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 . Bach. s&te a 3 3 1 Tn~l— ±ip^Ji=»i Bach uses this device so rarely, as compared with his employment of parallel3rds and 6ths, that it may justly be regarded with suspicion, as a polyphonic Beethoven, Pianoforte Sonata, op. 106, first movement, measures 55-61. f. All general rules of contrapuntal association (as those of par.
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 . Bach. s&te a 3 3 1 Tn~l— ±ip^Ji=»i Bach uses this device so rarely, as compared with his employment of parallel3rds and 6ths, that it may justly be regarded with suspicion, as a polyphonic Beethoven, Pianoforte Sonata, op. 106, first movement, measures 55-61. f. All general rules of contrapuntal association (as those of </and e; pars. 18, 19, 20) apply alike to every variety of polyphonictexture, regardless of the number of parts employed. The rule in , with reference to conducting the parts in contrary (opposite) direc-tions, applies to polyphony for three and more parts also, but with cer-tain modifications. It is evident that all three (or four) parts cannotmove at the same time in different directions; but it is possible (1) tohold one part level, while the other two are respectively ascending anddescending (or even moving in parallel direction) ; (2) to carry onepart, at least, in contrary motion with the other two, so that one de-scends while two are ascending, or vice vers
Size: 3100px × 806px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1900, booksubjectcounter, bookyear1902
