Bach chorales typically serve as the model for both analysis and voice-leading exercises. In this paper, we argue that instruction in harmony and voice leading includes rhythm and form as integral aspects of the curriculum, from the earliest stages. We use small, complete pieces to achieve this integration. These pieces clearly illustrate basic harmony and voice-leading principles, as well as the intimately related aspects of rhythm and form. The composer is to continue imitating and counterpointing small segments until the composition is finished.
Canonic threads are structures which provide large-scale organization for certain canons.
Each canon has a different type of organizing thread, all of which folow familiar ordering techniques. But despite this excellent body of work, there are still several aspects of displacement which are not entirely understood. This paper addresses several of these questions by suggesting that we treat displacement as a Schenkerian transformation. The paper begins by establishing some of the theoretic guidelines governing Schenker's treatment of this operation, then goes on to ilutrate how these guidelines impact larger analytic issues. Most early examples restict their usage to the reinterpretation of a diminished seventh chord, and later the augmented sixth.