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 . in a word), asto counteract the impression of simple chord-succession. This deviceis omitted in Ex. no, but plainly seen in Ex. in, No. 2 ; and may beverified in the other given illustrations, also. But this is not all; the insertion of passing-notes must not beadopted as a device to this end alone, or the texture will, after all,amount to no more than
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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 . in a word), asto counteract the impression of simple chord-succession. This deviceis omitted in Ex. no, but plainly seen in Ex. in, No. 2 ; and may beverified in the other given illustrations, also. But this is not all; the insertion of passing-notes must not beadopted as a device to this end alone, or the texture will, after all, amount to no more than embellished harmony. A higher purpose— that of independent melodic progressions — must dictate the employ-ment of such inharmonic tones ; and while the progressions must neces-sarily be governed by the chord-contents, their independence must beensured by sufficient evidence of thematic purpose. Review, in thisconnection, par. 17^, (pars. 13/, 21^); also par. 7. d. Of the purely mechanical means of obtaining voice-independence, none is more efficient and indispensable than the Tie, which advancesin importance in proportion to the number of polyphonic parts asso-ciated. Review thoroughly par. 22^/, and par. 9, entire. For example: N.B. N.B. N.B. §^ $? g-b-d. a-c-e-g. d-f-a. g-b. c-e-g. *i) Some of the ties in this sentence result in positive dissonance, by producingSuspensions; at other places, on the contrary, the tie simply modifies the rhythm ofits part, without influencing the consonant effect. See also Ex. 57, No. 6 (ties inlower part); Exs. 58, 59, 60; Ex. in, Nos. 1 and 2 ; Ex. 113. 140 APPLIED COUNTERPOINT. Par. 6ie. e. The greater the number of parts employed in a polyphonic com-plex, the greater the likelihood and necessity of indirect coincidencebetween a certain pair of them, — to counteract the danger of exces-sive dissonance from the independent movements of so many individualparts. This is probably most frequently exhibited in the prevalence ofparallel movem