User talk:WillisBodine/sandbox

I PROPOSE TO REMOVE THE ARABIC NUMERALS FROM THIS LIST, LEAVING ONLY ROMAN CONTRAPUNCTUS NUMERALS AND THE TITLES OF THE CANONS AND THE FINAL FUGUE. I BELIEVE THE ARABIC NUMERALS ARE BOTH REDUNDANT AND CONFUSING, SINCE THE SECTION TITALE ALREADY SAYS THAT THE COMPONENTS ARE IN THE 1751 PRINT ORDER> THIS IS HOW IT WOULD LOOK. COMMENTS??

The work divides into seven groups, according to each piece's prevailing contrapuntal device; in both editions, these groups and their respective components are generally ordered to increase in complexity. In the order in which they occur in the printed edition of 1751 (without the aforementioned works of spurious inclusion), the groups, and their components are as follows.

Simple fugues: Contrapunctus I: 4-voice fugue on principal subject, play principal subject (help·info) or  play whole contrapunctus (help·info) Contrapunctus II: 4-voice fugue on principal subject, accompanied by a 'French' style dotted rhythm play principal subject (help·info) Contrapunctus III: 4-voice fugue on principal subject in inversion, employing intense chromaticism, play principal subject (help·info) Contrapunctus IV: 4-voice fugue on principal subject in inversion, employing counter-subjects, play principal subject (help·info)

Counter-fugues, in which the subject is used simultaneously in regular, inverted, augmented, and diminished forms: Contrapunctus V: Has many stretto entries, as do Contrapuncti VI and VII, play principal subject (help·info) Contrapunctus VI, a 4 in Stylo Francese: This adds both forms of the theme in diminution,[4] (halving note lengths), with little rising and descending clusters of semiquavers in one voice answered or punctuated by similar groups in demisemiquavers in another, against sustained notes in the accompanying voices. The dotted rhythm, enhanced by these little rising and descending groups, suggests what is called "French style" in Bach's day, hence the name Stylo Francese.[5] play principal subject (help·info) Contrapunctus VII, a 4 per Augmentationem et Diminutionem: Uses augmented (doubling all note lengths) and diminished versions of the main subject and its inversion.

Double and triple fugues, employing two and three subjects respectively: Contrapunctus VIII, a 3: Triple fugue, with three subjects, having independent expositions, play principal subject (help·info) Contrapunctus IX, a 4 alla Duodecima: Double fugue, with two subjects occurring dependently, and in invertible counterpoint at the 12th, play principal subject (help·info) Contrapunctus X, a 4 alla Decima: Double fugue, with two subjects occurring dependently, and in invertible counterpoint at the 10th, play principal subject (help·info) Contrapunctus XI, a 4: Triple fugue, employing the three subjects of Contrapunctus VIII in inversion, play subject (help·info)

Mirror fugues, in which a piece is notated once and then with voices and counterpoint completely inverted, without violating contrapuntal rules or musicality: Contrapunctus XII, a 4 Contrapunctus XIII, a 3

Canons, labeled by interval and technique: Canon per Augmentationem in Contrario Motu: Canon in which the following voice is both inverted and augmented. Canon alla Ottava: Canon in imitation at the octave Canon alla Decima in Contrapunto alla Terza: Canon in imitation at the tenth Canon alla Duodecima in Contrapunto alla Quinta: Canon in imitation at the twelfth

The Unfinished Fugue: Fuga a 3 Soggetti ("Contrapunctus XIV"): 4-voice triple fugue (not completed, but likely to have become a quadruple fugue: see below), the third subject of which is based on the BACH motif, B♭ – A – C – B♮ ('H' in German letter notation). play motif (help·info).