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136 Extempore Playing
episodes, the number depending upon the length of the subject and the pace of the music.
(d) The final section, in the tonic key, frequently in stretto, perhaps built up on an organ-point.
There is not space here to give details of all these features; the student should study them in Dr. Percy Goet-schius' masterly book, "Applied Counterpoint."
(a) Choose two familiar and dissimilar themes or tunes, in contrasting keys. Play them over several times, studying their characteristic features and possibilities. Then work them into a sonata movement, according to the design above explained.
(b) Play a scale ascending and descending, then add to it a second melodic part, in strong contrast, with as many interesting features as possible; do this above and below.
(c) Invent subjects in two-part counterpoint, playing one in each hand.
(d) Take some familiar theme as subject, write it down, then try and play a fugue upon it in three parts. The three parts need not always be kept distinct, as in written work, and may sometimes be reinforced in the homophonic style. The subject should, however, be made to appear alternately in the highest, the lowest, and the middle part.