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 . V V Im. in shifted rhythm. & W=^ or: *3) B 1 *i) This phrase is borrowed from the pianoforte-quartet in A (3rd movement),merely to illustrate, in a peculiarly effective manner, the two-fold transformationpossible in triple measure. At *2) the motive is shifted forward, and at *t)) back-ward, one beat. 32. Complex forms of Imitation, such as Contrary mo
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 . V V Im. in shifted rhythm. & W=^ or: *3) B 1 *i) This phrase is borrowed from the pianoforte-quartet in A (3rd movement),merely to illustrate, in a peculiarly effective manner, the two-fold transformationpossible in triple measure. At *2) the motive is shifted forward, and at *t)) back-ward, one beat. 32. Complex forms of Imitation, such as Contrary motion, and, atthe same time, unessential melodic or rhythmic changes ; or simultane-ous Contrary motion and Augmentation, Diminution, or Shiftedrhythm, and so on, — are possible and not uncommon. But it must beremembered that the more these licences are multiplied, the morelikely they are to endanger, or destroy, that recognizability of the originalmotive designated in par. 27 as the inexorable limit, beyond which itwould be inconsistent to pass. For example :. 2. Bach. Pfel \later: i^a^ia Par. 33 MISCELLANEOUS CHANGES. 79 3. pi -3=1^1: atz^ li r*s=$ F at*=ti IS later i e i ?fa- £=£ Bach. -•- 1 Cont. Motion and Augm. *i) Imitation in Contrary motion and Diminution; the value of the first toneabbreviated. — A few other cases of slight complication are shown in Ex. 74, No. 2 :Ex. 78, No. 3; and Ex. 79, No. 2. 33. Finally, more exceptional forms of modified Imitation are oc-casionally encountered in the polyphony of Bach and others, consisting,(1) in the addition of intermediate embellishing tones ; (2) in the con-trary motion of some single interval; (3) the transposition of a portionof the motive to a higher or lower octave ; and (4) the partial applicationof certain essential modifications (, to certain figures, only, of themotive). Such miscellaneous changes are most justifiable whenmade for the sake of adjusting the Imitation to some legitimate andobvious thematic
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