fugue baroque

5 August 2009 - musik muzikologi

mémoire de composition de 2ième cycle à partir d’un sujet de fugue -- sous la direction du Dr. Naomi shimoishizaka -- nota: the comments are indexed to the rehearsal marks in the score -- below is the subject -- as well as a realisation --

A (Key=C): Subject 1st entry in Alto voice. A small transition (Bar 6) was added to clearly establish key of Dominant, in order to prepare 2nd entry of subject.

B (Key=G or V/C): Subject 2nd entry in key of dominant in Soprano voice, with tonal adjustment (Tonal Answer), and with corresponding Counter Subject (#1) in Alto voice.

C: Episode 1, before last entry of subject (a technique used by Bach in Fugues 2, 3, 6, 11, 12, 14 and 18 from Book 2 ). Bar 18 of this episode is a short transition to re-establish the original key.

D (Key=C): Subject 3rd and last entry in Bass voice, with corresponding Counter Subject (#1) in Soprano voice.

E (Key=C then F or IV/C): Episode 2, with a “passing” modulation to F in Bar 25. The key of F is not clearly established until Bar 36. Bar 44-49 are a transition to D minor consisting partly of a canon of the Bass voice in the Alto voice.

F (Key=D minor or VI/F): Middle Entry of subject in Bass voice, in minor, inverted, and with tonal adjustment, with a corresponding new Counter Subject (#2) in Soprano voice and an accompaniment in Alto voice.

G (Key=D minor then G minor or IV/G): Episode 3. A free episode with imitations (Bar 65) and with an unprepared modulation to G minor (Bar 69), and a transition back to the original key with the Bass voice descending by step (Bar 90-93).

H: connecting transition (or cadence) going back to original key (C) with a bass descending mostly by step.

I: (Key=C): Final entry in Soprano voice with a new Counter Subject (#3) in Bass voice.

J: Coda, with a 6/3 (Bar 105) and a Plagal cadence (Bar 112).

A stretto was not included as the structure of the subject did not lend itself to such treatment, as I volunteered to explain in class.

Since the playing style is meant to be that of Glenn Gould (detached, no legato), as indicated on the score, it did not seem appropriate to put any articulation instructions.

 

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