FOOTNOTES:[65]See Riemann,Handbuch der Musikgeschichte, I², p. 144 ff.[66]See article by Dom Germain inRevue de l’art chrétien, 1888.[67]Strict ‘imitation’ would be extremely difficult in the tetrachordal system. A subject given in one tetrachord could not be imitated exactly in another, because the tetrachords varied from each other by the position of the half-step within them. Compare, for instance, the modern major and minor modes. The answer given in minor to a subject announced in major is not a strict imitation. If, on the other hand, the answer to a subject in a certain hexachord was given in another hexachord, it would necessarily be a strict imitation, since in all hexachords the half-step came between the third and fourth tones, betweenmiandfa.[68]Op. cit., Part II.
FOOTNOTES:[65]See Riemann,Handbuch der Musikgeschichte, I², p. 144 ff.[66]See article by Dom Germain inRevue de l’art chrétien, 1888.[67]Strict ‘imitation’ would be extremely difficult in the tetrachordal system. A subject given in one tetrachord could not be imitated exactly in another, because the tetrachords varied from each other by the position of the half-step within them. Compare, for instance, the modern major and minor modes. The answer given in minor to a subject announced in major is not a strict imitation. If, on the other hand, the answer to a subject in a certain hexachord was given in another hexachord, it would necessarily be a strict imitation, since in all hexachords the half-step came between the third and fourth tones, betweenmiandfa.[68]Op. cit., Part II.
FOOTNOTES:
[65]See Riemann,Handbuch der Musikgeschichte, I², p. 144 ff.
[65]See Riemann,Handbuch der Musikgeschichte, I², p. 144 ff.
[66]See article by Dom Germain inRevue de l’art chrétien, 1888.
[66]See article by Dom Germain inRevue de l’art chrétien, 1888.
[67]Strict ‘imitation’ would be extremely difficult in the tetrachordal system. A subject given in one tetrachord could not be imitated exactly in another, because the tetrachords varied from each other by the position of the half-step within them. Compare, for instance, the modern major and minor modes. The answer given in minor to a subject announced in major is not a strict imitation. If, on the other hand, the answer to a subject in a certain hexachord was given in another hexachord, it would necessarily be a strict imitation, since in all hexachords the half-step came between the third and fourth tones, betweenmiandfa.
[67]Strict ‘imitation’ would be extremely difficult in the tetrachordal system. A subject given in one tetrachord could not be imitated exactly in another, because the tetrachords varied from each other by the position of the half-step within them. Compare, for instance, the modern major and minor modes. The answer given in minor to a subject announced in major is not a strict imitation. If, on the other hand, the answer to a subject in a certain hexachord was given in another hexachord, it would necessarily be a strict imitation, since in all hexachords the half-step came between the third and fourth tones, betweenmiandfa.
[68]Op. cit., Part II.
[68]Op. cit., Part II.