Index of Analyzed Fugues

Index of Analyzed Fugues 26/03/2017, 07*38
Canons & Fugues Well-Tempered Clavier
Well-Tempered Clavier:
Index of Contrapuntal Operations,
Learning Objects, and Concepts
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Technical note: The fugues of Book 1 (left column) have been migrated to Flash, and Book 2 is 2/3 done.
The original project was made in Adobe Director, which required Shockwave player to view online.
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Contrapuntal Operations
Subject Tonal/ Counter 2nd Mel Inv Double
Book I Style Voices Entries Real Stretti Subject Ctr Inv Ctpt Aug Triple BACH Crown
No. 1: C verset 4 24 either extreme - - - - - - - -

No. 2: cm demonst. 3 8 tonal - 6 * * * - - - -
No. 3: C# moderno 3 12 tonal - 11 - * * - - - -
No. 4: c#m passion 5 31 real moderate - - * * - Triple * *
No. 5: D demonst. 4 11 tonal moderate - - - - * - - -
No. 6: dm dance 3 17 real moderate 5 - * * - - - -
No. 7: Eb antico 3 9 tonal - 7 - - * - - - -
No. 8: d#/ebm ricercar 3 36 tonal extreme - - * - * - - -
No. 9: E moderno 3 10 real - 9 - - - - - - -
No. 10: em canon 2 9 real - 10 - - * - - - -
No. 11: F dance 3 13 tonal moderate 4 - * - - - - -
No. 12: fm verset 4 10 tonal - 8 * - * - - - -
No. 13: F# moderno 3 8 tonal - 11 - * * - - - -
No. 14: f#m antico 4 9 real - 7 - * * - - - *
No. 15: G concerto 3 14 real moderate - - * - - - - -
No. 16: gm (a) verset 3 17 tonal moderate 12 - - * - - - -
No. 17: Ab verset 4 15 tonal - - - - - - - - -
No. 18: g#m verset 4 12 tonal - 7 * - * - - * -
No. 19: A verset 3 14 tonal moderate - - - * - Double - -
No. 20: am competit. 4 38 real extreme - - * - - - - -
No. 21: Bb character 3 8 tonal - 7 * * * - - - -
No. 22: bbm antico 5 22 tonal extreme - - - - - - * -
No. 23: B verset? 4 12 tonal moderate 5 - * * - - - -
No. 24: bm passion 4 13 tonal - 11 - * * - - * -
Subject Tonal/ Counter 2nd Mel Inv Double

Book II Style Voices Entries Real Stretti Subject Ctr Inv Ctpt Aug Triple BACH Crown
No. 1: C Flash character 3 8 tonal - 6 - - * - - - -

No. 2: cm Flash verset 4 23 tonal extreme - - * - * - - -
No. 3: C# Flash verset 3 45 tonal extreme 14 - * - * - - -
No. 4: c#m dance 3 15 real - - - * * - Double - -
No. 5: D Flash verset 4 25 either extreme - - - - - - - -
http://jan.ucc.nau.edu/~tas3/wtc/ Page 1 of 7
No. 6: dm Flash improv. 3 9 real moderate 4 - * - - - - -

No. 7: Eb Flash ricercar 4 11 tonal moderate - - - * - - - -
No. 8: d#m canzona 4 16 real slight 7 - * * - - - *
Flash antico 4 38 either extreme 13 - * * - Triple - -
No. 9: E Flash partimento 3 7 tonal - - - - - - - - -
No. 11: F dance 3 9 tonal - - - - - - - - -
No. 12: fm Flash galant 3 11 real - 9 * - * * - - -
No. 13: F# passion 3 30 tonal - - - * * - Triple - *
No. 14: f#m partimento 3 6 tonal - 5 * - * - - - -
Flash moderno 4 17 tonal moderate 15 - - 10/12 - - - -
No. 15: G Flash verset 4 15 tonal slight 11 - - 12 - - * -
No. 16: gm verset 3 12 real - 3 - - * - Double - *
Flash chorale 3 10 real - - - - - - - * *
No. 17: Ab fughetta 3 8 tonal - 7 - - * - - - -
No. 18: g#m dance 3 11 tonal - 7 * - 10/12 - - - -
No. 19: A Flash moderno 4 24 real extreme 9 * * * - - - -
No. 20: am moderno 4 14 tonal - 5 * - 12 - Double - -
Flash dance 3 9 tonal - 4 * - * - - * *
No. 21: Bb Flash
No. 22: bbm
Flash
No. 23: B
No. 24: bm
Flash
Learning Objects and Concepts

Book I
Prelude: streaming audio link
Topics: stretto and expositional architecture (tonal/real)
No. 1: C Key concepts: Prelude and fugue thematically linked; stretto, subject, answer, false subject defined; subject
Flash accompanies itself and inherently develops in certain ways.
Shockwave Interpretation: Korevaar performance notes
Questionnaire: Students can answer ten questions online: English, Espaol.
Translations: Portugus, Espaol
Topics: figural structure of subject, countersubject, invertible counterpoint, melodic inversion, sequence,
palindrome
No. 2: cm Key concepts: Subject represents an economy of means; two countersubjects require triple counterpoint; sequence
Flash likened to stairs, functions to connect related keys.
Topics: structure of subject, countersubject, melodic
inversion, sequence, enharmonicism, well-tempered, re-exposition
Key concepts: Disjunct subject outlines compound melody; countersubject melodically inverted; sequence likened
No. 3: C#
to engine; enharmonics justified; well-tempered intonation defined; exposition repeated at conclusion of fugue;
Flash
similarity of fugue to Italian concerto grosso.
Shockwave
Interpretation: Korevaar performance notes
Questionnaire: Students can answer ten questions online: [English, Espaol] (or these alternate ten in English).
Topics: Lutheranism, chiasmus, lamento, triple fugue, Bach symbols, retrogradation, melodic inversion, passion
music
No. 4: c#m Key concepts: Shortest subject in WTC is chiastic; triple fugue is passion music with which artist identified by
Flash authorial inclusion; BACH motive/numbers/monogram
Topics: structure of subject, French manier
No. 5: D Key concepts: Subject contains two motives, one of which is developed by augmentation; influence of French
Flash music; performance practice of dotted rhythms
Questionnaire: Students can answer ten questions online.
Topics: structure of subject/countersubject, melodic inversion,
rounded binary, Fortspinnung
No. 6: dm Key concepts: Subject fragmented into three motives and undergoes inversion for 1st time in WTC; countersubject
Flash motivically related to subject; fugue likened to big bang; form is rounded binary
Topics: modulating subject, bridge passage, ritornello
No. 7: Eb
Key concepts: Prelude is a double fugue; following fugue has unusual tonal relationship between subject and
Flash
answer; bridge passage receives extraordinary development; ritornello principle is likened to boomerang.
Shockwave
Topics: inversion, augmentation, Dostoevsky Brothers K.
Key concepts: Classic example of subject inversion and augmentation; fugue like polyphonic novel, Brothers
No. 8: d#/ebm
Karamazov.
Flash
Interpretation: Korevaar performance notes
Shockwave
Topics: structure of subject/countersubject, melodic inversion, retrogradation, augmentation, DNA
No. 9: E Key concepts: Motives in subject/countersubject analyzed at figural level; unusual variation of countersubject;
Flash atomized figures undergo inversion, retrogradation, augmentation; generative tendency of fugue likened to DNA.
Shockwave Questionnaire: Students can answer ten questions online.
Topics: counterfugue, double counterpoint, canon, Mbius
No. 10: em Key concepts: Only two-voiced fugue is canon comprised of two parts (fugue/counterfugue) in double
Flash counterpoint; fugue likened to Mbius strip.
Shockwave Questionnaire: Students can answer ten questions (or these alternate ten) online.
Topics: structure of subject, counterexposition, canon, melodic inversion
No. 11: F Key concepts: Subject fragmented into three motives; counterexposition and developments repeat structures in new
Flash voice order; canonic episodes; fugue like building blocks.
Topics: countersubject, chromaticism, wohltemperirt, triple counterpoint
No. 12: fm Key concepts: Second most chromatic subject in Book I provides occasion to reference wohltemperirt,
Flash Werckmeister, Kircher, and Kirnberger.
Translation: Espaol
Topics: invention, false sequence
No. 13: F# Key concepts: Episodes develop material not derived from the subject; like a fugue with three-part invention.
Flash Interpretation: Korevaar performance notes.
Translation: Espaol
Topics: countersubject, stile antico, chromaticism, melodic inversion
Key concepts: Chromatic subject is complemented by sighing countersubject in the inverse of the subject's arched
No. 14: f#m
shape; fugue is an amalgam of opposites, stile antico with moderno; discussion weaves themes from O'Brien on
Flash
James Joyce, and Ciardi.
Shockwave
Translation: Espaol
Topics: structure of subject, scale, proportionality
No. 15: G Key concepts: Rhythmic symmetry of the subject; scalar material developed by economical means; fugue likened
Flash to Palladio villa with ensuing discussion of geometric and harmonic means, Zarlino, and "music of the spheres."
Translation: Espaol
Topics: structure of subject/countersubject, melodic inversion, double counterpoint

No. 16: gm (a) Key concepts: Countersubject is derived from the subject by melodic inversion and reordering of head/tail; fugue
Flash likened to fractal.
Translation: Espaol
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 likeness of seemingly
unlike things. This alternate study of the gm fugue, asks why Paul Celan titled his poem on the Holocaust a "fugue"
No. 16: gm (b)
(Todesfuge). It compares Celan's work with the axial fugue of BWV 106, which uses the same subject as the gm
fugue of WTC Book I. An analogue is suggested of the Jewish- Christian experience, with lessons of the fugue and
Holocaust applied to contemporary life. Features the paintings and poetry of Holocaust survivor, Tamara Deuel.
Topics: Heinrich Schenker, prolongation, fundamental structure
No. 17: Ab
Key concepts: Schenkerian analysis briefly explained and applied to fugue.
Flash
Shockwave
Translation: Espaol
Topics: structure of subject, tritone, modulation, harmonic cycle, wohltemperirt, tonal functions
Key concepts: Subject's head exposes a melodic tritone above tonic, modulation to dominant results; subject's tail
No. 18: g#m implies tritone between predominant and dominant; tonic- predominant-dominant-tonic cycle explained and related
Flash to the Canon super Fa Mi (BWV 1078); explanation of well-tempered intonation; includes Index of Harmonic
Shockwave Variations
Translation: Espaol
Topics: double fugue, imbrications of motive, Dante, Milton
No. 19: A Key concepts: Double fugue's disjunct subject developed by imbrications of motives; stepwise 2nd subject flies;
Flash etymology of fugue considered in Divine Comedy and Paradise Lost.
Translation: Espaol
Topics: melodic inversion, stretto, canon, counterexposition, design, Gerhardt Niedt, Lutheranism, Bach symbols,
S.D.G. and J.N.J.
No. 20: am Key concepts: Longest fugue in WTC I has the most iterations of subject, half inverted; symbolism of 14 canonic
Flash stretti; fugue compared to kinetic sculpture; theological implications of purposefulness and design; Soli Deo Gloria
Shockwave after WTC I.
Translation: Espaol
Topics: permutation fugue, countersubject, pattern & metapattern
Key concepts: Contrapuntal texture with two countersubjects inverted in a pattern with one anomaly; rotation of
No. 21: Bb
polyphonic voices; fugue likened to Amish quilt, poetry, and folk art.
Flash
Interpretation: Korevaar performance notes included.
Shockwave
Translation: Espaol
Topics: hyperstretto, stile antico counterpoint, Fux
No. 22: bbm Key concepts: Second of two fugues for five voices in the stile antico; counterpoint likened to choreography by
Flash Balanchine; Fux Gradus; dramatic leap (9th), largest of any subject; 2nd of three instance of the BACH motive in
Shockwave WTC Book I. Theories about the affective connotation of b-flat minor.
Translation: Espaol
Topics: melodic inversion, tonal and modal variation, invertible counterpoint, Affekt, Monet
No. 23: B
Key concepts: Fugue is like Monet series paintings of poplars; techniques that unite composition and painting.
Flash
Shockwave
Translation: Espaol
Topics: chromaticism, Lutheranism, chiasmus, Cranach, passion music
No. 24: bm Key concepts: Most chromatic of subjects in WTC employs twelve tones; outlines three crosses; 25 iterations of
Flash BACH motive; intertextual associations of passion music with Weimar painting by Lucas Cranach the Elder;
Shockwave motivic connotations of prelude.
Book II Contents
Topics: structure of subject/countersubject, sequence, Voyager spacecraft, Carl Sagan
No. 1: C Key concepts: subject has two parts each of which can accompany the other; countersubject continues motives of
Flash the subject's tail; ramifications of fugue's inclusion on Voyager's "golden record"; fugue as the product of design
Shockwave (as opposed to Sagan's evolutionary analogue).
Translation: Espaol
Topics: structure of subject, stretto, augmentation, melodic inversion, retrogradation
No. 1: C Key concepts: Second half of subject retrogrades contour of first half; improvisatory character of fugue likened to
Flash migrating geese.
Shockwave
Translations: Espaol ,
Topics: Hofstadter's Gdel Escher Bach, Polanyi
No. 3: C# Key concepts: Subject appears in contrary motion, augmentation, and diminution; fugue is used to illustrate
Flash Gdel's incompleteness theorem; extensive discussion of Gdel, Turing, and Polanyi; fugue subjected to Turing
Shockwave test and undecidable proposition discovered.
Translation: Espaol
Topics: Metalanguage, Metacognition, Metaphor, and Metamorphosis
Key concepts: Exploration of an interpretive framework, essentially a linguistic methodology, for revealing
relationships between unlike things: a butterfly, a fugue, and the novel Pale Fire by Vladimir Nabokov. The
No. 4: c#m
author concludes that all three address the problem of mortality, with the novel and fugue employing a self-
reflexive technique to view the "one" from the perspective of the the "other."
Topic: (Flash version) T. S. Eliot's Four Quartets
Topics: (Shockwave version) Stockhausen, Adorno, Cage, universals, nominalism
No. 5: D
Key concepts: Subject borrows rhythm and melody from canzona; "naturally" lends itself to stretto; tail motive
Flash
consumes 3/4 of fugue; plagal exposition; perception of exposition in the "right" key; tonal "perspective"; Bach's
Shockwave
music realistic vs. nominalistic; modern commitment to nominalism exemplified in Cage and Adorno; conclusion
of nominalism in Stockhausen and World Trade Center tragedy.
Topics: rhetoric, word painting
No. 6: dm Key concepts: Bach's conception of fugue as rhetoric; fugal invention; Aristotle's topoi, Mattheson's loci topici;
Flash exposition equivalent to thesis; development involves antithesis; connotations of specific word paintings including
Shockwave the lamento; Affekt and the relationship of (Prout's) words to music.
Topics: Nietzsche, Wagner, philosophy, nihilism, St. Matthew Passion
No. 7: Eb
Key concepts: Mendelssohn's revival of the St. Matthew Passion stimulates interest in Bach's music; Schumann
Flash
and the Bach Gesellschaft; 19th century reception of Bach as "healing force"; compared with Wagner; Nietzsche's
Shockwave
nihilism, friendship with Wagner, and 1878 criticism of Bach in Aphorism 149, Human, All-Too-Human.
Topics: Scheibe, Mattheson, rhetoric, word painting
No. 8: d#m Key concepts: Scheibe's criticism of Bach's music and Mattheson's challenge; Bach responds by demonstrating
Flash mastery of musical rhetorical techniques: gradation, paronomasia, peroration, tmesis, and antithesis; implications
Shockwave of canzona rhythm, suspiratio, and chiastic motives as word paintings; discussion of rhetorical "meaning"; fugue
compared with BWV 4.
Topics: wave theory, quantum mechanics
Key concept: fugue is like a wave Fugue has three subjects plus a countersubject; counterexposition treats subject
No. 9: E
and countersubject separately, in stretto; perceptual challenge of this type of fugue to maintain distinction between
Flash
motives; fugue likened to waves of all kinds: ocean, sound, light, electromagnetic; review of quantum physics
Shockwave
from Niels Bohr and Werner Heisenberg; Bohr contra Einstein debates; contemporary revolution in physics;
Carver Mead's Collective Electrodynamics; fugue as evidentiary of design; the "Uncreated Wave"
No. 10: em Not yet available
Topics: Kenneth L. Pike, linguistics, tagmemics
Key concept: The fugue contains elements of a wave, particle, and field. Meaning "happens" when people interact
with other people and objects in their environment. In the fugue (an object), meaning is found in the perception of
relationships between its "units in context," what the linguist Kenneth Pike called a tagmeme. In Pike's
conception, these relationships involve qualities of slot, class, role, and cohesion. In the fugue, these qualities are
No. 11: F
expressed in the subject's distribution, pitch-class content, scale-degree function within a key, and tonality as
cohesive force. Additionally, slot, class, role, and cohesion can be mapped, as a group, onto properties of contrast,
variation, and distribution, producing what Pike called a tagmemic grid. The tonal grid comprises then the fugue's
tonal tagmeme, which interacts with its similarly structured motivic tagmeme and referential tagmeme, these latter
receiving mention without substantive discussion.
Topic: reconstruction of Bach's likeness by forensic anthropologists at the University of Dundee, Scotland
No. 12: fm Key concept: surreal comparison of fugal composition and analysis to forensic reconstruction, with analogies to
Flash Lamarckian Darwinism. Critique of scientific methods vs. humanistic ways of understanding what is "authentic"
Shockwave and "real."
Topics: time, tempo, perception of time, definition of time
Key concepts: Fugal time is neither circular nor linear, but epochal and spiraled. Meaning in the fugue is dependent
No. 13: F# upon relationships between the past, present, and future. The intensity of conscious cognitive processing required
in listening to a fugue protracts (and compresses) the passage of time: the fugal future is in its past, and its past is
in its future.
Topics: Lutheranism, chiasmus, lamento (Passus duriusculus), triple fugue, Bach symbols, melodic inversion,
passion music
No. 14: f#m
Key concepts: definitive triple fugue of the cycle; two of its subjects borrowed from earlier works in the WTC;
Flash
each subject receives its own exposition, followed by development with subjects prior to it; third of three "passion
Shockwave
fugues" contains many symbols, both of the composer and his faith.
Translation: Portugus
Topics: absolute expressionism, modern art, Kandinsky, Schoenberg
Key concepts: Kandinsky's 1914 painting, Fuga, provides occasion to explore the aesthetic ideal of expressionism
No. 15: G
and the historical roots of modern art, both in reaction to impressionism and as a continuation of the western
Flash
aesthetic. Bach's legacy to Schoenberg and Kandinsky can be found in the principle of affect coupled with motivic
Shockwave
development and economy of means. The spiritual quest of each artist also finds "expression" in his unique style
and medium.
Topics: Grand Canyon, geology, double counterpoint
Key concepts: The fugue's subject and countersubject are heard in its various "voices." This analysis is primarily
No. 16: gm concerned with how the composer notates fugal voices so that they can be aurally and visually distinguished from
Flash each other. Analogy is made to the sedimentary layers of Grand Canyon, Arizona, with many allusions to its
Shockwave geology and history. This particular fugue is famous for its double counterpoint at the octave, 10th, and 12th--
structures that are illustrated and explained.
Topics: Salmon migration, ecosystems, counterpoint, potentiality vs. actuality
Key concepts: Counterpoint involves an interdependence of musical ideas that is likened to the relationship of
species within ecosystems. With this fugue, in particular, the sprightly subject seems to be intuitively at odds with
No. 17: Ab
the somber countersubject (a lament). The purpose of the analysis is to show how one does not generate the other,
but how they both emanate, harmonious and on equal footing, from a more fundamental thought.
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 with Bach in the
Weimar jail, by some counts beginning his composition of the Well-Tempered Clavier, and ends with his 1747
No. 18: g#m encounter with Frederick the Great. The discussion is threaded with references to Bach's many underlinings and
annotations in the Calov Bible. His Lutheran understanding of music's purpose is contrasted with the galant style
preferred by Frederick, as well as the philosophical assumptions of Aufklrung and what would come to be known
as the Enlightenment.
Topics: Architecture, Christopher Alexander, Milton Babbitt
Key concepts: In the Shockwave version the topic is: Art = beauty, beauty = life, life = relationships. This aesthetic
No. 19: A
philosophy, articulated by Berkeley professor of architecture in The Nature of Order, is applied to the fugue and
Flash
contrasted with Milton Babbitt's article, "Who Cares if You Listen?"
Shockwave
In the Flash version the topic is: the derivation of the fugue's subject from the chorale Allein Gott in der Hh and
its implications.
Topics: Humor in music, self-similar structures, matryoshka doll
No. 20: am
Key concepts: Dr. Ledbetter offers three reasons why this fugue should be interpreted as parody. Nevertheless,
Flash
there are some serious ideas here, mainly in the self-similar contours and rhythms of the subject's head and tail.
Shockwave
The fugue likened to a Russian "babushka" doll.
Topics: Invariance, Permutation, Syllogism, Plato and Meno's Square
No. 21: Bb Key concepts: The brilliance of Bach's fugues lies in his understanding of process and invention. Unlike "book
Flash fugues" that mimic form, Bach understood that the fugal complex must have the capacity to generate new material
Shockwave from old. In this fugue Bach interrupted a process of permutation. The analysis asks why, concluding with
analogies from astronomy, philosophy, and the words of C. S. Lewis
Topics: Schweitzer, Sartre, Nietzsche
Key concepts: This fugue, the most logocentric of the cycle, provides an opportunity to compare theistic and
No. 22: bbm atheistic existentialism, as exemplified in the writings of Bach biographer/editor/performer, Albert Schweitzer, and
Flash his cousin, Jean-Paul Sartre. Thematically, the analysis focuses on the Stoic concept of logos and its etymological
Shockwave derivatives. The logos of Bach's counterpoint demands recognition as purposeful and meaningful, not merely a
display of contrapuntal process.
Topics: Triads, Tonality, Trinitarianism
Key concepts: Bach's music is the way it is because other things are the way they are. The power of Bach's music
is proportional to the power of those other things. This fugue gives opportunity to consider how Trinitarian dogma
No. 23: B
has shaped musical structure. There is a brief discussion of the changing attitudes toward musical meaning and
purpose during Bach's lifetime. This is contextualized in the dispute between Buttstett (representing the cantoral
tradition) and Mattheson (representing the Enlightenment view).
Topics: Dance, Relationship of the bm fugues
Key concepts: This fugue is a dance, a passepied. The analysis considers Bach's use of the passepied in BWV 22,
BWV 49, and BWV 202, the "Wedding" Cantata, and concludes that, in his liturgical music, Bach associated the
No. 24: bm passepied with the Wedding Supper of the Lamb. Associations between the bm fugues of Books 1 & 2 are
Flash developed with the conclusion that the former represents the cross and the latter the crown. The pair are theorized
Shockwave to be Bach's musical expression of Hebrews 12:2 -- "Who for the joy set before him" [book 2] "endured the cross"
[book 1]. The last 14 measures contain the WTC's only instance of Bach's cross and crown motives (descending
and ascending chromatics) in simultaneity. This follows Bach's 2nd quotation of the gefangen ("captured") motive
from the St. Matthew Passion: counterpoint that he had earlier quoted in the bm prelude and fugue of Book 1.

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Index of Analyzed Fugues 26/03/2017, 07*38

Canons & Fugues Well-Tempered Clavier

No. 1: C verset 4 24 either extreme - - - - - - - -

Subject Tonal/ Counter 2nd Mel Inv Double

No. 1: C Flash character 3 8 tonal - 6 - - * - - - -

No. 6: dm Flash improv. 3 9 real moderate 4 - * - - - - -

Learning Objects and Concepts

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

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