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 . Resp. 3el^R *z PUJm Bach. :p=te=£i #-1-^4 a etc. Resp. Bach. ^±i&riz^n=i=i=* We^e^^^^j. Bach. Sgg II tt *7) 7. c ,. Bach. a u Subj. Resp. *8) *i) These tones are all harmonically inseparable from the Dominant modula-tion ; and the preceding interval (falling 7th) is so characteristic that it, too, isincluded in the tonal imitation. *2) T
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 . Resp. 3el^R *z PUJm Bach. :p=te=£i #-1-^4 a etc. Resp. Bach. ^±i&riz^n=i=i=* We^e^^^^j. Bach. Sgg II tt *7) 7. c ,. Bach. a u Subj. Resp. *8) *i) These tones are all harmonically inseparable from the Dominant modula-tion ; and the preceding interval (falling 7th) is so characteristic that it, too, isincluded in the tonal imitation. *2) This g is a conspicuous Dominant note, near the beginning; but it isanswered in the 5th, because of the sequential formation of the Theme. *3) Bach evidently regarded this d (Dominant near the beginning) as an essen-tial harmonic factor of his Theme, and imitates it in the 5th to preserve the triad-effect of the first figure. *4) A remote key, but unavoidable because of the definite chromatic characterof the Subject. *5) Dominant as first tone,—imitated in the 5th, with its repetitions, appar-ently because of the structure of the whole Theme. Comp. Ex. 149, Note *2). *6) To Bach this was a tone-group inseparable from the Dominant (6), andtherefore the whole figure reappears in the 4th. *7) Augmented 4th; see Ex. 138, Note
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