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 . I 2nd Counterpoint: — 192. There are two characteristic difficulties persistently presentin the constructive process of an unaccompanied Canon in the 8ve,namely: a. The difficulty of avoiding monotony. The 1st counterpoint is, presumably, a peculiarly fitting associate of the leadingMotive. When it reappears in the Follower (3rd measure of the above ex
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 . I 2nd Counterpoint: — 192. There are two characteristic difficulties persistently presentin the constructive process of an unaccompanied Canon in the 8ve,namely: a. The difficulty of avoiding monotony. The 1st counterpoint is, presumably, a peculiarly fitting associate of the leadingMotive. When it reappears in the Follower (3rd measure of the above example) it isnecessary to devise an equally good, but new, associate, as 2nd counterpoint, wherebythe natural temptation to fall back upon the leading M. must be resisted. In otherwords, constant care must be taken to use new contrapuntal intervals in successivemeasures ; also intervals occasionally foreign to the key, in order to effect necessarymodulations. But no liberties are to be taken with the Follower; in the 8ve-canonthe imitation is absolutely strict. It is also necessary to avoid monotony of rhythmand monotony of register. All of these considerations are skilfully observed in thefollowing: Leader. j£ \f^f- ml »-#? *4). Follower (in lower double-8ve, after one measure.) Par. 192b. UNACCOMPANIED CANON. 295 m-- v=t rtWi Clementi. letc. 1
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