Additional comments and errata are always welcome. Write to me at: firstname.lastname@example.org
Music Analysis 16 (1997), p. 255.
· p. 265: the print failed to include the staff lines in Ex. 3. It should be clear that the starting pitch in the treble is A and in the bass D. A corrected version will appear in the upcoming issue of Music Analysis (Volume 17).
Available from Canadian Computer Printing,
First printing: (these errors are corrected on later prints)
· p. 1, m. 12, second staff: second note should be g, not e.
· p. 10, m. 44: both e-flats should be f-flats.
· p. 11, m. 67: both b-flats should be c-flats.
· p. 11, m. 69: both b-flats should be c-flats.
· p. 11, m. 73: final chord in l.h. should have b-flat, not c.
· p. 12, m. 6: first note in upper part is tied from previous measure.
· p. 14, m.24: bass b-flats should be tied.
The Langloz manuscript
On page 16 the beginning of the second system gives 5 as the first bar of it. It should be 6.
In fugue 1 (page 35) the reference to a sequential progression starting at bar 16 should refer to bar 18.
(with thanks to Professor Ewald Demeyere, Bruxelles)
Pendragon Press, 1995.
Music and Letters
From Notes, Septermber, 1996.
· Analyzing Fugue explores the relationship between the polyphonic procedures and tonal structures of fugues. . . . Despite the title, Renwick's book offers a penetrating theory of fugue, with telling observations for theorists and composers alike. . . . His intelligent and easily comprehensible emphasis on tonal structures, without ignoring the role of the subjects, is an important comtribution to the understanding of fugue. -- Heather Platt, Ball State University
From Music Analysis, 1997.
· "Renwick's work in this area is far more comprehensive than that of earlier writers and the first to be carried out so thoroughly in terms of Schenkerian theory. . . . Analyzing Fugue is a thoughtful and deeply probing work that amply repays the effort of reading it. . . . Considering the vast bibliography on fugue, and on Das wholtemperirte Clavier in particular, it is remarkable that Renwick has found so many new and insightful things to say. His ideas, beyond focussing on the music in terms of structure, are offered as an attempt to come closer to the mind that produced it. The reader cannot but come away with deepened awe before Bach's astounding creative power. -- Charles Burkhart, CUNY
· I sincerely hope that much of his research eventually filters down to counterpoint classes at the collegiate level and to future counterpoint texts. I, for one, intend to make valuable use of it. . . . I would like to commend Renwick on his consummate and meticulous scholarship. His knowledge of both the existing literature in this field and the fugal repertory in general is extensive. This expertise permits him to speak from a position of authority on the subject. -- Robert Gauldin, The Eastman School of Music
· Praise is due for the book's superb layout, for its very useful
bibliography on fugue and eighteenth-century composition, and for the clarity
of its numerous musical examples and graphic analyses. This significant
contribution to the study of fugue also offers a variety of new and useful
theoretical tools. Renwick's theory of repetitive
patterning enables theorists of varying Schenkerian
experience to proceed gradually from the simple structural implications of a
subject to the large-scale formal design of a fugue. More importantly, the
theory establishes a firm compatibility between Schenkerian
concepts of structure and the techniques and materials of fugue. -- Carmen Sabourin, University of Ottawa
Errata for Analyzing Fugue>
an interactive CD-ROM program in music analysis (with David Walker). (based on my translation of Heinrich Schenker, "Brahms: Variations and Fugue on a Theme of Handel, Op. 24," Der Tonwille, IV Jahrgang, Heft 2/3 (Heft 8/9 der Gesamtfolge) (April-September, 1924): 3-46, with added introduction, commentary, notes, MIDI and CD-ROM performances, and glossary.) (Marketed directly through McMaster University, 1993).