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 . *7) r m J= *E=„ U I 15—li^^^S *6) Bach. *-•. *8) ^=fi !H gfaznU a V -I Bt?V7 I=FIV- *i) Observe the profusion of parallel 3rds. *2) Parallel 3rds and 6ths. *3)The two basses run in 6ths constantly. Observe the thematic character of the first(highest) bass part; the very definite melodic conduct of both outer parts; and thechord-analysis. *4) From here
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 . *7) r m J= *E=„ U I 15—li^^^S *6) Bach. *-•. *8) ^=fi !H gfaznU a V -I Bt?V7 I=FIV- *i) Observe the profusion of parallel 3rds. *2) Parallel 3rds and 6ths. *3)The two basses run in 6ths constantly. Observe the thematic character of the first(highest) bass part; the very definite melodic conduct of both outer parts; and thechord-analysis. *4) From here on, 4-voice texture. *5) A neighboring-chord. *6)The Motive (in 8th-notes). *y) Ct\ substituted for the expected c$ (par. 19c).*8) Probably the Dominant of F; see par. 133, Ex. 155. Analyze, very minutely, the harmony, thematic texture, and formof the following: Bach, Well-temp. CI., Vol. I, Fugue 22 ; Two-Part Song-form ; Part II, begin-ning in meas. 25, contains three well-defined Sections; in the last Section there is adouble announcement of the Theme in 3rds (in the two Sopranos), and a five-foldstretto (beginning in meas. 9 from the end). Bach, Org. Comp., Vol. II, Fugue 5 ; a fine example; 5 Sections; many differ-ent effective Counterpoints; after the Exposition the rhythm is
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