Footnotes

¹ This (though not written in Schenker’s usual shorthand) may signify mixed counterpoint of four voices, two in 1st species, two in 5th species. — Several of Weisse’s exercise books from his studies with Schenker have survived: for a detailed description, see Timothy L. Jackson, "Punctus contra punctus – a Counterpoint of Schenkerian and Weissian Analysis and Hans Weisse’s Counterpoint Studies with Heinrich Schenker," Journal of Schenkerian Studies, 4 (2010), pp. 87–186, esp. pp. 138–80. Heft V (Notebook 5) contains Weisse’s exercises for 1913/14, and survives, see Jackson, pp. 166–80 and pp. 139–40.

² Weisse had embarked on counterpoint studies in November 1912, working through two- and three-voice counterpoint up to this point. He is now embarking on the study of the thoroughbass section of C. P. E. Bach’s Versuch über die wahre Art das Clavier zu spielen (1753–62), probably in the one-volume edition by Gustav Schilling (Herzberg: Franz Mohr, 1852; Berlin: Stage, 1856), of which Schenker had a copy in his private library. See Essay on the True Art of Playing Keyboard Instruments, Eng. transl. William J. Mitchell (New York: W. W. Norton; London: Cassell, 1949; London: Eulenburg, 1974).

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