Text-book of simple and double counterpoint including imitation or canon . •^U-4-J- ^^jgig^g^^^^^S t^^ With octave-widening (canon in the under-ninth):255. A. ^^^^E^h^E^E^^^^ See^ S^^^ ^S gfe^ :i=tlt £E i35: ^^^im #• ?#•• gp^^=^#^^ -(g- _ isS With inversion of the voices (canon in the over-seventh);256. A. fer & ^^^Pil^^^= a#^fe^^=l^gg ^^^H^^H- 160 in. nvnxATivE counterpoint (Canon).. K^ m •v m I^ SS^^-^fefEEE^ Nothing further need be remarked than that the harmonicmeanings are not so easily intelhgible, but anyhow are suffi-ciently intelhgible so that the hstener, not trained in counter-point
Text-book of simple and double counterpoint including imitation or canon . •^U-4-J- ^^jgig^g^^^^^S t^^ With octave-widening (canon in the under-ninth):255. A. ^^^^E^h^E^E^^^^ See^ S^^^ ^S gfe^ :i=tlt £E i35: ^^^im #• ?#•• gp^^=^#^^ -(g- _ isS With inversion of the voices (canon in the over-seventh);256. A. fer & ^^^Pil^^^= a#^fe^^=l^gg ^^^H^^H- 160 in. nvnxATivE counterpoint (Canon).. K^ m •v m I^ SS^^-^fefEEE^ Nothing further need be remarked than that the harmonicmeanings are not so easily intelhgible, but anyhow are suffi-ciently intelhgible so that the hstener, not trained in counter-point, would be able to comprehend tlieni after several is neve/r desirable to strive after the obscure^ but in cases ofnecessity^ ive must be satisfied. t? 20. PLAIN CANON IN THE OVER-SECOND (UNDER-SEVENTH). Naturally, the conditions are analogous to the preceding,that is, every returning motive will readily change its harmonicmeaning. As a basis for our first work we use cantus firmus C,which we alter to meet requirements, striving to preserve theoriginal thought: Problem 55: Plain canon in the over-second (under-seventh).267. C. , , . , ^^^i^^^ :t= P^ m m =}=t _ ^ r ^j n* f; § 20. PLAIN CANON IN THE OVER-SECOND. 161 We use this unassuming exercise to show how one caninterestingly construct a contrapuntal work by means of orna-ments (figuration), without changing i
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