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 . hiefly upon the har-mony, and is subject to the following rules: a. The harmonic form (lowered 6th step and legitimate leading-tone) is rarely used, though possible during the Dominant harmony. —See Ex. 52, Note ^9).— b. The melodic forms, with raised 6th scale-step in ascending andlowered 7th step in descending, are used during Tonic : E
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 . hiefly upon the har-mony, and is subject to the following rules: a. The harmonic form (lowered 6th step and legitimate leading-tone) is rarely used, though possible during the Dominant harmony. —See Ex. 52, Note ^9).— b. The melodic forms, with raised 6th scale-step in ascending andlowered 7th step in descending, are used during Tonic : *3iE£ s Bach. IS 1 i etc. 1 c I- IV7 (An illustration in three-part counterpoint is given, because of the superior dis-tinctness of the harmony.) APPLIED COUNTERPOINT. Par. 20c. c. The ascending form (with raised 6th step) is used in prefer-ence to the harmonic form, in descending also, when the harmony isDomi?ia?it; this is because of the proper leading-tone (7th scale-step),which is characteristic of the Dominant harmony, and not to be : Bach. mm ^r-n \~t im (Ex. 58 cont.) •1) §9f^ m c IV7 -V7. ii j. Bach. 4=d § ^ -q—n- and: and *2> BS ill *i) ^ * I ! ! I ! I c IV -V»- I fIV V *i) The aft is used, instead of ab, because of the £tl which is indispensable in theDominant harmony. *2) Here dH is used in Bass, in descending, although it clashes very harshlywith the db in the Soprano. —*3) The aP in Bass illustrates the force of the rule inpar. \]b. It is even doubtful that this ab is an essential tone, though it indicatesthe Tonic chord {expected at this accent) quite forcibly, and thus imparts the appear-ance of suspension-harmony to the upper tones. At all events, whether essential ornot, the ab is picked up again at the next accented unit (4th beat) and disposedof in conjunct movement; and, further, the whole i6th-note passage is sequential. Par. 2od. MODULATION. 49 d. Inversely, the descending form (with lowered 7
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