Tonic Chord May 5, 2018

Analysis

Prelude

SUMMARY:

Bars 1-10: Period I. Tonic Pedal (Bars 1-4). Dominant Pedal (Bars 8-10). Concise statement of Theme I and confirmation of key of Tonic.

Bars 10-25: Period II. Ending on the Dominant.

Bars 25-35: Period III. Mostly in B flat, and ending on the Mediant Minor, G.

Bar 35-41: Period IV. Ending on the Relative minor, C.

Bar 41-58: Period V. Ending of the Sub-dominant Major, A flat.

Bar 58-70: Period VI. Tonic Pedal and Coda (Bars 68-70). Ending on the Tonic.

REMARKS:

Bars 1-10 are devoted to establishing the key of the Tonic (E flat), and presenting Theme I, in its most concise form. Bar 10-25 introduce Theme II in closely linked chain of suspensions induced by Imitation. At Bar 25, Theme I is resumed in an extended form and combined with Theme II, this latter being written in Double Counterpoint in the Octave and Twelfth with Theme I. The remainder of the Prelude is devoted to an almost ceaseless interlacing of the two Themes.

Fugue

ANALYSIS:

ENUNCIATION SECTION:

Bars 1-2: Subject in Treble, ending on the first semiquaver (sixteenth note) of beat 8, Bar 2; the remaining semiquavers in the Treble, including the first quaver (eighth note) of Bar 3, forming a short Codetta, the Figure of which becomes very prominent in the course of the Fugue [Key: E flat and B flat*].
Bars 3-4: Tonal Answer in Alto, with Counter-subject in Treble [Key: B flat and E flat].
Bars 4-6: Codetta founded mainly on the figure of the first Codetta.
Bars 6-7: Subject in Bass. Counter-subject in Alto [Key: E flat and B flat].
Bars 7-11: Episode I, modulating from B flat to E flat, formed from the figure used in the first Codetta.
Bars 11-12: Answer in Treble. Counter-subject in Bass [Key: E flat].

*The second limb of the Subject is distinctly in the key of B flat.

MODULATORY SECTION:

Bars 12-17: Episode II, modulating from E flat major to C minor by sequence.
Bars 17-19: Close in C minor. Answer in Alto. Counter-subject in Treble [C minor].
Bars 19-20: Codetta.
Bars 20-22: Subject in Bass. Counter-subject in Alto [C minor and G minor].
Bars 22-26: Episode III, modulating from G minor to E flat major.
Bars 26-27: Answer in Bass. Counter-subject in Treble [Key: E flat].
Bars 27-29: Episode IV, modulating from E flat, through B flat and back to E flat.
Bars 29-30: Subject in Treble. Counter-subject in Alto [Keys: E flat and B flat]
Bars 30-34: Episode V, modulating from E flat, through A flat and B flat, back to E flat.

RECAPITULATORY SECTION:

Bar 34-35: Answer in Alto. Counter-subject absent [Key: E flat].
Bar 35-37: Coda [Key: E flat].

SUMMARY:

Exposition: Bars 1-7.
Counter-exposition: None.
Codettas: Three.
Episodes: Five.
Stretti: None.
Coda: Bars 35-37.

REMARKS:

1. This Fugue has a “tonal” Answer, and would be styled as a “tonal” Fugue. The alternation in the Answer, for the sake of tonality, is made from the first note to the second.
2. An excellent example of the use and importance of the Codetta is shown in Bar 2.
3. The Episodes are formed from the material employed in the first Codetta. In Episode V, tow points should be specially noticed, (1) the strides of the 9th in the melodic figure of the Treble, (2) the free imitation by the Alto in contrary motion of the Arpeggio figure of the Treble.
4. In the Coda the Bass momentarily imitates the descending figure of the Treble.