 38 Counterpoint Examples presents historically informed instrumental recordings of the counterpoint examples transmitted in Mateo de Aranda’s Tractado de canto mensurable y contrapuncto (Lisbon, 1535).

This dataset forms part of the multi-volume Corpus of Recorded Counterpoint Examples (CRCE), a research corpus documenting historically informed realisations of counterpoint examples preserved in Renaissance music theory treatises.

Full dataset description, documentation, and citation information are available via Zenodo:

→ https://doi.org/10.5281/zenodo.18944002

The recordings can also be consulted within their broader editorial and pedagogical framework through the treatise-specific companion site:

→ https://aranda.improvisedcounterpoint.com

CRCE, vol. 1. Corpus of Recorded Counterpoint Examples. Research dataset. Zenodo. https://doi.org/10.5281/zenodo.18944002