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 . 1. ±: mMm^mmmk eb: tt~-t 1* :.f\r r r-tr 1 1 1 6V 6 Bach. ?^ ?^H ^3 3 13 ««W 3 —I 3 6 ^ 7 17#. The\interval most to be shunned, \>etween two essential (oreven semi-essential) tones, is the perfect ^tfu It is tolerated, as a rule,only between strictly unessential, and brief, tones. Bach. Ex45. U—I—? I I I 3 2. Bach. Ite *2)4 *2).4- *2)4 etc. 6 - - 3
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 . 1. ±: mMm^mmmk eb: tt~-t 1* :.f\r r r-tr 1 1 1 6V 6 Bach. ?^ ?^H ^3 3 13 ««W 3 —I 3 6 ^ 7 17#. The\interval most to be shunned, \>etween two essential (oreven semi-essential) tones, is the perfect ^tfu It is tolerated, as a rule,only between strictly unessential, and brief, tones. Bach. Ex45. U—I—? I I I 3 2. Bach. Ite *2)4 *2).4- *2)4 etc. 6 - - 3 ^iv *l) These 4ths, though occupying the accented fractions, are all distinctlyunessential. *2) Here the perfect 4th appears, each time, to govern the beat; but relief(apparently sufficient) is afforded by the consonant interval which accompanies it. 28 APPLIED COUNTERPOINT. Par. 17. Bach. etc. *3) The perfect 4th is best justified by constituting a brief fomV-6-4 chord (I2).This is obviously the case here, and at the first 4th in No. 2. b. Each part must progress in a strictly correct melodious manner (see par. 15^). In perfectly good 2-part polyphony it must be entirelyfeasible to dissociate the parts and obtain a perfectly good and intelligiblemelodic result in each alone. So important is this principle, that itsometimes overpowers the otherwise rigorous rules of part-association(detailed in par. 15, 16, etc.). That is to say, if each one of two asso-ciated parts pursues a definite and obviously justifiable melodic purpose,they may be conducted with a certain degree of indifference to their con-trapuntal details. In the conscious fulfilment of a broader melodicaim, the mind of the hearer may waive the demands of euphony to acertain (limited) extent. (Compare par. 13/.) For example: Allegro. Bach.
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