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 . Motive 9*5 pistil *i) See Ex. 69, note *2).— Compare this version with the motive, and observewhat enlargements of the corresponding original interval-successions occur, at thebrackets;—the first tone (bb) is answered in the 6th (g); the next four tones areanswered in the 5th ; the next in the 7th ; and the last four again in the 6th. From 68 APPL
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 . Motive 9*5 pistil *i) See Ex. 69, note *2).— Compare this version with the motive, and observewhat enlargements of the corresponding original interval-successions occur, at thebrackets;—the first tone (bb) is answered in the 6th (g); the next four tones areanswered in the 5th ; the next in the 7th ; and the last four again in the 6th. From 68 APPLIED COUNTERPOINT. Par. 28c. this it is evident that the interval of Imitation cannot, in such cases, be exactlyspecified, because of the changes in quantity. It is customary to define the Imitationaccording to the interval most frequently used, — generally, though not always, thatindicated by the very first tone. *2) Here a contraction from 8ve to 7th occurs. This reveals another of thefavorable features of the change in interval-quantity, namely, that it alters theharmonic aspect of the motive. In this case the original motive, which representsa triad form, is modified to a chord of the later: &=^ Bach. m Im. *4) At *3) the triad-form of the motive is changed, both by enlargement and con-traction, to the form of a chord of the *4) it is changed to a chord of the seventh. c. As important as these alterations of the melodic and harmonicform of the original motive may appear to be, in themselves, the par-ticular object of the unessential melodic changes will be found toconsist, chie%, in facilitating the adjustment of the motive (upon itsperiodic recurrences) to the prevailing modulatory conditions, or to anyimmediate or general requirement of the total design. When the motive is imitated in any other interval than the 8ve,—that is, when it is shifted to other steps of the scale than those whichit originally occupied,—the melodic conditions are change
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