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 . §*! 226 APPLIED COUNTERPOINT. Par. 122 Counterpoint ff * • s-^i1^ -*•. mm^m^ Response. *i) The Counterpoint is admirably individualized by the line of sequences. Seefurther,Bach, Well-temp. CI., Vol. I, Fugue 18, similar; Vol. I, Fugue 2 — rhythmiccontrast with the Theme; Vol. I, Fugue 12 ; Vol. II, Fugues 10, 11, 16,20 (rhythmic),22 (chromatic). In an
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 . §*! 226 APPLIED COUNTERPOINT. Par. 122 Counterpoint ff * • s-^i1^ -*•. mm^m^ Response. *i) The Counterpoint is admirably individualized by the line of sequences. Seefurther,Bach, Well-temp. CI., Vol. I, Fugue 18, similar; Vol. I, Fugue 2 — rhythmiccontrast with the Theme; Vol. I, Fugue 12 ; Vol. II, Fugues 10, 11, 16,20 (rhythmic),22 (chromatic). In any case, but especially in the last mentioned, the first Counter-point is more than likely to reappear from time to time in connectionwith later announcements of the Theme, as part of the thematic mate-rial of the composition ; and this possible use must be kept in mind,and must emphasize the thoughtfulness and strictness of technique withwhich the Counterpoint is to be devised. It is well to make severalexperiments, in various styles, and choose the most promising version. EXERCISE 36. A. Examine the formation of the first Counterpoint in every Fugue of theWell-temp. Clavichord. B. Write, upon one or two staves at option, each of the Subjects of the pre-ceding Exercise, in the most convenient register, fo
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