The art of counterpoint . *» 1 EIGHT PARTS, WITH SEVEN IN THE FIFTH SPECIES. i j -£2_ e=t: |g Rg & H F* H^ e r I i|-[ I 1^1 (^ a 002 1 1^^ f^M^^? =t 4-.©—i— ii _-_^. t=*l v^ *£E t: I ^^ I (=2—«- -z*- ina 9i 33 -• P^ fe m. CHAPTER X. MITATIVE COUNTERPOINT. Contrapuntal imitation is a device in which one voice repeats,more or less exactly, a melodic pattern previously given out byanother voice. Every interval in the antecedent or model, should be answeredby the same number of degrees in the consequent, or imitation;but, although the response should be in strict diatonic imitation,half-steps may
The art of counterpoint . *» 1 EIGHT PARTS, WITH SEVEN IN THE FIFTH SPECIES. i j -£2_ e=t: |g Rg & H F* H^ e r I i|-[ I 1^1 (^ a 002 1 1^^ f^M^^? =t 4-.©—i— ii _-_^. t=*l v^ *£E t: I ^^ I (=2—«- -z*- ina 9i 33 -• P^ fe m. CHAPTER X. MITATIVE COUNTERPOINT. Contrapuntal imitation is a device in which one voice repeats,more or less exactly, a melodic pattern previously given out byanother voice. Every interval in the antecedent or model, should be answeredby the same number of degrees in the consequent, or imitation;but, although the response should be in strict diatonic imitation,half-steps may be answered by whole steps, or vice versa. Model. EXAMPLES. Imitatioi . Imitation -y—?—f-r- —— p f r <? F \ f ^11 w^-^ 4-—L-P- -4 L_U 7—W Ex. 129. We advise the student first to construct a melodic figure overa subject of notes of equal value. This model may be written inany of the orders of strict counterpoint, but preferably the fifth, andthe length of the model must depend upon the number of voiceswhich are to enter. After the model has proposed the subject mat-ter, or theme, it usually continues as an accompanying part to the 73 74 THE ART OF COUNTERPOINT. next voice which enters. The imitation
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