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We notice that the soprano is the principal part, and that the other voices, while somewhat melodic, tend rather to support and follow the melody than to be independent. If, now, we play a piece of counterpoint like the G-Minor Prelude by Bach, we shall have quite a good piece of counterpoint, as far as separate melodies being combined is concerned. Let us play the voice-parts separately.
If before Calvisius C-major was the erotic key, in the seventeenth century G-major was considered so; in the eighteenth, on the contrary, when love poetry jumps from the merry and playful over to the sentimental, the musical ear likewise altered accordingly, and even before the time of Werther and Siegwart the languishing, gently melancholy G-minor was the fashionable tone, for the erotic Matheson, indeed, even goes so far as to declare that it is the "most beautiful of tones" an opinion which is certainly characteristic of the state of nerves of the world of culture at that day.
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