Tonic Chord May 5, 2018

Analysis

Prelude

SUMMARY:

Bars 1-17: Period I. After establishing the Tonic, it moves to the Relative Major (Bars 6-7), and touches the Dominant (Bar 12) before ending with a Half Cadence in the key of the Tonic. Short Coda (Bars 12, 17).

Bars 18-47: Period II. Working by Sequence mainly through various keys, and finally ending with Tierce de Picardie. Short Coda (Bars 46, 47 – Compare Bars 16 and 17).

REMARKS:

In the construction of this Prelude, the first half (Period I) consists of Imitations in the two upper parts upon a short Theme, accompanied by a moving Bass.

In the second half the structure is much the same, but the figure proposed for Imitation is still shorter, quavers (eighth notes) being employed instead of crotchets (quarter notes).

Bars 28-31 are Imitations of the Phrase which first appears in Bars 26, 27.

Both Periods are capable of subdivision: Period I, at Bars 7, 12, and 16; Period II, at Bars 27, 31, 46.

 

Fugue

ANALYSIS:

ENUNCIATION SECTION:

Bars 1-4: Subject in Alto [B minor].
Bars 4-7: Tonal Answer in Tenor, with Counter-subject in Alto [F sharp minor].
Bars 7-9: Codetta.
Bars 9-12: Subject in Bass. Counter-subject in Tenor [B minor].
Bars 13-16: Answer in Treble. Counter-subject in Bass [F sharp minor].
Bars 16-21: Episode I, modulating from B minor, through F sharp, again to B minor (observe the fragment of Subject of three notes only in Alto, Bar 19).
Bars 21-24: Subject in Alto. Counter-subject in Treble [B minor].

MODULATORY SECTION:

Bars 24-30: Episode II, modulating from F sharp minor through B to E minor (observe the fragment of Answer of three notes only in Tenor, Bar 28).
Bars 30-33: Subject in Tenor. Counter-subject slightly altered in Treble [E minor].
Bars 34-35: Stretto I (incomplete), Subject in Alto. Counter-subject absent [F sharp minor].
Bars 35-36: Subject in Treble [B minor].
Bars 38-41: Subject in Bass. Counter-subject in Treble [B minor].
Bars 41-42: Subject (first part) in Treble – Stretto II (complete) [B minor].
Bars 42-43: Subject (first part) in Alto – Stretto II (complete) [E minor].
Bars 43-44: Subject (first part) in Bass – Stretto II (complete) [A major].
Bars 44-46: Subject in Tenor. Part of Counter-subject in Alto – Stretto II (complete) [D major].
Bars 47-50: Answer in Bass. Counter-subject in Treble [D major].
Bars 50-53: Episode III, modulating from D to F sharp minor.
Bars 53-56: Subject in Tenor. Counter-subject in Treble [F sharp minor].
Bars 57-60: Subject in Bass. Counter-subject in Treble [E major].
Bars 60-63: Subject in Tenor. Counter-subject absent [B minor].
Bars 64-69: Episode IV, modulating from F sharp minor to B minor.
Bars 69-70: Subject (first part) in Tenor [B minor].
Bars 70-72: Stretto III (incomplete), Subject in Bass. Counter-subject in Treble [E minor].

RECAPITULATORY SECTION:

Bars 73-76: Coda [B minor].
Bars 74-75: Dominant Pedal.
Bars 74-75: Subject in Alto, Conclusion, Tierce de Picardie.

SUMMARY:

Exposition: Bars 1-16.
Counter-exposition: None.
Episodes: Four.
Stretti: One, complete. Two, incomplete.
Dominant Pedal: Bars 74-75.
Coda: Bars 73-76.

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 at the second and fifth notes.
2. Four Episodes:
   1. Episode I for two bars is formed upon the last eight notes of the Counter-subject. From Bar 17 to 20 the Bass moves in a descending sequence with a figure four quavers (eighth notes) in length, and upon it appear canonical imitations (based on an entirely new figure) between the Treble and Tenor.
   2. Episode II is formed from the same material as Episode I, but at Bars 28-29 the figure of the Bass is altered.
   3. Episode III, the same material is used as in the preceding Episodes, but the canonical imitations are here omitted.
   4. Episode IV is much the same as Episodes I and II in construction. The canonical work is here given to the Treble and Alto.
3. Stretti I and III are incomplete because all the voices do not take part in them. In the former the Alto and Treble alone take part (Bars 34-35), in the latter only the Tenor and Bass (Bars 69-70). Stretto II is complete, all the voices taking part in it (Bars 41-46).