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Oracolo
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I am taking inspiration from this request by Cristian83 to open an ad hoc discussion; it seems like a topic too interesting to lose the spark among the comments of the fugue workshop.
cristiank83 wrote:Furthermore, I would like to take this opportunity to ask everyone (since I am studying the fugue at the conservatory) with what criteria you determine the modulation of the subject and what limits you set for yourselves in order to preserve the basic subject theme.
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I have dusted off this discussion
http://www.pianoconcerto.it/forum/index.php?/topic/1756-risposta-a-questo-soggetto/
In the first posts there is a small scheme proposed by Frank that might be useful for you, Cristian
Frank wrote:To academically establish the type of answer, simply follow the following scheme where T stands for tonic and D stands for dominant:
subject starting in T and ending in T: real subject
subject starting in D and ending in T: tonal subject
subject starting in T and ending in D (or seventh): tonal subject
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It is difficult for a subject to contain modulations, at most tonicizations ...
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First, let's explain clearly, even for those venturing into fugue, that when we speak of tonic or dominant, we do not mean a simple harmonization of the subject.
It is worth noting that if a subject begins with the fifth degree of the scale (e.g., G in C major), the subject is already modulating to the dominant.
Even the seventh degree in the major scale is considered dominant, although some consider it dominant only if it then descends to the fifth degree. This is different in the minor mode, where the seventh must be natural to be considered a modulation to the fifth degree.
Damn, I'm already tired of explaining all the possibilities and there is still a lot to say...
... I just want to understand if your reasoning terms are the same as mine, then we will tackle all the possibilities.
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Ok cristiank, I was starting from the laboratory example, which can include small modulations, specifically tonicizations. At the beginning and end of the S., certainly... if a subject is tonal, it's automatically because it starts on the dominant and is modulating to the tonic, and vice versa for the end.
I hope I have been clearer
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cristiank83 wrote:Even the seventh degree in the major scale is considered dominant
It seems to me that I am reading it in the mirror at the top
cristiank83 wrote:Different is in the minor mode where the seventh must be natural to be considered a modulation to the fifth degree.
What do you mean?
Then, could you provide examples for both cases (major/minor)?
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On the seventh natural or not.
In Gedalge there is a subject in D minor that begins with << d c# d e a bb a f e d c# d >>: in this case the c# should not be considered as belonging to the dominant because in the key of the dominant (A minor) there would be a C natural, so one would respond with << a g# a b (natural) e f e c b (natural) a g# a >>
If the subject were, still in D minor, << d c (natural) d e a b (natural) a >> the C natural would belong to the key of the dominant and therefore one would respond with << a f g a d e d >>
The strange thing is that if we were in D major and therefore the subject were << d c# d e a b a f# e d c# d >> ...
