Sweating the Details
Short list of updates today, but significant ones. No changes to page one (Exposition/first episode), so I'm not going to re-post the page. You can scroll down to see it if you're new to this thread.
At measure 24, where the inverted form of the answer enters, I have changed the counterpoint. I wanted to introduce it over a dissonance (Under one, rather) like all of the rectus form entries, but I just couldn't figure out how to do it. It finally occured to me that I could put la in the interior voice and fa in the lead: That makes the do the fifth of an A major triad in 6/4 inversion. This is much more elegant of a solution. I actually figured this out while working on the corresponding entry on page three. That's the only change to page two, and it's now "in the pocket": that little change has made all the difference.
The first change to page three is at the top: I got rid of the eighth note G within the G major chord and made it a naked quarter note. This is weird, because fugues are not "supposed" to come to rest at cadence points, the cadences are best elided, or glossed over as I had it before. There are a couple of reasons why this works: First of all, the deceptive resolution is a surprise, and second, the pattern was established after the first episode previously. But, there's more. The elision in measure 36 is a rising third, which is answered in measure 40 by a falling fifth: This is exactly like the previous middle entries in E minor, and this effected was ruined by the elision over the G major chord. I like it much better this way.
The second change is at measure 39: In the previous middle entries, I had the bass voice disappearing into a third, so I duplicated that by employing a unison G, which is easy to play on the guitar since G is an open string. This, coupled with introducing the inversus under a dissonance (Here, the G is the fifth of a C major triad in second inversion), makes the entry perfect.
Then, at measure 42 I changed the counterpoint of the lead voice to make parallel sixths with the middle voice versus the previous parallel thirds: This makes the phrase much better. At the end of that phrase, I changed the tail of the inversus to get a cadence to G versus the previous half-cadence to D; also a far superior solution. The sixteenth not at the end of measure 43 is also gone, so the first place with constant sixteenths is now at measure 47, entering the next episode.
I toyed with the idea of a deceptive resolution to E minor here, but found that a thematic entry on D in the bass in augmentation could be made to deceptively resolve during the episode, so that is what I plan to do: Have a series of augmented entries that will continuously modulate to wind me up in C, or back in A minor for the recap. Not sure which yet.
At measure 24, where the inverted form of the answer enters, I have changed the counterpoint. I wanted to introduce it over a dissonance (Under one, rather) like all of the rectus form entries, but I just couldn't figure out how to do it. It finally occured to me that I could put la in the interior voice and fa in the lead: That makes the do the fifth of an A major triad in 6/4 inversion. This is much more elegant of a solution. I actually figured this out while working on the corresponding entry on page three. That's the only change to page two, and it's now "in the pocket": that little change has made all the difference.
The first change to page three is at the top: I got rid of the eighth note G within the G major chord and made it a naked quarter note. This is weird, because fugues are not "supposed" to come to rest at cadence points, the cadences are best elided, or glossed over as I had it before. There are a couple of reasons why this works: First of all, the deceptive resolution is a surprise, and second, the pattern was established after the first episode previously. But, there's more. The elision in measure 36 is a rising third, which is answered in measure 40 by a falling fifth: This is exactly like the previous middle entries in E minor, and this effected was ruined by the elision over the G major chord. I like it much better this way.
The second change is at measure 39: In the previous middle entries, I had the bass voice disappearing into a third, so I duplicated that by employing a unison G, which is easy to play on the guitar since G is an open string. This, coupled with introducing the inversus under a dissonance (Here, the G is the fifth of a C major triad in second inversion), makes the entry perfect.
Then, at measure 42 I changed the counterpoint of the lead voice to make parallel sixths with the middle voice versus the previous parallel thirds: This makes the phrase much better. At the end of that phrase, I changed the tail of the inversus to get a cadence to G versus the previous half-cadence to D; also a far superior solution. The sixteenth not at the end of measure 43 is also gone, so the first place with constant sixteenths is now at measure 47, entering the next episode.
I toyed with the idea of a deceptive resolution to E minor here, but found that a thematic entry on D in the bass in augmentation could be made to deceptively resolve during the episode, so that is what I plan to do: Have a series of augmented entries that will continuously modulate to wind me up in C, or back in A minor for the recap. Not sure which yet.
posted by Hucbald at 3:04 PM
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