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 . Dominant chords. But their progressioninto Tonic chords is entirely permissible; best, however, into invertedforms of the latter. d. Subordinate Triads (II, VI, III,) cannot progress into their respective prin-cipal Triads (IV-I-V) except by inverting the latter. e. The III passes legitimately into the IV or VI; into other chords rarely,and only upon i
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 . Dominant chords. But their progressioninto Tonic chords is entirely permissible; best, however, into invertedforms of the latter. d. Subordinate Triads (II, VI, III,) cannot progress into their respective prin-cipal Triads (IV-I-V) except by inverting the latter. e. The III passes legitimately into the IV or VI; into other chords rarely,and only upon inversion, as above. * Triad and 7th-chord on the Leading-tone. See the Authors Mat. of Mus. Comp., par. 187,par. 198. •* Idem, par. 206, 207. Par. 18. HARMONIC INFLUENCE. 33 /. may be repeated within the same rhythmic group,but, as a rule, not into a unit which is more accented than that uponwhich the chord began. This rule, however, is also moderated some-what by inversion, , change of bass tone at the accent. II. Chromatic. g. If the chromatic inflection is employed, any reasonable chord-succession is feasible, subject to par. 2a, and b. The most vital of these rules are a, b, and e, — particularly illustration:. IVX V £* fcrf , Bach. (6) 6 (5-) (5) 3 (5) a ha 6 (5) Ei § V- (II) *4) nV» 1- VI- N1 _ 2. ^ „-•-£- -^-#-J. Bach. ™ HZ-**5*^ 6 (5) 2 (8) (4) 3 T 3 (2) 3 (2) 4 3 5-(6) 3(4) (7)8 etc. N^g^gjggp^gip fe- ll (vi)*5) (vi) dl- -V9- -V» 34 APPLIED COUNTERPOINT. Par. 18. *6) 6 (5-) 4+ 6, 3 3 7, 5 (6) 4+ (5) 6 BACH. Hc*=t i- 8: -a r—— i i T=t! 1 rfl *»V71- • (i) v? i Bach. 4. cl- ?IV—V 1^ V9- *l) ___ CEES3^ ^ ^ s s Bach. 6 3 (2) (7)6(2 4) Fsw*cJ ur^
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