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 . 8ve, 5th or 3rd). EXERCISE 9. A. Manipulate the following motives according to par. 29a (Contrary motion),in various methods of response (Exs. 72, 73 ; Ex. 74, Note *4) : Exercise 6B, Nos. 3, 4, 5, 6, 7, 8; Exercise jA, Nos. 3, 6, 10, 13, 14, 15, 16, 17, 19, 22, 23, 26. B. Manipulate the motives specified below, according to par. 31a (Augmen-tation). A
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 . 8ve, 5th or 3rd). EXERCISE 9. A. Manipulate the following motives according to par. 29a (Contrary motion),in various methods of response (Exs. 72, 73 ; Ex. 74, Note *4) : Exercise 6B, Nos. 3, 4, 5, 6, 7, 8; Exercise jA, Nos. 3, 6, 10, 13, 14, 15, 16, 17, 19, 22, 23, 26. B. Manipulate the motives specified below, according to par. 31a (Augmen-tation). Any interval of Imitation may be used, preferably the 8ve, 5th or 3rd. 1 I Model. *i) *i) §*b: :: £ FF ^H :p a *i) It is necessary, in the contrapuntal associate of an Augmentation (becauseof its length and persistently heavy rhythm), to check the rhythmic current fromtime to time, — especially at the outset, and at any heavy this purpose, employ Exercise 6B, Nos. 2, 3, 6;Exercise jA, Nos. 2, 12, 16, 4, 5, 11, 17. C. Manipulate the following, according to par. 31^ (Diminution): Exercise 6B, Nos. 3, 7 ;Exercise 7A, Nos. 4, 19, 26 (10). D. Manipulate the motives specified below according to par. 31c (Shiftedrhythm):. M *i) The Imitation is to be shifted forward in each case, — generally one beat,possibly a little more or less. The vacant space that consequently intervenes be-tween the end of the motive and the beginning of the Imitation, must be very care-fully filled out, with close attention to the rule of par. 35a, , with strictly analo-gous material. The interval of Imitation will be almost entirely optional, dependingsomewhat upon the current of the intervening tones. Exercise 10. IMITA TION. 93 *2) In every case, both. Darts must be thus carried on, to the next accentedbeat, — with strictly analogous material. For this purpose employExercise 6B, Nos. 4, 5;Exercise 7 A, Nos, 3, 7, 10, 12, 18, 22, 24. EXERCISE 10. Manipulate a number of motives in Strett
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