Page:A Dictionary of Music and Musicians vol 1.djvu/778  From
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proofread, but needs to be validated.  Imitations are sometimes
conducted by contrary motion of the parts, or 'by inversion,'
e.g.—  { \time 2/2 << \relative d'' << { R1*3 d2. c4 b c b a g1
\bar "||" } \\ { R1 c,2. d4 e d e fis g a g2 ~ g g,4 a b c d2 }
>> \new Staff { \clef bass \relative g << { R1*2 g2. a4 b a b c
d2. c4 b a b2 } \\ { g2. f4 e f e d c b c2 b4 c b a g1 ~ g } >>
} >> }  More rarely we meet with imitations per rectè et retrò
or, as they are sometimes called, 'by reversion,' in which the
antecedent, being read backwards, becomes the consequent:—  {
\time 4/2 << \relative c'' { r2 c_"* . . . ." b g a b4 c d e f d
| g2 e d g e c b2. g4 | c a g e f2 g a4 b c a d1 | e2 c d b |
c\breve \bar "||" } \new Staff { \relative e'' { R\breve*3 r2 e
g d | e g d4 f e d c b a2 g b^" .  .  .  .  *" | c a f g e\breve
} } >> }  (These examples are all taken from Fétis.)  Imitations
may also be m