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 . 2, No. 3; c. f. inSopr., embellished. Par. xo2. INVENTION WITH CHORALE. 203 EXERCISE 29. A. Two examples of the Invention with chorale (minor and major, respectively),according to the above directions. Cantus firmus in the Soprano ; 4-voice; theMotive at least one or two measures long; fairly strict manipulation. B. One example for 3 voices, preferably
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 . 2, No. 3; c. f. inSopr., embellished. Par. xo2. INVENTION WITH CHORALE. 203 EXERCISE 29. A. Two examples of the Invention with chorale (minor and major, respectively),according to the above directions. Cantus firmus in the Soprano ; 4-voice; theMotive at least one or two measures long; fairly strict manipulation. B. One example for 3 voices, preferably for manual (without Pedal-bass). C. One example for 5 voices. Review par. 81. Pedal-bass low. Cantus Firmus in Bass. 102. When used as lowermost part, the c. f. is written for the Pedals,of course. The final tone of each line must be a chord-root. Especialcare must be taken to avoid implied dissonance for a beat or more afterthe cessation of each final tone (review par. lood, last clause). Allother details correspond precisely to those given above (pars. 100, 101). For general illustration (chorale 22 of the Table): P^ Man. 1 *i) 5: i±E X ft* M. ^=P= tacet« M. S%* 1 I i i FTT^HH F*** ^**& ^**& r^ >M-. j£*=M=l5gi u^Fgm^m mw t—* t- 204 APPLIED COUNTERPOINT. Par. 103. M. i^zetc. -• #-
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