EXAMPLE TESTING
Example 1. Johann Walther’s two tabulae ([1708] 1955, 105–107)
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Example 2. Stölzel’s original chorale melody to the text “Jesus meine Zuversicht” (ca. 1719–49, 3r) with his analysis of modulations and scale degrees shown as editorial commentary
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Example 3. Editorial summary of Stölzel’s default and alternate bass intervals below each scale degree in the chorale (ca. 1719–49, 4r)
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Example 4. Stölzel’s bassline composed to the chorale in Example 2 using the intervals in Example 3 (ca. 1719–49, 7r)
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Example 5. Stölzel’s translation of the previous example into staff notation (ca. 1719–49, 8v–8r)
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Example 6. The three chords (actually thoroughbass figures) representing Stölzel’s “secret”
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Example 7. (a) Stölzel’s application of the “three chords” to Example 4 and (b) his translation into staff notation (ca. 1719–49, 8v–9v)
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Example 8. Stölzel’s two alternate realizations starting in fifth position and third position (ca. 1719–49, 11r–13v)
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Example 9. A systematic exploration of the available major-key interval progressions in Stölzel’s method (see Example 3) and their interaction with the tabula tradition (Example 1)
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Example 10. The chorale “Gott des Himmels und der Erde” harmonized using Stölzel’s method
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Example 11. The chorale “Herr Gott, dich loben alle wir” harmonized using Stölzel’s method
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Example 1
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Example 2
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Example 3
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Example 4
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Example 5
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Example 6
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Example 7
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Example 8
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Example 9
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Example 10
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Example 11
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Example 12
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Example 13
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Example 14
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Example 15
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Example 16
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Example 17
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Example 18
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Example 19
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Example 20
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Example 21
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Example 22
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Example 23
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Example 24
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Example 25
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Example 26
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Example 1
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Example 2
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Example 3
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Example 4
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Example 5
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Example 6
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Example 7
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Example 8
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Example 9
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Example 10
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Example 11
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Example 12
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Example 13
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Example 14
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Example 15
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Example 16
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Example 17
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Example 18
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Example 19
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Example 20
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Example 21
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Example 22
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Example 23
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Example 24
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Example 25
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Example 26
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Example 1
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Example 2
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Example 3
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Example 4
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Example 5
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Example 6
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Example 7
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