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 . Klengel. *4). Auxil. Bass. Par. 205. THE THREE-VOICE CANON. 31 I *i) The 2nd Follower is not again in the 2nd from the Leader, but in the2nd from the preceding Follower, ox 3rd from the Leader; the Canon is thereforein the 2nd and 3rd, after one measure, respectively. The contrapuntal relationsbetween the inner and upper parts in measure 3 therefore co
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 . Klengel. *4). Auxil. Bass. Par. 205. THE THREE-VOICE CANON. 31 I *i) The 2nd Follower is not again in the 2nd from the Leader, but in the2nd from the preceding Follower, ox 3rd from the Leader; the Canon is thereforein the 2nd and 3rd, after one measure, respectively. The contrapuntal relationsbetween the inner and upper parts in measure 3 therefore correspond exactly tothose between the lower and inner parts in measure 2; and so on continuously, frommeasure to measure, throughout. *2) Vol. I, Canon 14. Analyze minutely. *3) Vol. II, Canon 9 ; in 8ve and 8ve, after one beat; an extraordinary example. *4) Vol. I, Canon 20; in 3rd and 5th; like the preceding, this has also a verybrief time-interval (one beat), and is even more unique, in some respects ; analyzecarefully ; the auxiliary Bass is coordinate. *5) See Ex. 189, Note *3). See further, Klengel, Vol. I, Canon 2 ; in 3rd and 5th, after one measure, unac-companied.— Vol. I, Canon 4; in 7th and 6th, after one measure, unaccompanied.— Vol. I,
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