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 . is d (Dominant near the beginning) as an essen-tial harmonic factor of his Theme, and imitates it in the 5th to preserve the triad-effect of the first figure. *4) A remote key, but unavoidable because of the definite chromatic characterof the Subject. *5) Dominant as first tone,—imitated in the 5th, with its repetitions, appar-ently because of the stru
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 . is d (Dominant near the beginning) as an essen-tial harmonic factor of his Theme, and imitates it in the 5th to preserve the triad-effect of the first figure. *4) A remote key, but unavoidable because of the definite chromatic characterof the Subject. *5) Dominant as first tone,—imitated in the 5th, with its repetitions, appar-ently because of the structure of the whole Theme. Comp. Ex. 149, Note *2). *6) To Bach this was a tone-group inseparable from the Dominant (6), andtherefore the whole figure reappears in the 4th. *7) Augmented 4th; see Ex. 138, Note *2). *8) This peculiar leap of an Augmented 4th is an inviolable trait of the Theme,and therefore it renders the foregoing tones likewise inseparable from the finalDominant key, — back to the second tone of the Subject. 119. The single Dominant note at the end of a Subject is not tobe imitated in the 4th (tonal), unless it is strongly suggestive of theDominant key, or Dominant chord: Par. 119. THE RESPONSE. 221 Subj. Resp. *i) This final Dominant note is more strongly indicative of the Dominantchord than those of the preceding examples, because it occurs at the bar, where achange of harmony (from the foregoing I) is expected. Therefore, it is imitated inthe 4th, — although the 5th (d) would have been entirely defensible. *2) At the points marked N. B. the necessity of using diminished (instead ofperfect) 5ths, in order to obtain a sensible and natural total modulatory result, isstrikingly illustrated. Comp. Ex. 138, Note *2). *3) This case is similar to No. 3, being an accent, and therefore suggesting achange of harmony (from I to V). Besides, the whole Theme is so brief, and sonearly all Tonic, that the final Dominant seems near enough to the beginning todema
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