This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1878 Excerpt: ... this will be the place in which to introduce a change into some nearly-related key. Since for the present it is best to avoid transposing the subject, this change of key will be effected either by means of the episodes, or by constructing the counter-subject in a different key. We may now proceed with our work as ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1878 Excerpt: ... this will be the place in which to introduce a change into some nearly-related key. Since for the present it is best to avoid transposing the subject, this change of key will be effected either by means of the episodes, or by constructing the counter-subject in a different key. We may now proceed with our work as follows, commencing with the last bar of Example 135 a or b: --I Answer. I I Subject. I Z3=zg3=j I I I I i, I I-A I I,11-td-nz P. V The slight alteration at the end of the answer requires no explanation; the last note is omitted, and an episode joins itself directly to the C in the fourth bar. This episode is short, and modulates into the nearly-related key of A minor, leading with an imperfect authentic cadence to the entrance of the subject in the upper part. The subject enters without the rest which was recommended above, but the omission is the less important that it is not a principal entrance. The counter-subject begins in A minor, and afterwards modulates into F; thus adding to the variety of the whole. This completes the second working out, and we have now to prepare the way for the third. The third, and in a simple fugue final working out of the theme, is to a certain extent a repetition of the first. This repetition of the chief idea generally takes place in every kind of composition of large dimensions, in order to complete and round off the form, and to prepare for the coda; and it has the same object in the fugue. But for the sake of an increase of effect towards the end of the composition it is necessary that the parts should follow each other in closer imitation than before, and, accordingly, it is here that the stretto comes into use. The order in which subject and answer enter should be the same as in the first working out; but thi..
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Add this copy of Treatise on Canon and Fugue to cart. $63.29, good condition, Sold by Bonita rated 4.0 out of 5 stars, ships from Newport Coast, CA, UNITED STATES, published 2016 by Palala Press.
