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 . action of a measure, for it is desirable that the prosodiceffect of Leader and Follower (disposition of accents) should agree. This leading motive is then imitated in the other voice, either an8ve higher or lower, while the Leader proceeds with a contrapuntalassociate devised in strict conformity to the rules in par. 35a, which Follower imit
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 . action of a measure, for it is desirable that the prosodiceffect of Leader and Follower (disposition of accents) should agree. This leading motive is then imitated in the other voice, either an8ve higher or lower, while the Leader proceeds with a contrapuntalassociate devised in strict conformity to the rules in par. 35a, which Follower imitates this Counterpoint, while the Leader again pro-ceeds with a new one, — and so on, to the end of the Canon. If, forinstance, the time-interval is one measure, the contents of every (or any)measure in the Leader will be literally reproduced in each followingmeasure in the Follower ; — though a duet, the contents of one voice alonewill represent the entire melodic material of the composition. Forillustration: 294 APPLIED COUNTERPOINT. Par. 192. 1 u Allegro. Follower (in upper 8ve, after one Leader. Leading M. IJll|g^i^fe#EEE^E:^ Leading motive: — u 11 measure). [st Counterpoint: —» Clementi. P 1= 1st Cpt. ,h^: « p= £*. I 2nd Counterpoint: — 192. There are two characteristic difficulties persistently presentin the constructive process of an unaccompanied Canon in the 8ve,namely: a. The difficulty of avoiding monotony. The 1st counterpoint is, presumably, a peculiarly fitting associate of the leadingMotive. When it reappears in the Follower (3rd measure of the above example) it isnecessary to devise an equally good, but new, associate, as 2nd counterpoint, wherebythe natural temptation to fall back upon the leading M. must be resisted. In otherwords, constant care must be taken to use new contrapuntal intervals in successivemeasures ; also intervals occasionally foreign to the key, in order to effect necessarymodulations. But no liberties are to be taken wit
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