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Richard Atkinson analyzes the amazing counterpoint in the astonishingly complex D-sharp minor fugue from Book I of Bach’s Well-Tempered Clavier, including a discussion of augmentation/prolation canons and strettos. This is a fair use educational commentary that uses a performance/recording of Kimiko Ishizaka at the piano.

The brief excerpt from the Credo of Ockeghem’s “Missa Prolationum” is from a performance/recording by The Hilliard Ensemble

The excerpt from Richard Atkinson’s “Thirteen Canons at Each Interval” is from a performance/recording of Richard Atkinson at the piano. Listen to the full performance here:[ Ссылка ]

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