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 . ww 1 1 1 1 Bach- aga^Bm gi-v. F(I) V g in ia i 0y- 42 APPLIED COUNTERPOINT. Par. 19c. i te Bach. II EB * Ex. 41-4. 1 _ Mod. 9i&r B-Sjsjifegi^iii cl- -IV C I. c I ?I Bach. I 111 m e^: # .*4) ?¥- P 11 AI (E V7VI I)V D0V? I *i) In both of these cases the first key is abandoned at one of its Dominantchords, but chromatically.—*2) This illustrates the
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 . ww 1 1 1 1 Bach- aga^Bm gi-v. F(I) V g in ia i 0y- 42 APPLIED COUNTERPOINT. Par. 19c. i te Bach. II EB * Ex. 41-4. 1 _ Mod. 9i&r B-Sjsjifegi^iii cl- -IV C I. c I ?I Bach. I 111 m e^: # .*4) ?¥- P 11 AI (E V7VI I)V D0V? I *i) In both of these cases the first key is abandoned at one of its Dominantchords, but chromatically.—*2) This illustrates the establishment of the new keythrough its accented Tonic - f - chord, which stands for a Dominant harmony. —*3) Change of mode, from one Tonic harmony into the other. — *4) Compare note*i). The bracketed analysis is extremely doubtful. See, further, Ex. 44, No. 6. c. Another somewhat exceptional, though highly effective, modula-tory device consists in introducing an unexpected accidental in the courseof a part-progression, whereby the essential tone involved receives anunpremeditated chromatic inflection (not affecting the letter); or, inother words, a foreign tone is substituted for the expected one, so asto divert the melody and lead abruptly, but perf
Size: 2553px × 979px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1900, booksubjectcounter, bookyear1902
