Tonic Chord May 5, 2018

Analysis

Prelude

SUMMARY:

Bars 1-13: Period I. Tonic Pedal (Bars 1-3). Ending with a Perfect Cadence in the key of the Dominant Minor, F.

Bars 13-24: Period II. Dominant Pedal (Bars 20-22), followed by Tonic Pedal (Bars 23,24). Modulatory in its early part, touching E flat minor, A flat major, D flat major before returning to the Tonic at Bar 17.

REMARKS:

This Prelude is mainly built upon the Opening figure (Treble part), which is frequently used in Contrary Motion, especially in Period II.

At Bar 7 the Theme appears in the Treble in a descending Sequence, and at Bar 13 a new figure appears in the Bass, also working in a descending Sequence. In the same Sequence also the Opening figure is used for the upper parts.

Fugue

ANALYSIS:

ENUNCIATION SECTION:

Bars 1-3: Subject in First Treble [B flat minor].
Bars 3-5: Tonal Answer in Second Treble [F minor].
Bars 5-10: Codetta.
Bars 10-12: Subject in Alto [B flat minor].
Bars 12-14: Answer in Tenor [F minor].
Bars 15-17: Subject in Bass.

MODULATORY SECTION:

Bars 17-25: Episode I, modulating from B flat minor to D flat major.
Bars 25-27: Subject in First Treble [D flat major].
Bars 27-29: Answer in Second Treble [E flat minor].
Bars 29-31: Subject in Tenor [B flat minor].
Bars 31-34: Answer in Bass [E flat minor].
Bars 34-36: Codetta.
Bars 37-39: Answer in Alto [D flat major].
Bars 39-46: Episode II, modulating sequentially from A flat, through E flat, to B flat.
Bars 46-48: Answer in Tenor [B flat minor].
Bars 48-50: Answer in Bass [B flat minor].
Bars 50-52: Answer in First Treble – Stretto I (complete) [E flat minor].
Bars 50-52: Answer in Second Treble – Stretto I (complete) [E flat minor].
Bars 51-53: Subject in Alto – Stretto I (complete) [E flat minor].
Bars 52-54: Answer (slightly altered) in Bass – Stretto I (complete) [E flat minor].
Bars 53-55: Answer in Tenor – Stretto I (complete) [E flat minor].
Bars 55-57: Subject in Second Treble. Answer in Alto [E flat minor].
Bars 57-67: Episode III, modulating from E flat minor to B flat minor.

RECAPITULATORY SECTION:

Bars 67-69: Subject in First Treble – Stretto II (complete) [B flat minor].
Bars 68-70: Answer in Second Treble – Stretto II (complete) [B flat minor].
Bars 68-70: Subject in Alto – Stretto II (complete) [B flat minor].
Bars 69-71: Answer in Tenor – Stretto II (complete) [B flat minor].
Bars 69-71: Subject in Bass – Stretto II (complete) [B flat minor].
Bars 72-75: Coda.
Bars 73-74: Reminiscence of the first limb of Answer in Alto, and of the second limb of Subject First Treble [B flat minor].
Bars 74-75: Fragment of the second limb of Subject in Alto. Conclusion, Tierce de Picardie [B flat major].

SUMMARY:

Exposition: Bars 1-17.
Counter-exposition: None.
Counter-subject: None.
Episodes: Three.
Stretti: Two (complete).
Coda: Bars 72-75.
Pedal: None.

REMARKS:

1. This Fugue is in five part. It has a “tonal” Answer, and would be styled a “tonal” Fugue. The alterations in the Answer, for the sake of tonality, are made from the first note to the second, and from the second note to the third.
2. In the Codetta (Bars 5-11) the Second Treble imitates the First Treble at the the fourth below, at a distance of a minim (half note).
3. The concluding note of the Theme is on five occasions altered to major instead of remaining minor, tow of these instances occurring in the Exposition (Compare Fugue, No VI).
4. The Episodes are built upon the second limb of the Subject, treated sometimes by similar and sometimes by contrary motion.
5. Three things are noticeable in the Stretti: (1) they are both made up in a descending direction; (2) the closet Stretto is reserved for the last; (3) through not built upon a Pedal, both of them are exceedingly fine.