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 . eview par. 39^. And see pars. 55 and 56. This parallelism of design is strikingly illustrated in the 1st 2-voice Invention ofBach ; —the last five measures of the Second Section (measures 11-15 of the entireInvention) almost exactly corroborate the last five measures of the First Section(measures 3-7); but they are transferred to the next higher step ;


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 . eview par. 39^. And see pars. 55 and 56. This parallelism of design is strikingly illustrated in the 1st 2-voice Invention ofBach ; —the last five measures of the Second Section (measures 11-15 of the entireInvention) almost exactly corroborate the last five measures of the First Section(measures 3-7); but they are transferred to the next higher step ; the former upperpart becomes the lower, and its contrapuntal associate is partly reconstructed, — nearthe end of the section. d. The modulatory aim of the Second Section is, generally, theRelative minor from a major beginning, or the Dominant key from aminor beginning. In a word, the first two cadences are usually madein the keys most closely allied to the original key, that is, the Dominantand the Relative; in a major Invention the Dominant cadence comesfirst and the Relative next; in a minor Invention the Relative comesfirst, and then the Dominant. Other related keys may, however, besubstituted. Review par. 40^, and h. Section M. 1 M. (Sequence.). HO APPLIED COUNTERPOINT. M. (Cont. Motion.) M. (Cont. M.). Par. 42d. msmpz^^mm^ *6) *^- *~* w ! j * -jv—g—g -=i—=*- *5)M. (Orig. Motion.). P V jggg^mfi^^»^^ Episode.*8) ±=t


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