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 . as-ures long); No. 38 (very characteristic Pedal); No. 40; No. 46; No. 50 (Augm. ofMotive, in Pedal; observe rhythmic form of ); No. 54; No. 55 (Pedal-motive asimplified form of figural motive); No. 56 (M. in Pedal related, but longer) ; No. 4,Verse 3. Brahms, Choral-Vorspiel (and Fugue) in a minor. Embellished Cantus Firmus. 94. Although it is cha
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 . as-ures long); No. 38 (very characteristic Pedal); No. 40; No. 46; No. 50 (Augm. ofMotive, in Pedal; observe rhythmic form of ); No. 54; No. 55 (Pedal-motive asimplified form of figural motive); No. 56 (M. in Pedal related, but longer) ; No. 4,Verse 3. Brahms, Choral-Vorspiel (and Fugue) in a minor. Embellished Cantus Firmus. 94. Although it is characteristic of the present task to restrict to the exact form of the original chorale, it is, nevertheless, bothnatural and desirable (especially in actual practice) to modify cer-tain tones of the given melody by means of unessential passing- orneighboring-notes. a. Such embellishment of the may be limited to strictly unes-sential auxiliary tones, introduced here and there in order to facilitatethe thematic development, but not altering or obscuring the originalchorale tones. Or it may consist in occasional slight changes of theoriginal even rhythm, by means of dots. For example: Par. 94b. CHORALE-FIGURA TION. 195 j@^^^^^^^|gE3EE£Ea
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