Johann Joseph Fux · section 1 of 32

The opening dialogue of Gradus ad Parnassum

Josephus. I come to you, revered Master, to be instructed in the precepts and principles of music.

Aloysius. What, do you wish to learn musical composition?

Joseph. Yes, indeed.

Aloysius. Do you not know that the study of music is an immense sea, which cannot be brought to an end even in the years of Nestor? You truly intend to undertake something difficult, a burden heavier than Etna. If choosing any way of life is full of difficulty, since the good or bad fortune of the whole remaining life depends on whether that choice is made rightly or wrongly, how much careful foresight must someone use who thinks of entering this discipline, before daring to form and settle upon a decision? For musicians and poets are born. You must think back and recall whether, from an early age, you felt yourself drawn to this study by some special impulse of nature, and whether the pleasure of harmonious music moves you deeply.

Joseph. Very deeply indeed. Since a time when I did not yet have the full use of reason, I have been carried away by the force of some ardor I cannot explain, directing all my thoughts and all my attention toward music. Even now, aflame with a truly remarkable desire to learn it, I am drawn to it almost against my will, and day and night my ears seem to ring with sweet melody. Thus I seem to have absolutely no reason to doubt the truth of my calling. Nor does the weight of the work turn me away: with nature’s help, I trust that overcoming it will not be difficult for me. For I heard an old man say that study is pleasure rather than toil.

Aloysius. I am wonderfully pleased to understand your natural inclination. I shall raise just one more difficulty for you; when it has been removed, I shall enroll you among my pupils.

Joseph. Speak freely, respected Master. But I am certain that neither this reason of yours nor any other will frighten me into abandoning the plan I have formed.

Aloysius. Perhaps the hope of future riches and abundant possessions tempts you to embrace this way of life? If that is so, believe me and change your plan. For it is not Plutus but Apollo who presides over Parnassus. Those who burn with a desire for riches and wish to find a way to them must take a different road.

Joseph. Not at all. I would have you be convinced that my wish has no other aim than the love of music itself, apart from every desire for profit. Moreover, I remember that my teacher very often advised me that, content with a modest way of life, we should strive more for virtue, reputation, and a good name than for wealth, because virtue is its own reward.

Aloysius. I am incredibly glad to have found a young man suited to my temperament. But do you know everything said in the preceding book about intervals, the division of consonances and dissonances, the different kinds of motion, and the four rules?

Joseph. As far as I believe, I think that none of those things is unknown to me.

Aloysius. Then let us proceed to the work, taking our beginning from God himself, thrice greatest, the source of all knowledge.

Joseph. Before we begin the lessons, allow me, revered Master, first to ask what is meant by the name counterpoint. I hear this very common word used so frequently, not only by experts but even by people unfamiliar with the art of music.

Aloysius. You are right to ask, for this will be the chief object of our study and work. You should know that in ancient times points were used in place of modern note shapes. Thus composition made by placing points against points came to be called counterpoint. That name is still used today, despite the different shapes of the notes, and by counterpoint is understood a composition worked out according to the rules of the art. Counterpoint, as a genus, contains several species, which we shall examine in succession. Meanwhile, let us begin with the simplest species, namely: