FREE COMPOSITION: INDEX OF TOPICS

Anstieg, §120 (45) [fig. 38]

Arpeggiation to primary tone, §125 (46) [fig. 40,3); §230 (82)

Ascent to the primary tone, §120 (45) [fig. 38]

Bass Arpeggiation, §§53-54 [fig. 14]

Composing and the Ursatz, §29 (18), §83 (35)

Coupling, §240 (85)

Fifth divider, §89 (37)

Fundamental structure and composing, §29 (18), §83 (35)

Fundamental structure, §§27ff (17ff) [figs. 9-11, 15-16, 18-19]

Interruption, §87 (36) [figs. 21, 24-27]; §94 (39), §99 (40)

Leerlauf (unsupported stretch), §36 (20)

Linear progressions, §113 (43) [figs. 33-34]; §203 (73)

Mixture, §102 (40), §193 (70)

Motion from an inner voice, §135 (49) [fig. 42,2], §233 (83)

Neapolitan sixth, §104 (41) [fig. 31]; see Phrygian b2

Neighbor-note, §106 (42) [fig. 32]; §196 (71)

Obligatory register, §8 (12), §268 (107)

Overlapping, §129 (47) [fig. 41]; §133 (48), §231 (83)

Phrygian b2, §104 (41) [fig. 31], §194 (71)

Primary tone, §93 (38)

Reaching-over, §129 (47) [fig. 41]; §133 (48), §231 (83)

Reaching-under, §135 (49) [fig. 42,2], §233 (83)

Register transfer, §147 (51) [fig. 47]; §§238-39 (85)

Register transfer, §92 (38), §98 (39)

Rhythm and counterpoint, §67 (32)

Subdominant/Dominant relationship (cptl. origin), §64 (31)

Third divider, §55 (29)

Tone-readiness, §83 (35)

Übergreifen, §129 (47) [fig. 41]; §133 (48), §231 (83)

Unfolding, §140 (50) [fig. 43]; §234 (83)

Unsupported stretch, §36 (20)

Untergreifen, §135 (49) [fig. 42,2], §233 (83)

Ursatz, §§27ff (17ff) [figs. 9-11, 15-16, 18-19]

Voice exchange, §236 (84)