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 . e 2nd recurrence of the Motive, corresponds exactlyto the Counter-motive of the first Imitation (meas. 2). *2) The derivation of this episodic passage is not as obvious as in someexamples, but nevertheless palpably in close keeping with the preceding thematicportions. The figure marked a may be accounted for in two ways, as shown by thetwo slurs: eithe
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 . e 2nd recurrence of the Motive, corresponds exactlyto the Counter-motive of the first Imitation (meas. 2). *2) The derivation of this episodic passage is not as obvious as in someexamples, but nevertheless palpably in close keeping with the preceding thematicportions. The figure marked a may be accounted for in two ways, as shown by thetwo slurs: either as part of the Counter-motive, in contrary motion, or (the lowerslur) as imitation of the ending of the Motive; b bears close general resemblance tothe Motive, though the indicated derivation may appear tortuous; it embraces threebeats, and is reproduced in slightly modified Sequence; d is derived from a; itsmodified Sequence, e, is admirably utilized in launching the next recurrence ofthe Motive. See par. 41^. 102 APPLIED COUNTERPOINT. Par. 401. f. On the other hand, these specific modes of obtaining variety aresometimes not resorted to until the alternating Imitations have beenextended still farther. For illustration : M. i^^^^^mm^m^. «.m- _*..« m mm*, BACH. M. *2) Episode. etc. m^- JL -m -•- « H^^Si^gH *i) Auxiliary tones (par. 40a). — *2) Up to this point, the development isnot only exclusively thematic but consists in the unrelieved alternate Imitation ofthe Motive. This must be regarded as very exceptional, and illustrates how, even inthe polyphonic style, the determination to realize a clear structural design may some-times overrule the more specific thematic conditions of the texture; it is the preva-lence of form over thematic development. The counterpoint is uniform in thelower part, but is diversified in the upper part at each successive Imitation, except-ing the last one. What follows, as Episode, is easily demonstrated. *3) The conduct of the lower par
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