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Canons & Fugues

Well-Tempered Clavier

Well-Tempered Clavier:
Index of Contrapuntal Operations,
Learning Objects, and Concepts
|Contrapuntal Operations|Objects & Concepts|
|search site|
All of Book 1 is now available in Flash.
The Contrapuntal Operations section defaults to Flash in Book 1 & Shockwave in Book 2.
The Objects & Concepts section gives you an option between Flash or Shockwave.

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The original project was made in Adobe Director, which requires Shockwave player to view online.
Click here to see if you have Shockwave Player If you don't have it,
download the "full installer" for your system.

Contrapuntal Operations
Book I
No. 1: C
No. 2: cm
No. 3: C#
No. 4: c#m
No. 5: D
No. 6: dm
No. 7: Eb
No. 8: d#/ebm
No. 9: E

Style
verset
demonst.
moderno
passion
demonst.
dance
antico
ricercar
moderno

Subject Tonal/
Voices Entries Real
4
3
3
5
4
3
3
3
3

24
8
12
31
11
17
9
36
10

either
tonal
tonal
real
tonal
real
tonal
tonal
real

Counter 2nd Mel Inv

Double
Stretti Subject Ctr Inv Ctpt Aug Triple
extreme
moderate
moderate
moderate
extreme
-

6
11
5
7
9

*
-

*
*
*
*
*
-

*
*
*
*
*
-

*
*
-

Triple
-

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No. 10: em
No. 11: F
No. 12: fm
No. 13: F#
No. 14: f#m
No. 15: G
No. 16: gm (a)
No. 17: Ab
No. 18: g#m
No. 19: A
No. 20: am
No. 21: Bb
No. 22: bbm
No. 23: B
No. 24: bm

Book II

http://www2.nau.edu/tas3/wtc/#concepts

canon
dance
verset
moderno
antico
concerto
verset
verset
verset
verset
competit.
character
antico
verset?
passion

Style

2
3
4
3
4
3
3
4
4
3
4
3
5
4
4

9
13
10
8
9
14
17
15
12
14
38
8
22
12
13

real
tonal
tonal
tonal
real
real
tonal
tonal
tonal
tonal
real
tonal
tonal
tonal
tonal

Subject Tonal/
Voices Entries Real

moderate
moderate
moderate
moderate
extreme
extreme
moderate
-

10
4
8
11
7
12
7
7
5
11

*
*
*
-

*
*
*
*
*
*
*
*

*
*
*
*
*
*
*
*
*
*

Double
-

Counter 2nd Mel Inv

Double
Stretti Subject Ctr Inv Ctpt Aug Triple

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No. 1: C
No. 2: cm
No. 3: C#
No. 4: c#m
No. 5: D
No. 6: dm
No. 7: Eb
No. 8: d#m
No. 9: E
No. 11: F
No. 12: fm
No. 13: F#
No. 14: f#m
No. 15: G
No. 16: gm
No. 17: Ab
No. 18: g#m
No. 19: A

http://www2.nau.edu/tas3/wtc/#concepts

character
verset
verset
dance
verset
improv.
ricercar
canzona
antico
partimento
dance
galant
passion
partimento
moderno
verset
verset
chorale

3
4
3
3
4
3
4
4
4
3
3
3
3
3
4
4
3
3

8
23
45
15
25
9
11
16
38
7
9
11
30
6
17
15
12
10

tonal
tonal
tonal
real
either
real
tonal
real
either
tonal
tonal
real
tonal
tonal
tonal
tonal
real
real

extreme
extreme
extreme
moderate
moderate
slight
extreme
moderate
slight
-

6
14
4
7
13
9
5
15
11
3
-

*
*
-

*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
- 10/12
12
*
-

*
*
*
-

Double
Triple
Triple
Double
-

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No. 20: am
No. 21: Bb
No. 22: bbm
No. 23: B
No. 24: bm

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fughetta
dance
moderno
moderno
dance

3
3
4
4
3

8
11
24
14
9

tonal
tonal
real extreme
tonal
tonal
-

7
7
9
5
4

*
*
*
*

*
- 10/12
*
*
12
*

Double
-

Learning Objects and Concepts

Book I

No. 1: C
Flash
Shockwave

Prelude: streaming audio link

Topics: stretto and expositional architecture (tonal/real)
Key concepts: Prelude and fugue thematically linked; stretto, subject, answer, false subject d
accompanies itself and inherently develops in certain ways.
Interpretation: Korevaar performance notes
Questionnaire: Students can answer ten questions online: English, Espaol.

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Translations: Portugus, Espaol

No. 2: cm
Flash
Shockwave

Topics: figural structure of subject, countersubject, invertible counterpoint, melodic inversio

palindrome
Key concepts: Subject represents an economy of means; two countersubjects require triple c
likened to stairs, functions to connect related keys.
Interpretation: Korevaar performance notes
Questionnaire: Students can answer ten questions online: English, Espaol.
Translations: Portugus, Espaol

No. 3: C#
Flash
Shockwave

Topics: structure of subject, countersubject, melodic

inversion, sequence, enharmonicism, well-tempered, re-exposition
Key concepts: Disjunct subject outlines compound melody; countersubject melodically inve
to engine; enharmonics justified; well-tempered intonation defined; exposition repeated at co
similarity of fugue to Italian concerto grosso.
Interpretation: Korevaar performance notes
Questionnaire: Students can answer ten questions online: [English, Espaol] (or these altern
Translations: Portugus, Espaol

No. 4: c#m
Flash

Topics: Lutheranism, chiasmus, lamento, triple fugue, Bach symbols, retrogradation, melodi
music

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Shockwave

Key concepts: Shortest subject in WTC is chiastic; triple fugue is passion music with which a
authorial inclusion; BACH motive/numbers/monogram
Interpretation: Korevaar performance notes
Questionnaire: Students can answer ten questions online: English, Espaol.
Translations: Portugus, Espaol

No. 5: D
Flash
Shockwave

Topics: structure of subject, French manier

Key concepts: Subject contains two motives, one of which is developed by augmentation; in
music; performance practice of dotted rhythms
Interpretation: Korevaar performance notes
Questionnaire: Students can answer ten questions online.
Translations: Portugus, Espaol

No. 6: dm
Flash
Shockwave

Topics: structure of subject/countersubject, melodic inversion,

rounded binary, Fortspinnung
Key concepts: Subject fragmented into three motives and undergoes inversion for 1st time in
motivically related to subject; fugue likened to big bang; form is rounded binary
Interpretation: Korevaar performance notes
Questionnaire: Students can answer ten questions online.
Translations: Portugus, Espaol

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No. 7: Eb
Flash
Shockwave

Prelude: streaming audio link

Topics: modulating subject, bridge passage, ritornello
Key concepts: Prelude is a double fugue; following fugue has unusual tonal relationship betw
answer; bridge passage receives extraordinary development; ritornello principle is likened to
Questionnaire: Students can answer ten questions online.
Translations: Portugus, Espaol

No. 8: d#/ebm
Flash
Shockwave

Topics: inversion, augmentation, Dostoevsky Brothers K.

Key concepts: Classic example of subject inversion and augmentation; fugue like polyphoni
Karamazov.
Interpretation: Korevaar performance notes
Questionnaire: Students can answer ten questions online.
Translations: Portugus, Espaol

No. 9: E
Flash
Shockwave

Topics: structure of subject/countersubject, melodic inversion, retrogradation, augmentation,

Key concepts: Motives in subject/countersubject analyzed at figural level; unusual variation
atomized figures undergo inversion, retrogradation, augmentation; generative tendency of fu
Questionnaire: Students can answer ten questions online.
Translations: Portugus, Espaol

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No. 10: em
Flash
Shockwave

Topics: counterfugue, double counterpoint, canon, Mbius

Key concepts: Only two-voiced fugue is canon comprised of two parts (fugue/counterfugue)
counterpoint; fugue likened to Mbius strip.
Questionnaire: Students can answer ten questions (or these alternate ten) online.
Translations: Portugus, Espaol

No. 11: F
Flash
Shockwave

Topics: structure of subject, counterexposition, canon, melodic inversion

Key concepts: Subject fragmented into three motives; counterexposition and developments r
voice order; canonic episodes; fugue like building blocks.
Questionnaire: Students can answer ten questions online.
Translations: Portugus, Espaol

No. 12: fm
Flash
Shockwave

Topics: countersubject, chromaticism, wohltemperirt, triple counterpoint

Key concepts: Second most chromatic subject in Book I provides occasion to reference
Werckmeister, Kircher, and Kirnberger.
Questionnaire: Students can answer ten questions online.
Translation: Espaol

No. 13: F#
Flash
Shockwave

Topics: invention, false sequence

Key concepts: Episodes develop material not derived from the subject; like a fugue with thre
Interpretation: Korevaar performance notes.

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Questionnaire: Students can answer ten questions online.

Translation: Espaol

No. 14: f#m

Flash
Shockwave

Topics: countersubject, stile antico, chromaticism, melodic inversion

Key concepts: Chromatic subject is complemented by sighing countersubject in the inverse o
shape; fugue is an amalgam of opposites, stile antico with moderno; discussion weaves them
James Joyce, and Ciardi.
Questionnaire: Students can answer ten questions online.
Translation: Espaol

No. 15: G
Flash
Shockwave

Topics: structure of subject, scale, proportionality

Key concepts: Rhythmic symmetry of the subject; scalar material developed by economical
Palladio villa with ensuing discussion of geometric and harmonic means, Zarlino, and "musi
Questionnaire: Students can answer ten questions online.
Translation: Espaol

No. 16: gm (a)

Flash
Shockwave

Topics: structure of subject/countersubject, melodic inversion, double counterpoint

Key concepts: Countersubject is derived from the subject by melodic inversion and reorderin
likened to fractal.
Questionnaire: Students can answer ten questions online.
Translation: Espaol

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No. 16: gm (b)

Topics: Paul Celan, Imre Kertsz, the Holocaust, Bach's funeral music
Key concepts: fugal purpose, character, and essence. It is the fugue's essence to reveal the li
unlike things. This alternate study of the gm fugue, asks why Paul Celan titled his poem on t
(Todesfuge). It compares Celan's work with the axial fugue of BWV 106, which uses the sam
fugue of WTC Book I. An analogue is suggested of the Jewish- Christian experience, with le
Holocaust applied to contemporary life. Features the paintings and poetry of Holocaust surv

No. 17: Ab
Flash
Shockwave

Topics: Heinrich Schenker, prolongation, fundamental structure

Key concepts: Schenkerian analysis briefly explained and applied to fugue.
Questionnaire: Students can answer ten questions online.
Translation: Espaol

No. 18: g#m

Flash
Shockwave

Topics: structure of subject, tritone, modulation, harmonic cycle, wohltemperirt, tonal functi
Key concepts: Subject's head exposes a melodic tritone above tonic, modulation to dominant
implies tritone between predominant and dominant; tonic- predominant-dominant-tonic cycl
to the Canon super Fa Mi (BWV 1078); explanation of well-tempered intonation; includes I
Variations
Questionnaire: Students can answer ten questions online.
Translation: Espaol

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No. 19: A
Flash
Shockwave

Topics: double fugue, imbrications of motive, Dante, Milton

Key concepts: Double fugue's disjunct subject developed by imbrications of motives; stepwi
etymology of fugue considered in Divine Comedy and Paradise Lost.
Questionnaire: Students can answer ten questions online.
Translation: Espaol

No. 20: am
Flash
Shockwave

Topics: melodic inversion, stretto, canon, counterexposition, design, Gerhardt Niedt, Luthera
S.D.G. and J.N.J.
Key concepts: Longest fugue in WTC I has the most iterations of subject, half inverted; sym
stretti; fugue compared to kinetic sculpture; theological implications of purposefulness and d
after WTC I.
Questionnaire: Students can answer ten questions online.
Translation: Espaol

No. 21: Bb
Flash
Shockwave

Topics: permutation fugue, countersubject, pattern & metapattern

Key concepts: Contrapuntal texture with two countersubjects inverted in a pattern with one a
polyphonic voices; fugue likened to Amish quilt, poetry, and folk art.
Interpretation: Korevaar performance notes included.
Questionnaire: Students can answer ten questions online.
Translation: Espaol

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No. 22: bbm

Flash
Shockwave

Prelude: streaming audio link

Topics: hyperstretto, stile antico counterpoint, Fux
Key concepts: Second of two fugues for five voices in the stile antico; counterpoint likened
Balanchine; Fux Gradus; dramatic leap (9th), largest of any subject; 2nd of three instance of
WTC Book I. Theories about the affective connotation of b-flat minor.
Questionnaire: Students can answer ten questions online.
Translation: Espaol

No. 23: B
Flash
Shockwave

Topics: melodic inversion, tonal and modal variation, invertible counterpoint, Affekt, Monet
Key concepts: Fugue is like Monet series paintings of poplars; techniques that unite compos
Questionnaire: Students can answer ten questions online.
Translation: Espaol

No. 24: bm
Flash
Shockwave

Prelude: streaming audio link

Topics: chromaticism, Lutheranism, chiasmus, Cranach, passion music
Key concepts: Most chromatic of subjects in WTC employs twelve tones; outlines three cros
BACH motive; intertextual associations of passion music with Weimar painting by Lucas Cr
motivic connotations of prelude.
Questionnaire: Students can answer ten questions online.
Translations: Portugus, Espaol

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Book II

Contents

No. 1: C

Topics: structure of subject/countersubject, sequence, Voyager spacecraft, Carl Sagan

Key concepts: subject has two parts each of which can accompany the other; countersubject
the subject's tail; ramifications of fugue's inclusion on Voyager's "golden record"; fugue as t
(as opposed to Sagan's evolutionary analogue).
Translation: Espaol

No. 2: cm

Topics: structure of subject, stretto, augmentation, melodic inversion, retrogradation

Key concepts: Second half of subject retrogrades contour of first half; improvisatory charac
migrating geese.
Translations: Espaol ,

No. 3: C#

Topics: Hofstadter's Gdel Escher Bach, Polanyi

Key concepts: Subject appears in contrary motion, augmentation, and diminution; fugue is u
Gdel's incompleteness theorem; extensive discussion of Gdel, Turing, and Polanyi; fugue
test and undecidable proposition discovered.
Translation: Espaol

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No. 4: c#m

Topics: Metalanguage, Metacognition, Metaphor, and Metamorphosis

Key concepts: Exploration of an interpretive framework, essentially a linguistic methodolog
relationships between unlike things: a butterfly, a fugue, and the novel Pale Fire by Vladim
concludes that all three address the problem of mortality, with the novel and fugue employin
technique to view the "one" from the perspective of the the "other."
Questionnaire: Students can answer ten questions online.

No. 5: D

Topics: Stockhausen, Adorno, Cage, universals, nominalism

Key concepts: Subject borrows rhythm and melody from canzona; "naturally" lends itself to
consumes 3/4 of fugue; plagal exposition; perception of exposition in the "right" key; tonal
music realistic vs. nominalistic; modern commitment to nominalism exemplified in Cage an
of nominalism in Stockhausen and World Trade Center tragedy.

No. 6: dm

Topics: rhetoric, word painting

Key concepts: Bach's conception of fugue as rhetoric; fugal invention; Aristotle's topoi
exposition equivalent to thesis; development involves antithesis; connotations of specific wo
the lamento; Affekt and the relationship of (Prout's) words to music.
Questionnaire: Students can answer ten questions online.

No. 7: Eb

Topics: Nietzsche, Wagner, philosophy, nihilism, St. Matthew Passion

Key concepts: Mendelssohn's revival of the St. Matthew Passion stimulates interest in Bach

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and the Bach Gesellschaft; 19th century reception of Bach as "healing force"; compared wit
nihilism, friendship with Wagner, and 1878 criticism of Bach in Aphorism 149, Human, All
Questionnaire: Students can answer ten questions online.

No. 8: d#m

Topics: Scheibe, Mattheson, rhetoric, word painting

Key concepts: Scheibe's criticism of Bach's music and Mattheson's challenge; Bach respond
mastery of musical rhetorical techniques: gradation, paronomasia, peroration, tmesis, and an
of canzona rhythm, suspiratio, and chiastic motives as word paintings; discussion of rhetori
compared with BWV 4.

No. 9: E

Topics: wave theory, quantum mechanics

Key concept: fugue is like a wave Fugue has three subjects plus a countersubject; counterex
and countersubject separately, in stretto; perceptual challenge of this type of fugue to mainta
motives; fugue likened to waves of all kinds: ocean, sound, light, electromagnetic; review o
Niels Bohr and Werner Heisenberg; Bohr contra Einstein debates; contemporary revolution
Mead's Collective Electrodynamics; fugue as evidentiary of design; the "Uncreated Wave"

No. 10: em

Not yet available

No. 11: F

Topics: Kenneth L. Pike, linguistics, tagmemics

Key concept: The fugue contains elements of a wave, particle, and field. Meaning "happens

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with other people and objects in their environment. In the fugue (an object), meaning is fou
relationships between its "units in context," what the linguist Kenneth Pike called a tagmem
these relationships involve qualities of slot, class, role, and cohesion. In the fugue, these qu
the subject's distribution, pitch-class content, scale-degree function within a key, and tonalit
Additionally, slot, class, role, and cohesion can be mapped, as a group, onto properties of co
distribution, producing what Pike called a tagmemic grid. The tonal grid comprises then the
tagmeme, which interacts with its similarly structured motivic tagmeme and referential tagm
receiving mention without substantive discussion.

No. 12: fm

Topic: reconstruction of Bach's likeness by forensic anthropologists at the University of Dun

Key concept: surreal comparison of fugal composition and analysis to forensic reconstructio
Lamarckian Darwinism. Critique of scientific methods vs. humanistic ways of understandin
and "real."
Questionnaire: Students can answer ten questions online.

No. 13: F#

Topics: time, tempo, perception of time, definition of time

Key concepts: Fugal time is neither circular nor linear, but epochal and spiraled. Meaning in
upon relationships between the past, present, and future. The intensity of conscious cognitiv
in listening to a fugue protracts (and compresses) the passage of time: the fugal future is
in its future.

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No. 14: f#m

Topics: Lutheranism, chiasmus, lamento (Passus duriusculus), triple fugue, Bach symbols, m
passion music
Key concepts: definitive triple fugue of the cycle; two of its subjects borrowed from earlier
each subject receives its own exposition, followed by development with subjects prior to it;
fugues" contains many symbols, both of the composer and his faith.
Translation: Portugus

No. 15: G

Topics: absolute expressionism, modern art, Kandinsky, Schoenberg

Key concepts: Kandinsky's 1914 painting, Fuga, provides occasion to explore the aesthetic
and the historical roots of modern art, both in reaction to impressionism and as a continuatio
aesthetic. Bach's legacy to Schoenberg and Kandinsky can be found in the principle of affec
development and economy of means. The spiritual quest of each artist also finds "expression
and medium.

No. 16: gm

Topics: Grand Canyon, geology, double counterpoint

Key concepts: The fugue's subject and countersubject are heard in its various "voices." This
concerned with how the composer notates fugal voices so that they can be aurally and visua
each other. Analogy is made to the sedimentary layers of Grand Canyon, Arizona, with man
geology and history. This particular fugue is famous for its double counterpoint at the octav
structures that are illustrated and explained.

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Questionnaire: Students can answer ten questions online.

No. 17: Ab

Topics: Salmon migration, ecosystems, counterpoint, potentiality vs. actuality

Key concepts: Counterpoint involves an interdependence of musical ideas that is likened to
species within ecosystems. With this fugue, in particular, the sprightly subject seems to be i
the somber countersubject (a lament). The purpose of the analysis is to show how one does
but how they both emanate, harmonious and on equal footing, from a more fundamental tho
Questionnaire: Students can answer ten questions online.

No. 18: g#m

Topics: Bach's Bible, Calov, Frederick the Great, Musical Offering, Enlightenment
Key concept: Bach's commitment to the preaching purpose of music. The narrative begins w
jail, by some counts beginning his composition of the Well-Tempered Clavier, and ends with
with Frederick the Great. The discussion is threaded with references to Bach's many underli
in the Calov Bible. His Lutheran understanding of music's purpose is contrasted with the
Frederick, as well as the philosophical assumptions of Aufklrung and what would come to
Enlightenment.

No. 19: A

Topics: Architecture, Christopher Alexander, Milton Babbitt

Key concepts: Art = beauty, beauty = life, life = relationships. This aesthetic philosophy, art
professor of architecture in The Nature of Order, is applied to the fugue and contrasted with
article, "Who Cares if You Listen?"

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No. 20: am

Topics: Humor in music, self-similar structures, matryoshka doll

Key concepts: Dr. Ledbetter offers three reasons why this fugue should be interpreted as par
there are some serious ideas here, mainly in the self-similar contours and rhythms of the sub
The fugue likened to a Russian "babushka" doll.

No. 21: Bb

Topics: Invariance, Permutation, Syllogism, Plato and Meno's Square

Key concepts: The brilliance of Bach's fugues lies in his understanding of process and inven
fugues" that mimic form, Bach understood that the fugal complex must have the capacity to
from old. In this fugue Bach interrupted a process of permutation. The analysis asks why, co
analogies from astronomy, philosophy, and the words of C. S. Lewis

No. 22: bbm

Topics: Schweitzer, Sartre, Nietzsche

Key concepts: This fugue, the most logocentric of the cycle, provides an opportunity to com
atheistic existentialism, as exemplified in the writings of Bach biographer/editor/performer,
his cousin, Jean-Paul Sartre. Thematically, the analysis focuses on the Stoic concept of
derivatives. The logos of Bach's counterpoint demands recognition as purposeful and meani
display of contrapuntal process.
Questionnaire: Students can answer ten questions online.

No. 23: B

Topics: Triads, Tonality, Trinitarianism

Key concepts: Bach's music is the way it is because other things are the way they are. The p

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proportional to the power of those other things. This fugue gives opportunity to consider ho
has shaped musical structure. There is a brief discussion of the changing attitudes toward m
purpose during Bach's lifetime. This is contextualized in the dispute between Buttstett (repre
tradition) and Mattheson (representing the Enlightenment view).

No. 24: bm

Topics: Dance, Relationship of the bm fugues

Key concepts: This fugue is a dance, a passepied. The analysis considers Bach's use of the p
BWV 49, and BWV 202, the "Wedding" Cantata, and concludes that, in his liturgical music
passepied with the Wedding Supper of the Lamb. Associations between the bm fugues of Bo
developed with the conclusion that the former represents the cross and the latter the crown.
to be Bach's musical expression of Hebrews 12:2 -- "Who for the joy set before him" [book
[book 1]. The last 14 measures contain the WTC's only instance of Bach's cross and crown m
and ascending chromatics) in simultaneity. This follows Bach's 2nd quotation of the gefange
from the St. Matthew Passion: counterpoint that he had earlier quoted in the bm prelude and

15/07/2015 04:41 p.m.