Circle of fifths and key change information

[Contratrombone64]

Soubasse

I think there is little point in analysing the theme for the Wedge Fugue (or any subject of any fugue for that matter) as it's never harmonised vertically ...

what do you think?

[Soubasse]

I probably should have clarified that it was my interpretation of the implied harmony for the very first statement of the "wedge" subject. You are quite right of course, because once we get past the exposition of all four voices, JSB utilises many alternate harmonisations of the subject (not to mention a few appearances of the counter-subject with alternating harmonisations as well) as any master fugal writer should ... well, let's face it, there really was only one master fugal writer wasn't there?!

I've often felt that he wrote that theme specifically for that reason - aside from its interesting shape on the page (and the ear), that much chromaticism is open to numerous harmonisations, particularly in his gifted hands.

As for other fugue themes, I'm inclined to think it depends on the subject, as there are some for which the harmony is not so much implied as it is painfully obvious. The "little" g minor subject for example fairly well shrieks of: I - V - I - V - I - V etc etc etc (one of the things that makes it just right for classes ). Later on of course, after exposition, there are some noteworthy harmonic alterations (amidst a substantial number of sequences for such a short piece).

[Corno Dolce]

Aloha Soubasse,

And here I thought you liked Shostakovich's 24 preludes and fugues - they are also masterful gems

Cheerio,

CD

[Soubasse]

Ah yes, the Shostakovich. I've only heard a few of those, but yes, they did impress.

Personally, I find that fugal writing tends to be relative to the era and sometimes even the country, rather than relative to the form in itself. For example, I don't believe that one can compare or analyse a Bach fugue the same way you would a fugue from one of the Mendelssohn sonatas (which frankly I think are awful, but that's just IMO). Nor could you really apply the same measure with a Bach fugue to a fugue by Handel or Boyce or anyone else across the pond. Let's face it, what the English called a fugue differed notably from the German version, specifically JSB. I still think that JSB took the form itself to its absolute zenith (and possibly even past it), and I'm not sure that too many have equalled or bettered it since. However, as I said, I think it's all relative, and 'tis a curly one to be sure. Happy to debate it with anyone far more knowledgable

[Andrew Roussak]

Do you like this piece? I find it just amazing!

http://www.youtube.com/watch?v=5s4TKOaUZ7c

Glenn Gould talks about his work "And So You Want To Write A Fugue" on Canadian TV - this a bit satirical work was written and recorded 1n 1964 for the TV show Anatomy Of Fugue.

....For a canon in inversion is a dangerous diversion,
And a bit of augmentation is a serious temptation,
While a stretto diminution is an obvious allusion.... )

Here the lyrics and short analysis:

http://aix1.uottawa.ca/~weinberg/fugue.html

Man, Bach was THE polyphonist of all times, and Glenn Gould was THE musician who let this music speak!

[Bach>Meer]

thanks for that guys and thanks very much to Soubasse for the Wedge anallysis - that was great!

[Soubasse]

You do me too much honour but thank you - however, I'd say it's a safe bet that what I came up with is nothing like anything that JSB was thinking!

Andrew, loved that Glenn Gould link thanks. It's a shame that the full piece was pulled from yoot yoob as I would like to have heard it. There were some interesting links on that page to some other vids on fugue, one of the more quirky of which was the one on Britney Spears "Oops I Did It Again" . (Some people have too much time on their hands)

[Andrew Roussak]

Hi Soubasse,

yeah, I did not find anything better for this piece of Glenn Gould in Internet, looks like it is not a free domain and one has to order it. The scores are actually available online. I have heard a broadcast dedicated to this piece recently , so I guess it was even aired in full length. Wonderful music written with a great sense of humour ( well, Glenn Gould was it...).

The name of Britney looks cool in such company - why, Britney Spears, BWV2003...Maybe somebody wanted you to analyse "Oops.."?

Btw, I guess the device on your avatar is Kurzweil K2500. Am I right?

Cheers
Andrew

[Soubasse]

Well the chap who did the "Oops" fugue (a nickname that could have been given to so many things ) actually published the score online, so I couldn't resist a look. It's been well done apart from a couple of false relations which I strongly suspect were errors of the scoring progam he used.

Kurzweill K2500? I guess there are facial similarities but no, lovely as the Kurz would have been, I had to settle for an Ensoniq ASR-10 (not that there's anything wrong at all with it, it's an excellent board and I need something for all my Mellotron samples ) My son Raphael was enjoying playing a burp sample as that photo was taken.