In other words, this is an instance of typical double counterpoint at the octave.ĭo you notice that things look a little suspect here? The question comes from the observation that Bach uses these same patterns in inverted positions Necessary to show that, since this configuration was not cause for the question. The same configuration happens again in bar 6 between the soprano and bass, but it's not On beat 4 and the 'and' of beat 4 (the 4ths are marked in red). In measure 3, there are 4ths between the soprano and alto (the only two sounding voices) He pointed out a passage in Bach's fugue in D Minor from the Well Tempered Clavier, book 1 (BWV851). One of my students recently asked an interesting question about invertible counterpoint. Is this bad invertible counterpoint? (BWV851)
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