Counterpoint applied in the invention, fugue, canon and other polyphonic forms : an exhaustive treatise on the structural and formal details of the polyphonic or contrapuntal forms of music, for the use of general and special students of music . *±±= *5) , |s Bach. P I rft*rTifiiii»?rr^^~v^Jjfc3-!i-j7JlJ^. Episode. ^ps^ps M. Cont. m. *i) Auxiliary part. *2) From this point on, a very distinct intention of omitting the first tone of theoriginal M. is exhibited; these two versions of the Motive—with and without theinitial accented tone — actually participate in the development, throughout the en
Counterpoint applied in the invention, fugue, canon and other polyphonic forms : an exhaustive treatise on the structural and formal details of the polyphonic or contrapuntal forms of music, for the use of general and special students of music . *±±= *5) , |s Bach. P I rft*rTifiiii»?rr^^~v^Jjfc3-!i-j7JlJ^. Episode. ^ps^ps M. Cont. m. *i) Auxiliary part. *2) From this point on, a very distinct intention of omitting the first tone of theoriginal M. is exhibited; these two versions of the Motive—with and without theinitial accented tone — actually participate in the development, throughout the entirecomposition (Well-temp. Clavichord, Vol. II, Prelude 19). *3) The lower part does not appear with its Imitation of the M. until the upperand inner parts have announced it four times. The upper part has the M. at thesame time, in parallel thirds; such double announcements are not uncommon (seemeasure 6). *4) The derivation of this episodic passage is somewhat indirect, but manifestlyconsistent. *5) Here the M. appears to be divided between the inner and upper parts. Suchinteraction of the parts is, naturally, very exceptional, though not without occasionaljustification. See Bach, 3-voice Invention No. 1, second measure from the end; Contrary motion, announced by the upper part, but, aft
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