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 . e taken into account also; it in-fluences the number of parts, the number of rests, the degree of liveli-ness (or of stateliness) in the rhythm of the first Counterpoint, and, infact, of the entire Fugue; and, somewhat, the number, extent, andquality of dissonances. Attention is again directed, particularly, topar. S3- Continue the work of thorough ana
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 . e taken into account also; it in-fluences the number of parts, the number of rests, the degree of liveli-ness (or of stateliness) in the rhythm of the first Counterpoint, and, infact, of the entire Fugue; and, somewhat, the number, extent, andquality of dissonances. Attention is again directed, particularly, topar. S3- Continue the work of thorough analysis with the following sectional4-voice Fugues: Bach, Organ Comp. (Peters compl. ed.), Vol. Ill, Fugue 10; 3 sections; briefand simple, but effective; many episodes. Vol. IV, Fugue 5 ; 3 sections ; 5 announcements in Exposition, ending with vaguecadence (meas. 20) ; Pedal in last section only. Vol. IV, Fugue 9; for manual organ; 4 sections and free Coda; Counterpointretained approximately throughout ; many episodes. Vol. VIII, Fugue 10 ; manual organ ; very regular, Subject and Response throughout; cadences vague. Vol. II, Fugue 10; three different thematic counterpoints, besides several inci-dental characteristic ones ; thus : Cpt. egtea^asfgBjgsg 238 APPLIED Cpt. b. Par. 134!
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