Analyzing Fugue: A Schenkerian Approach
The analytical techniques that Heinrich Schenker developed have become increasingly dominant in the analysis of tonal music, and have provided a rich and powerful means of understanding the complexities of great masterworks of the Western tradition. Schenker's method is based on two cardinal concepts – a hierarchy of tones grouped into structural levels, and a recognition of the importance of strict voice-leading at all structural levels.
In Analyzing Fugue – A Schenkerian Approach, author William Renwick utilises Schenkerian techniques to explore the relationship between imitative counterpoint and voice-leading in fugue. He shows that the art of fugal composition as practiced by masters such as Bach and Handel involves a remarkable degree of systematic structural patterning that is not evident on the surface of the music.
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22 in B-flat analysis answer paradigm arpeggiation Art of Fugue authentic cadence B-flat minor Bach Bach's Fugue Baroque basic basis bass beginning canon Cantata BWV chapter complete contrapuntal countersubject descending fifth episode exposition pattern 1-3 F-sharp major figured bass Free Composition fugal fugal exposition Fugue 22 fugue of WTC fugue subjects fundamental line G minor Handel harmonic head tone illustrates imitative initial arpeggiation initial ascent initial tonic invertible counterpoint J. S. Bach ject leading-tone major BWV major fugue major WTC melodic middleground minor BWV minor fugue minor WTC modulating subjects motivic notes octave paradigm 2a partimento fugue Prelude prolongation provides real answer repetition Schenker's Schenkerian secondary dominants sequence pattern sequential shows simple stepwise stretto subject and answer subject paradigm third entry thoroughbass tion tonal answer tonal structure tonic chord underlying upper neighbor upper voice voice-leading voice-leading complex voice-leading matrix WTCI