Text-book of simple and double counterpoint including imitation or canon . P -•?IT -•• -•? W* ^=^5^ 2=t= • #- 3 and: 186. 2. Cpt. 1. Opt. C. f. F. ^^g e^ -0 •-^^^-Tj—F?r^ flBEE^ • ?» 1* 3 P-*-a -#-•—I—I i-^—t 3; El § 14. DOUBLE COUNTERPOINT IN THE OCTAVE. 113 ?m- it^tQ SEE^S^g^^^^g *f5tt ii^ !^ S^E^ -P <5»- P i-r-nrqE^.==t=h=i=^ ^^EEEE^^E^^E^^^:^^Ei ^^pf^^-^^^^^:$=^^ iifci s. For another practice exercise, we choose a secular cantahiletheme, such an one as would be suitable for an adagiomovement in a string quartette:187. G. ^ ^^—^ yff#=f^^^^^g^^^^^f^^ V7 tf 0(1 gyu 0(1 (P 0(1 (1+ a! 3SS ?C
Text-book of simple and double counterpoint including imitation or canon . P -•?IT -•• -•? W* ^=^5^ 2=t= • #- 3 and: 186. 2. Cpt. 1. Opt. C. f. F. ^^g e^ -0 •-^^^-Tj—F?r^ flBEE^ • ?» 1* 3 P-*-a -#-•—I—I i-^—t 3; El § 14. DOUBLE COUNTERPOINT IN THE OCTAVE. 113 ?m- it^tQ SEE^S^g^^^^g *f5tt ii^ !^ S^E^ -P <5»- P i-r-nrqE^.==t=h=i=^ ^^EEEE^^E^^E^^^:^^Ei ^^pf^^-^^^^^:$=^^ iifci s. For another practice exercise, we choose a secular cantahiletheme, such an one as would be suitable for an adagiomovement in a string quartette:187. G. ^ ^^—^ yff#=f^^^^^g^^^^^f^^ V7 tf 0(1 gyu 0(1 (P 0(1 (1+ a! 3SS ?C* :^5!^ ^=i): i^ g^^^ ^^ /^ &H ^vii di RiEMANN, Counterpoint. 0(1 8 114 II. DOUBLE COUNTERPOINT. The counterpoint is sketched so that the two voices can ex-change places; an inversion in the double octave is also pos-sible. In that case, the counterpoint would be distant twooctaves from the cantus firmus: Problem 43: To write a counterpoint which will invertin the double octave. 188. Cpt. C. f. 33K^£EEj^t? S^SI ¥ J5- isq aut V^^^=^f=fi^- 4* g I i* ^t^ «N5 2t ^ -<g-H- =i PSi ^^^^^ -A* «--* ^^%- If we invert the cantus firmus an octave higher, and thecounterpoint an octave lower, there ensues the tonal effect: 189. G. cMfe Cpt. iE ^,p^i^j^^^^=^^
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