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 . key may bechosen; especially the Relative of the Dominant, — rarely the Sub-dominant keys. The influence of this modulatory purpose will probably be evincedas soon as the original key is sufficiently established; generally duringthe first or second episodic passage; or during a line of sequentialannouncements of the motive. In Ex. 88, the latter is cle
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 . key may bechosen; especially the Relative of the Dominant, — rarely the Sub-dominant keys. The influence of this modulatory purpose will probably be evincedas soon as the original key is sufficiently established; generally duringthe first or second episodic passage; or during a line of sequentialannouncements of the motive. In Ex. 88, the latter is clearly illustrated; in measures 7-8 (of the entire Inven-tion) the lines of d minor waver, and in measures 9-10 the transition into F major iscomplete. In Ex. 91, precisely the same course is pursued: measures 1-3 are in eminor, measures 4-5 in G major. See also Bach, 2-voice Invention No. 1 ; measures1-3 in C major; during the following sequences of the Motive (in contrary motion)in the upper part, the digression into G major is initiated, and is confirmed in thefollowing (5th) measure. And the remainder of the Section consists, probably, in a compar-atively brief confirmation of the new key, and a cadence in the example: *3). _iM. (Sequence.). *i) This example must be studied in connection with Exs. 87 and 88. The Counterpoint, here, differs from the preceding ones; it is retained for the nextannouncement, and then, again, new forms are invented. Review Ex. 87, Note *i). *2) This announcement of the Motive is an Imitation of the last Sequence in theupper part (Ex. 88); it is followed by a similar line of Sequences, but not in regularinterval-succession, as before. ?3) Compare Ex. 91, Note *3). 104 APPLIED COUNTERPOINT. Par. 40h. leS §s Bach.
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