FOOTNOTES:[7]Number the measures, and call the voices soprano, alto, and bass.[8]The reader should examine the example of shifted rhythm given in the second chapter in dealing with the German song, "Sister Fair."[9]In Book I, for example, Fugue II is as light and delicate as XII is serious and earnest; XVI is pathetic, XVII vigorous and rugged, XVIII thoughtful and mystical, etc.
FOOTNOTES:[7]Number the measures, and call the voices soprano, alto, and bass.[8]The reader should examine the example of shifted rhythm given in the second chapter in dealing with the German song, "Sister Fair."[9]In Book I, for example, Fugue II is as light and delicate as XII is serious and earnest; XVI is pathetic, XVII vigorous and rugged, XVIII thoughtful and mystical, etc.
FOOTNOTES:
[7]Number the measures, and call the voices soprano, alto, and bass.
[7]Number the measures, and call the voices soprano, alto, and bass.
[8]The reader should examine the example of shifted rhythm given in the second chapter in dealing with the German song, "Sister Fair."
[8]The reader should examine the example of shifted rhythm given in the second chapter in dealing with the German song, "Sister Fair."
[9]In Book I, for example, Fugue II is as light and delicate as XII is serious and earnest; XVI is pathetic, XVII vigorous and rugged, XVIII thoughtful and mystical, etc.
[9]In Book I, for example, Fugue II is as light and delicate as XII is serious and earnest; XVI is pathetic, XVII vigorous and rugged, XVIII thoughtful and mystical, etc.