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 . n for natural best method is to write the counterpoint as usual, and then simplytest the effect of inverting the parts; any lurking discrepancies can thuseasily be detected and removed. The following general points may,however, be borne in mind: (1) The Original counterpoint should be as perfect and free fromirregularities as po
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 . n for natural best method is to write the counterpoint as usual, and then simplytest the effect of inverting the parts; any lurking discrepancies can thuseasily be detected and removed. The following general points may,however, be borne in mind: (1) The Original counterpoint should be as perfect and free fromirregularities as possible. (2) Some caution should be exercised in the use of the chord~5th,for certain irregularities that are permitted with it in the upper partbecome objectionable in the lower; this refers particularly to skips toor from the chord-5th, during a change of harmony. Compare par. 17*/,last clause; (Ex. 50Z?, No. 2, the last measure, would be much worse ininverted form). See also par. 62. A curious instance of characteristic disregard of this rule is seen in the follow-ing. Its undeniable peculiarity is palliated by broad considerations, that will becomeobvious to the more advanced student: (b) Inversion.(a) Orig. *i) ^ I EiHeI 109 W r *i) The c% in the lower part is the 5th of the chord (I of ft minor). In theInversion, the chord-5th/Jf, also, is unpleasantly prominent in the upper part. (3) If the two parts are kept within an octave (from each other),the shifting of either part a single octave suffices to effect the parts diverge more than an octave at any point, however, it willbe necessary to shift each voice an octave (or either voice two octaves)in order to obtain Inversion throughout; and so on. 58. Frequent unconscious use has already been made of naturalDouble-counterpoint in the preceding exercises. Systematic applicationof it may hereafter be made, in the Invention, in many ways that willsuggest themselves to the student. For instance : In the section
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