Tonic Chord May 8, 2018

Analysis

Prelude

SUMMARY:

This Prelude is built upon the figure seen in the first couple of bars above.

Bars 1-9: Period I. Tonic Pedal, at once establishing the key (Bars 1-2). Touches the Subdominant minor, C (Bars 4-5) before reaching the Dominant minor, D (Bar 7). Ending with a Perfect Cadence in the key of the Dominant Minor, D.

Bars 9-20: Period II. From D minor, it moves back to the Tonic (Bar 16), touching C minor (Bar 12), G minor (Bars 13-14), and F minor (Bar 15). Tonic Pedal, establishing the key to conclude with (Bars 20-21). Coda on the Tonic Pedal (Bars 20-21). Ending with Perfect Cadence in the key of the Tonic Minor, G.

REMARKS:

Bar 5 and 6 with slight modification are a transposition of the Opening bars a fourth higher.

Period I is capable of subdivision at Bar 5 where there is a Perfect Cadence to the key of the Subdominant Minor (C), and the Opening figures are stated in that key.

Period II at its commencement exactly transplants the Opening bar of Period I into the key of the Dominant Minor (D). It is capable of subdivision at Bar 11 where there is a Perfect Cadence into the key of the Tonic for the moment.

 

Fugue

ANALYSIS:

ENUNCIATION SECTION:

Bars 1-5: Subject in Tenor [G minor].
Bars 5-9: Tonal Answer in Alto, with Counter-subject in Tenor [D minor].
Bars 9-13: Subject in Treble, with Counter-subject in Alto [G minor].
Bars 13-17: Answer in Bass, with Counter-subject in Treble [D minor].
Bars 17-20: Episode I, modulating from D minor to G minor.
Bars 20-24: Subject in Tenor, with Counter-subject in Bass [G minor].

MODULATORY SECTION:

Bars 24-28: Episode II, modulating from G to D minor.
Bars 28-32: Subject in Alto, with Counter-subject in Treble [D minor].
Bars 32-36: Subject in Treble, with Counter-subject in Alto [B flat major].
Bars 36-40: Answer in Bass, with  Counter-subject in Treble [F major].
Bars 40-45: Episode III, modulating from F to B flat major.
Bars 45-49: Subject in Alto and Tenor in 3rds, with Counter-subject in Bass [B flat major].
Bars 49-51: Episode IV, modulating from F to C minor.
Bars 51-55: Subject in Treble and Alto in 6ths, with Counter-subject in Tenor [C minor].
Bars 55-59: Episode V, modulating from C minor to E flat major.
Bars 59-63: Subject in Tenor and Bass in 3rds, with Counter-subject in Treble and Alto in 3rds [E flat major].
Bars 63-67: Episode VI, modulating from E flat major to G minor.

RECAPITULATORY SECTION:

Bars 67-69: Subject in Tenor, with Counter-subject in Alto [G minor].
Bars 69-72: Subject in Treble and Tenor, with Counter-subject in Alto and Bass [G minor].
Bars 73-75: Codetta, working on to a Perfect Cadence in G minor.
Bars 75-84: Coda [G minor].
Bars 79-83: Subject (slightly altered) in Bass. Reminiscence of Counter-subject in Tenor and Alto [G minor].

SUMMARY:

Exposition: Bars 1-17.
Counter-exposition: None.
Codetta: One.
Stretti: None.
Episodes: Six.
Pedal (in Treble Part): Bars 80-82.
Coda: Bars 75-84.

REMARKS:

1. This Fugue has a “tonal” Answer, and would be called a “tonal” Fugue. The alteration in the Answer, for the sake of tonality, is made from the first note to the second.
2. The entry in the Tenor in Bar 20 is merely redundant, in order to show the Subject in the Tenor register accompanied by the Counter-subject, which before this point had not been possible. It is not therefore a partial Counter-exposition, as might at first glance be imagined.
3. The Counter-subject in built in three short sections, and is capable of Inversion not only at the Octave, but also at the Tenth and Twelfth.
   1. At Bars 32-36 and 45-49 it is used in the 10th, and in Bars 28-32, 36-40, and 51-55 it is used in the 12th
4. The subject is used at Bars 45-49 and 51-55 in thirds and sixths respectively, the Counter-subject being also employed at the same time. Still more remarkable examples occur at Bars 59-63 and 69-73, where both the Subject and Counter-subject are used in thirds. This not only shows great ingenuity, but produces an almost indescribable richness of effects.
5. Episodes I, II, III, and IV. These are founded upon the Counter-subject. They frequently contain detached figure in two – and sometimes three- of the parts, the fourth part being continuous as a rule.
6. Episodes V and VI contain in their earlier portions a reminiscence of Bar 4 of the Subject, but even in these two Episodes the influence of the Counter-subject is predominant.
7. The Coda is founded upon the first two sections of the Counter-subject, chiefly used in thirds in the upper parts. A more staid figure, containing suspensions, is alloted to the Brass.