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 . 4. Motive. A atjj^g^gaaggfiag£sg 72 APPLIED COUNTERPOINT. Par. 29b. Im. in Cont. Motion. gfe^@^™ *5). *i) The Mediant (/) in the motive becomes each time again/ in the Imita-tion : , Mediant responds to Mediant; or Tonic (d) responds to Dominant (a), andvice versa. *2) Mediant responds to Mediant (or Tonic to Dominant) up to the 2nd beat ofthe four
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 . 4. Motive. A atjj^g^gaaggfiag£sg 72 APPLIED COUNTERPOINT. Par. 29b. Im. in Cont. Motion. gfe^@^™ *5). *i) The Mediant (/) in the motive becomes each time again/ in the Imita-tion : , Mediant responds to Mediant; or Tonic (d) responds to Dominant (a), andvice versa. *2) Mediant responds to Mediant (or Tonic to Dominant) up to the 2nd beat ofthe fourth measure, when one of the quantitative changes shown in Ex. 70A takesplace. *3) Here, Mediant responds to Tonic. The same is true of Ex. 71, No. 2. *4) Tonic responds to Tonic. See also Ex. 71, No. 1. *5) Might just as well have been d% but for the desirable modulation. While such melodic coincidences may, and perhaps should, be adopted as ameans of obtaining the first (and best) version of the Imitation in Contrary motion,it must be understood that when the melodic line or figure of the Contrary mo-tion has been once thus fixed, it may be shifted about to any steps in its own, orsome other, scale — possibly with such unessential changes as are indicated in par. Ex. 69, Note *2). b. Retrograde Imitation (caficrizans), in whi
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