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 . i^=kUMiL=^- t=t ?=t-T 38 ^i) =F *=t l—r—t—r f^rVi > *=±. m rrm j—*e. *i) At the beginning of Part III the original rhythm of-8th-notes is resumed,abruptly; but after two measures the characteristic Counter-motive reappears. As arule, the original rhythm should have more time than this, to re-assert itself. *2) The rhythm of i6th-notes is carried on
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 . i^=kUMiL=^- t=t ?=t-T 38 ^i) =F *=t l—r—t—r f^rVi > *=±. m rrm j—*e. *i) At the beginning of Part III the original rhythm of-8th-notes is resumed,abruptly; but after two measures the characteristic Counter-motive reappears. As arule, the original rhythm should have more time than this, to re-assert itself. *2) The rhythm of i6th-notes is carried on without interruption, up to thecadence-beats. There is no Codetta in this instance. See also — briefly, and solely with reference to the rhythmic design of the threeParts and Coda—Bach, Well-temp. Clavichord, Vol. I, Fugue 19; Part I, measures Par. 7i. THE THREE-VOICE INVENTION. 159 1-20; Interlude, measures 20-22 ; Part II, measures 23-42; Part III, measures 42-49;Coda, to end. The Song-form with Trio. 71. As intimated in par. 68<r, an extension of the sectional line ofdevelopment to an abnormal length is not unlikely to resolve itself intothat broad homophonic design of three Divisions, the third of which isa more or less exact Da capo (recurrence of the first), thus isolatingthe second Division som
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