| A Course of Instruction on Canon and Fugue Contributor(s): Jadassohn, Salomon (Author) |
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ISBN: 1152009567 ISBN-13: 9781152009561 Publisher: Rarebooksclub.com OUR PRICE: $14.85 Product Type: Paperback - Other Formats Published: May 2012 * Not available - Not in print at this time * |
| Additional Information |
| BISAC Categories: - Literary Collections |
| Physical Information: 0.06" H x 7.44" W x 9.69" (0.16 lbs) 30 pages |
| Descriptions, Reviews, Etc. |
| Publisher Description: This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1887 Excerpt: ...note A (the key of 5-major), by means of which he leads the answer back to the fundamental key. In the G'-minor Fugue, (Nr. 18, vol. I, "Wohltemp. Clav.") Bach answers the whole theme, with the exception of the first note, in the sub-dominant, because the second note of the theme happens to be already the leading note. The theme modulates from G-minor to Z)f-minor, the answer leads to C?$-minor back again. Much less striking is the answer, in the sub-dominant, in the.B-minor fugue (Nr. 24, vol. I of the "Wohltemp. Clav.") In this highly interesting theme, not only the first fifth F, (commencing the theme) is answered by B, but also the second fifth, and from there all other notes are answered in the sub-dominant. By means of this circumstance, the theme loses least of its original characteristic, nevertheless the purpose is obtained, viz: that the response, which commences in F$-minor, is led back again to 5-minor. 125. The theme of the.E-minor fugue in two parts (Nr. 10, vol. I, of the "Wohltemp. Clav.") has an exceptional response. Here, not only the first fifth, --the third note of the theme--is answered also by a fifth, but the whole answer leads from.B-minor to-Ff-minor. Only in the last moment Bach substitutes the deceptive cadence on the dominant of U-minor, instead of the finish in iJf-minor, by which means the answer is altered so, that the note B of the theme, corresponds with the A% of the response. These irregularities of the answer are easily explained by the fugue being written in two parts. It stands to reason that more parts are far more suitable to the polyphonic character of the fugue, than two parts only. Only the fugue in two parts can be considered justified only for instrumental music. There, Bach suc... |