Analysis
Contents
Prelude
SUMMARY:
This Prelude is an example of the expansion of the simpler method of Arpeggios (as seen in Nos. 1 and 2) into more definitely vivid figures, occupying a proportionately wider rager of the keyboard. It is counter upon the figure as seen in the measures above.
Bars 1-13: Period I. D Major, establishing the key. From Bar 3, it moves to the Dominant, and confirms it with a Perfect Cadence in Bar 6. It modulates to E minor (Bar 7), B minor (Bar 8), F sharp minor (Bar 9), B major (Bar 10), E minor (Bar 11), and back to D Major ending with Perfect Cadence in the Tonic.
Bars 13-20: Period II. Gradually moves to A minor (Bar 15), E minor (Bar 16), B minor (Bar 17), A minor (Bar 19), then to the Sub-dominant, G Major (Bar 19) Ending with Perfect Cadence in the Tonic.
Bars 20-25: Period III. Episodal, ending with Perfect Cadence in the Tonic.
Bars 25-35: Period IV. Coda, comprising Dominant Pedal in Bars 25-30.
REMARKS:
In the structure of the Bass and Treble, the former, after establishing its chord, frequently skips through part of its Arpeggio and to its Octave; the Treble is made up of the component parts of the various chords employed, interspersed with Passing Notes.
Bars 6 and 7 are an Imitation of Bars 3 and 4 in the fourth below.
Bars 20-25 are a recapitulation in the Subdominant of the opening bars.
Period I may be divided into two sections at Bar 6.
Periods II and III cannot be subdivided.
Fugue
ANALYSIS:
ENUNCIATION SECTION:
Bars 1-2: Subject in Bass [D major].
Bars 2-3: Real Answer in Tenor [A major].
Bars 3-4: Codetta.
Bars 4-5: Subject in Alto [D major].
Bars 5-6: Answer in Treble [A major].
Bars 6-7: Codetta, containing allusions to the first figure of Subject.
Bars 7-8: Subject in Bass.
MODULATORY SECTION:
Bars 8-9: Answer in Treble [B minor].
Bars 9-11: Episode I, modulating from B minor to G major, introducing new features of importance.
Bars 11-12: Subject in Treble [G major].
Bars 12-13: Subject in Alto [D major].
Bars 13-14: Answer (incomplete) in Bass [D major].
Bar 14-15: Subject in Tenor [G major].
Bars 15-16: Answer in Bass and Close in E minor [E minor]
Bars 17-19: Episode II, modulating from E minor to G major, the material the same as in Episode I.
Bar 20-22: Free imitation of the first limb of the Subject.
RECAPITULATORY SECTION:
Bars 23-27: Close in D and Coda, founded on figures of Subject [D major].
SUMMARY:
Exposition: Bars 1-6
Counter-exposition: None.
Counter-subject: None.
Episodes: Two.
Stretti: None.
Pedal: None.
REMARKS
- This Fugue has a “real” Answer, and would be styled as a “real” Fugue.
- In Episode I, a new melodic figure is introduced in the Treble, the Alto and Tenor being made up of the Second limb of the Subject, while the Bass is formed from its first group of demisemiquavers (thirty-second notes). In Episode II, the melodic figures emplyed in the Treble and Bass of Episode I are reversed.
- There are no devices of Augmentation, Diminution, or Inversion employed, et owing to the strongly characteristic nature of the first limb of the Subject this is a very interesting and closely knit- though somewhat irregular- Fugue.
