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 . LIED COUNTERPOINT. Par. 180. CHAPTER XVI. The Triple-Fugue. 180. The Triple-fugue is based upon three different coordinateThemes, which appear together, as a threefold Subject, during someportion of the composition. All the rules of par. 165 apply strictly, and must be reviewed. Thechief difficulty in devising a Triple-subject is, so to individualize e
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 . LIED COUNTERPOINT. Par. 180. CHAPTER XVI. The Triple-Fugue. 180. The Triple-fugue is based upon three different coordinateThemes, which appear together, as a threefold Subject, during someportion of the composition. All the rules of par. 165 apply strictly, and must be reviewed. Thechief difficulty in devising a Triple-subject is, so to individualize eachone of the three Themes that it constitutes by itself a wholly independ-ent and characteristic melody, especially in its rhythmic formation; andthat, furthermore, each one may serve equally well as Soprano, Bass,or inner part. Compare par. 57. Probably the best plan is to follow the principle of par. d\b (whichreview), , to invent the Themes successively ; first, Theme A, in statelyrhythm (preponderantly a and J - notes); then to add Theme B to thisin more animated rhythm (J - notes), and then Theme C to these, instill another form of more active rhythm. This is, however, by nomeans imperative. Illustrations of the Triple-subject:. Th. c. 2. Th. A. Beethoven. *2) Bach. JJ] -± J- ±£ JZJ^ yq J mL Th. c. > LLT * rv-l-F-h-h iiEiffit fLfL 3i*ib a tp Th. B. gp^ippi Par. 181. 3. Th. A. THE TRIPLE-FUGUE. 283Brahms. I ^_§:^L_y^-4M ^ J- ^^n^^^^l^tf^^8 Th. B. 9%4==^: 81 pjE^^^fe±SE^E^JEfl Th. C. 4. Th. C. i _4_ ± 1=1 Brahms. -k E: -•-* Th. B. = P^WpE £S ft trrr ^e: :=t feisa? St F Th. A. *i) Themes A and B end here, while Theme C runs on a few beats. In theother illustrations it will be seen that the 3 Themes usually close exactly, or nearly,together. But observe that they do not begin together. *2) From the String-quartet, op. 18, No. 4, second movement, meas. 64-68from the Double-bar. See also Bach, 3-voice Invention No. 9, meas. 3-4. Bach, Well-temp. CI., Vol. I, Pre
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