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 . = m u- mm ?g f ¥ *r etc. * 11 d-(f)-a. e-g-(b). c-(e)-g. g-b-(d). a-(c)-e-g. b-(d>f. L-_a==^ r»~*—=?—f—-y^ t-j^— 6 8 2 6 8 3 I c-c-(e)-g. f-a-c-(e).(c). (b)(a).b-(d)-f-a. f<d). (b)-d-f. *i) Assuming, as above, the small notes to represent the added (3rd) part, thesame process may be traced. See also Bach, Well-temp. Clavichord, Vo
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 . = m u- mm ?g f ¥ *r etc. * 11 d-(f)-a. e-g-(b). c-(e)-g. g-b-(d). a-(c)-e-g. b-(d>f. L-_a==^ r»~*—=?—f—-y^ t-j^— 6 8 2 6 8 3 I c-c-(e)-g. f-a-c-(e).(c). (b)(a).b-(d)-f-a. f<d). (b)-d-f. *i) Assuming, as above, the small notes to represent the added (3rd) part, thesame process may be traced. See also Bach, Well-temp. Clavichord, Vol. I, Fugue 3,measures 1-7. Here the process of adding first one part to the given motive, andthen a third to these two, is actually employed; the upper and inner parts of meas-ures 3-4 become the inner and lower parts in measures 5-6, with transposition andvery slight change; to these a new part is added, above. See par. 66<z. Vol. I, Fugue 13, first 6 measures; the same, in every particular. Vol. I, Fugue 18; the lower and inner parts of measures 3-4 become inner andupper parts in measures 5-6, with transposition, while a third part is added, below. Vol. I, Fugue 23 ; the same. Vol. II, Fugue 16; the same (measures 5-8 increased to three parts in measures9-12). Vol. II, Fugue 23; the same (measures 5-8 increased to t
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