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 . s^lpli? Rfc£T Bach. : later :h^~ e^gpgi 2. Motive. ~7f:%^—^~ j*1 Ifh ff Q K1 _i * I 9 im 8 jtj _*_J •-*-i=g: J later:[ Bach. * ?*- **n I etc. *i) The first tone is lengthened, from p £ to f £ —. *2) The first tone is reduced, from f g to fi. *3) Both the first and second tones are lengthened, from g to P 74 APPLIED COUNTERPOINT. Par. 30c. afa
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 . s^lpli? Rfc£T Bach. : later :h^~ e^gpgi 2. Motive. ~7f:%^—^~ j*1 Ifh ff Q K1 _i * I 9 im 8 jtj _*_J •-*-i=g: J later:[ Bach. * ?*- **n I etc. *i) The first tone is lengthened, from p £ to f £ —. *2) The first tone is reduced, from f g to fi. *3) Both the first and second tones are lengthened, from g to P 74 APPLIED COUNTERPOINT. Par. 30c. afa *4) m r later m B Bach. m *4) The first tone is reduced, and the value of the last tone is also reasons for these and similar changes are amply apparent in the context of theoriginal. c. More rarely, the value of certain tones in the course of the motivemay be modified, — generally in such a manner that what is added toone beat is subtracted from the neighboring beat, so that the rhythmof the remaining tones, and the effect as a whole, is not changes are largely arbitrary, and are made more for the sakeof variety and heightened effect, than from necessity of illustration: l. M. ± fcffi m^ g^.ater:|
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