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 . r. 40c The second alternative, the Episode (see par. ^Sd), is illustrated inthe following: IS 1^^ ta» i i i i a b m. r h r 9% •i) _^_ _*_ ssi lm. =*3r=t h«^ * ft£ Episode.*2) 5 Bach. II etc. l^^g^Bai M. *i) In the original (French Suite No. 5, Courante ), a number of auxiliarytones accompany the first announcement of the Motive; they are omitted
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 . r. 40c The second alternative, the Episode (see par. ^Sd), is illustrated inthe following: IS 1^^ ta» i i i i a b m. r h r 9% •i) _^_ _*_ ssi lm. =*3r=t h«^ * ft£ Episode.*2) 5 Bach. II etc. l^^g^Bai M. *i) In the original (French Suite No. 5, Courante ), a number of auxiliarytones accompany the first announcement of the Motive; they are omitted here. *2) The Episode is interpolated already after the first Imitation ; it is derivedfrom the Counter-motive in the upper part (2nd measure), which is retained (orimitated) in the lower part in a somewhat modified form, and accompanied by anew contrapuntal figure in the upper part. Examine, also, Bach, 2-voice Invention No. 10, first 6 measures, and endeavorto trace the derivation of the episodical passage; Bach, English Suites, No. 1, Bourree I, meas. 1-8; English Suites, No. 2, Prelude, meas. 1-4; EnglishSuites, No. 4, Prelude, meas. 1-6. Further: Counter-motive. j^mqjygj J J i^raill^g Par. 40c THE FIRST ,M. IOI. ffi^i
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