Text-book of simple and double counterpoint including imitation or canon . COUNTERPOINT. One of the possible inversions follows, namely, that one inwhich the new voice-part becomes the bass, and the other twovoice-paiirS exchange positions:191. Ci. C. f. -?—5-#- -+~^ e :^=te i 3=4: ^ SeS ^e^E^^^ m^ Ti--* m hu «- ^ P 5^ T=t:-#- :^Ca: :t^=j£ 5ctq= i=a gE3S3E^# fflXl-C=£::J ^^ • , p ^ u*^^^w—p—^^—i^=—^^^—ii m—^5*—i:^- i i.^^^ ^^e£ i^^ t=^ W^ i s: N- S=^ ^•^ ?^- :^ :?. ^=4^: -1^—Hi- S^ 1^^3-5 ^ jst *^^^ s We now add a fourth voice-part to the three-part exercise; inorder that the new
Text-book of simple and double counterpoint including imitation or canon . COUNTERPOINT. One of the possible inversions follows, namely, that one inwhich the new voice-part becomes the bass, and the other twovoice-paiirS exchange positions:191. Ci. C. f. -?—5-#- -+~^ e :^=te i 3=4: ^ SeS ^e^E^^^ m^ Ti--* m hu «- ^ P 5^ T=t:-#- :^Ca: :t^=j£ 5ctq= i=a gE3S3E^# fflXl-C=£::J ^^ • , p ^ u*^^^w—p—^^—i^=—^^^—ii m—^5*—i:^- i i.^^^ ^^e£ i^^ t=^ W^ i s: N- S=^ ^•^ ?^- :^ :?. ^=4^: -1^—Hi- S^ 1^^3-5 ^ jst *^^^ s We now add a fourth voice-part to the three-part exercise; inorder that the new part may be capable of inversion (the taskis not new, but identical with problem 40), it must be sketchedso as to appear closely united to the other three voices, either § 14. DOUBLE COUNTERPOINT IN THE OCTAVE. 117 as upper or middle voice, and so that the inversion producescrossings of the parts as httle as possible. Problem 45 : To write a fourth, voice-part to the exer-cises under problems 42 and 44. 192. F. C. f. -*-=r-^g- te=^^^^ -#H«- •H^ 3^^ 0 0-S-^—0^—\ iii=i; t £5 ^: --^
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