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 . therelations adopted at the beginning should be, as a rule, maintained uniformly through-out the chorale; therefore it is usually necessary to experiment repeatedly with thewhole, before valid relations can be determined; and it is not considered unpermissi-ve, in case the advantage is manifest, to adopt new relations for a new Section (oreven for some
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 . therelations adopted at the beginning should be, as a rule, maintained uniformly through-out the chorale; therefore it is usually necessary to experiment repeatedly with thewhole, before valid relations can be determined; and it is not considered unpermissi-ve, in case the advantage is manifest, to adopt new relations for a new Section (oreven for some single line) of the chorale. It is greatly preferable, however, to over-come the necessity for such changes of canonic relation by judicious (slight) rhythmicmodification, or strictly unessential melodic embellishment, of the chorale-melody,in the manner shown in Ex. 125. For example (Table, Exercise 26, Chorale 29): First version ; canon in the 5th, after one measure.*i) ?M 3 Ex. b207. 5 f=rr—r—\ r r r i^^p v*2) 3^ $=t 3 :l etc. &--&—&--&—& t y rr rr r r Ifeg Second version ; canon in the 2nd, after one (longer) measure. S t=t *3=* t=q -*-+ :*i): afcz: r if r u- r j q? f 3i6 APPLIED COUNTERPOINT. Par. GOETSCHIUS. —N- \j r r H 1 etc. rr *i) Observe the slight modifications of the original chorale-melody. *2) The /tn simply indicates, as usual, the end of a Line, and is not respected. *3) In the completed elaboration of this first version the canonic parts areSoprano and Pedal-bass,—the latter two 8ves lower than here written. The innerparts are thematic, as in the Invention with chorale (par. 99), preceding theLeader by two measures. *4) Canonic parts are Soprano and Tenor; Pedal independent; Alto pursuesconstantly a Figure of its own ; comp. pars. 93, 96. 211. The parts which accompany the canonic voices are in a sensetheir auxiliaries, but should be strictly contrapuntal, and thematic(based upon some Motive or Motives), as described in par. 92, whichreview.
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