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 . pi 20. Allegretto. Handel. F Major. V- •4) 21. Andante M Handel. i« J1 j. -rau riff[jiif]JiJiR-iia 22. M Allegro. Padre Martini. 2fc ^^y r rap rmr r piy J J,J jh —,^^—______— ? «—j+j—-1—u ¥ 23 Allegretto, Eberlin. 24. Allegro. Mattheson. gs^^^p^H^tel 25. Andante. Klengel. 26. Moderato. Klengel. ^gjfeBB ^ r? 1 S? ^=it a PW5 *= *i) Final tone optional, b
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 . pi 20. Allegretto. Handel. F Major. V- •4) 21. Andante M Handel. i« J1 j. -rau riff[jiif]JiJiR-iia 22. M Allegro. Padre Martini. 2fc ^^y r rap rmr r piy J J,J jh —,^^—______— ? «—j+j—-1—u ¥ 23 Allegretto, Eberlin. 24. Allegro. Mattheson. gs^^^p^H^tel 25. Andante. Klengel. 26. Moderato. Klengel. ^gjfeBB ^ r? 1 S? ^=it a PW5 *= *i) Final tone optional, both as regards choice and duration. — *2) The tempo-indications must not be overlooked; they may affect the rhythm of the Counter-point. — *3) Duration optional; and the same in every succeeding case.—*4) TheMotive ceases with this tone, whose value, and the continuation of the part, up tothe entrance of the Imitation, are optional.—*5) The tie is optional. B. A number of these motives (as specified below) to be manipu-lated according to par. 26^,— Strict Imitation in the 5th. Each motive, as before, imitated both above and below. Especial attention topar. 35^ (c) will be necessary. Exercise 8. IMITA T10N. 91. Im. in the 5th. Motives adapted to this exercise: Exercise 6B, Nos. 2, 3, 4, 6, 7, 8; Exercise yA, Nos. 1, 5, 6, 7, 8, 9, 11, 13, 14, 15, 18, 20, 21, 23, 25. EXERCISE 8. A. Manipulate the motives specified below, in various other intervals of Imita-tion (in the 3rd, 4th,6th, possibly 2nd or 7th); all in Free Imitation, according topar. 28a and b. The practicable intervals of Imitation will be determined in keeping with par. 35^;and it must be understood that the unessential melodic changes there referred to arenot arbitrary, but should be resorted to only as an expedient, when the Strict Imita-tion baffles harmonious adjustment, — or in order to secure better Ex. 69, Note *3), and Ex. 70A, Note *2). And observe particularly p
Size: 2978px × 839px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1900, booksubjectcounter, bookyear1902
