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 . ousmodes of Imitation, which constitute an important part of so-calledthematic resources, are explained in detail below. The principal general distinction is that made between Strict (orRigid) Imitation, and Free Imitation. Strict Imitation. 26. An Imitation is strict when it adheres exactly to the successiveinterval-progressions of the initial figure
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 . ousmodes of Imitation, which constitute an important part of so-calledthematic resources, are explained in detail below. The principal general distinction is that made between Strict (orRigid) Imitation, and Free Imitation. Strict Imitation. 26. An Imitation is strict when it adheres exactly to the successiveinterval-progressions of the initial figure (or motive). This is certain tobe the case when it is made upon the same steps of the same scale,, with the selfsame tones, either in the same register (in which caseit is called an Imitation in Unison) or, as is far more common, in thenext higher or next lower register (called an Imitation in the Octave);possibly in a more distant register, for which, however, no specialdesignation is necessary. a. The 8ve-Imitation, because of its perfect agreement with, andconfirmation of, the motive (par. 380), is the most natural, simple andfrequent, especially for the beginning of a polyphonic section. Forillustration: Bach. « r~7\ I „ Par. 26. 3. STRICT IMITATION. 63 Bach. :»:3: ?? isa
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