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 . WH- Par. 70b. THE THREE-VOICE INVENTION. 157 *4) ?4—i-Jt E pi —-f-f-Tferf Ht»—-P===^^:==t==:=^-H- 1 1 iTR *5) *6) I iUCT^ ** _i—0—1—I— —_» Bach. a. *i) The irregularity of rhythm at this place (i6th-notes upon the accented beatonly) is balanced and justified by the recurrence of the same figure two measureslater; compare par. 22^. Further, the i6ths ar
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 . WH- Par. 70b. THE THREE-VOICE INVENTION. 157 *4) ?4—i-Jt E pi —-f-f-Tferf Ht»—-P===^^:==t==:=^-H- 1 1 iTR *5) *6) I iUCT^ ** _i—0—1—I— —_» Bach. a. *i) The irregularity of rhythm at this place (i6th-notes upon the accented beatonly) is balanced and justified by the recurrence of the same figure two measureslater; compare par. 22^. Further, the i6ths are called forth by the purpose of connect-ing the inevitable d% and d$ as smoothly as possible.—*2) The First Part runs onthus in a fundamental rhythm of 8th-notes, interrupted three times as in measure 3. *3) This figure of four tones is the evident thematic germ of the new, character-istic Counter-motive in animated movement, which begins abruptly at the outset ofPart II. The figure was doubtless conceived and adopted by Bach as the Contrarymotion of the first member of the principal Motive, in Diminution. —*4) The pecu-liar cross-relation between the inner and lower parts here (dt-dH ) is justified bythe structural joint (or light cadence) at the first beat; compare par. igd, and Ex. 57,especially Note *y). — *5) This Counter-motive agrees with the preceding onethroughout, b
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