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. 1892 Excerpt: ...section begins in bar 12 with the first episode, formed from free imitation of the first part of the subject, which is sometimes accompanied by its last notes. (See the tenor in bars 17 and 19.) The first entry of the bass, already referred to, shows a fragment of the subject. 99. The first group of middle entries (bar ...
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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. 1892 Excerpt: ...section begins in bar 12 with the first episode, formed from free imitation of the first part of the subject, which is sometimes accompanied by its last notes. (See the tenor in bars 17 and 19.) The first entry of the bass, already referred to, shows a fragment of the subject. 99. The first group of middle entries (bar 22)--subject, D minor (alto); answer, A minor (soprano); subject, D minor (tenor--a partial entry only)--leads to the second episode (bars 33 to 36), founded chiefly on a varied form of the end of the subject. This is followed by the second group of middle entries, in the original keys of tonic and dominant. 100. In this second group the 'Bach' theme comes into prominence; we see it in the tenor at bar 37 by augmentation. Here we notice a different kind of augmentation from that which we have previously met with. If used in triple or in compound time, we generally find that augmentation, instead of being in notes of double length, is in notes of three times the length. Were we to double the length of the notes in the present subject, there would be a complete disturbance of the rhythm; for the augmented subject would take the following form--It will be noticed that it is only the first four notes which are augmented, and not the entire subject. This new form of the theme is used as a counterpoint to the subject itself, which it accompanies in several of its subsequent entries. ioi. From bars 48 to 52 must be regarded as another episode. True, the augmented subject is present in the tenor; but the imitative passages between soprano and alto have a very episodical character. Besides this a modulation is effected to introduce a new group of entries. 102. If we compare the entry in bar 52 with that in bar 22, it looks at first as if Schumann had ...
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