Tonic Chord May 5, 2018

Analysis

Prelude

SUMMARY:

Bars 1-10: Period I. Ending with a Perfect Cadence in the key of the Dominant, F.

Bars 10-20: Period II. Modulatory. Coda that comfirms the Tonic key (Bars 18-20).

REMARKS:

Period I cannot be subdivided. In Period II, there is a division at Bar 18, where the Coda is commenced.

The difference in character and style of the two Periods is mainly due to the employment of a new contrasting figure which first appears in Bar 11.

This Prelude divides exactly into two halves.

 

Fugue

ANALYSIS:

ENUNCIATION SECTION:

Bars 1-5: Subject in Treble [B flat major].
Bars 5-9: Tonal Answer in Alto, with Counter-subject in Treble [F major].
Bars 9-13: Subject in Bass. Counter-subject I in Alto [B flat major].
Bars 9-13: Counter-subject II in Treble.
Bars 13-17: Answer in Treble. Counter-subject I in Bass. Counter-subject II in Alto [F major].

MODULATORY SECTION:

Bars 17-22: Episode I, modulating from F to G minor.
Bars 22-26: Subject in Alto. Counter-subject I in Treble. Counter-subject II in Bass [G minor].
Bars 26-30: Answer in Bass. Counter-subject I in Alto. Counter-subject II in Treble [C minor].
Bars 30-35: Episode II from C minor, through G and back to C minor.
Bars 35-37: Answer in Alto. Counter-subject I in Treble. Counter-subject II Bass [E flat major].
Bars 37-41: Subject in Treble. Counter-subject I in Alto. Counter-subject II in Bass [E flat major].

RECAPITULATORY SECTION:

Bars 41-45. Answer in Alto. Counter-subject I in Treble. Counter-subject II in Bass [B flat major].
Bars 45-48: Coda [E flat major].

SUMMARY:

Exposition: Bars 1-13.
Counter-exposition: None.
Episodes: Two.
Stretti: None.
Coda: Bars 45-48.

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. Triple counterpoint is employed, because there are two Counter-subjects to be worked above and below the Subject and Answer.
3. Counter-subject II appears in the Bass part three times in succession (Bars 35-44).
4. The two Episodes, though short, are exceedingly interesting.
   1. Episode I is written in a descending sequence, and is formed in the Bass on Bar 3 of the Subject, continuing as far as Bar 19, the Treble and Alto having a florid counterpoint founded also on the latter part of the Subject. At Bar 19-22, the Bass is an inversion of the first six notes of the Subject, the Treble continuing the florid counterpoint and the Alto being silent.
   2. Episode II is an inversion of Episode I, with the Addition of an independent part in the Alto.