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 . j^H^JJ^gj *i) This counterpoint, at the 2nd recurrence of the Motive, corresponds exactlyto the Counter-motive of the first Imitation (meas. 2). *2) The derivation of this episodic passage is not as obvious as in someexamples, but nevertheless palpably in close keeping with the preceding thematicportions. The figure marked a may be accounted for
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 . j^H^JJ^gj *i) This counterpoint, at the 2nd recurrence of the Motive, corresponds exactlyto the Counter-motive of the first Imitation (meas. 2). *2) The derivation of this episodic passage is not as obvious as in someexamples, but nevertheless palpably in close keeping with the preceding thematicportions. The figure marked a may be accounted for in two ways, as shown by thetwo slurs: either as part of the Counter-motive, in contrary motion, or (the lowerslur) as imitation of the ending of the Motive; b bears close general resemblance tothe Motive, though the indicated derivation may appear tortuous; it embraces threebeats, and is reproduced in slightly modified Sequence; d is derived from a; itsmodified Sequence, e, is admirably utilized in launching the next recurrence ofthe Motive. See par. 41^. 102 APPLIED COUNTERPOINT. Par. 401. f. On the other hand, these specific modes of obtaining variety aresometimes not resorted to until the alternating Imitations have beenextended still farther. For i
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