Reply To This Subject

Reale, so just in passing, although it should be harmonized to be sure.

I correct myself, the subject in measure 3 suggests a G minor V; the F# is implied in the harmony, and that Eb at the beginning of measure 2 in the response could be the point where a modulation occurs.

I think that the response, contrary to what I said before, is tonal and in D minor (keeping in mind that without harmonization I cannot be certain, of course).

Others will be able to give you a better reading.

The subject is tonal, I would think of something all in eighth notes (or almost), starting with an anacrusis. Do you want me to make a CS proposal on a staff or is that enough?

My proposal, Bastard subject

Abate is a bit weak, the same melodic module repeated 2 times (to be clear, sol fa), also there is a 7-6 delay in the second measure but with the eb which is not typical of re-, so it harmonically pulls towards something else

It is true that it can be seen as a Neapolitan sixth in some sort of inverted way, but perhaps it is a bit too ...

Subject "strange" or at least, not very baroque I think

Sorry, I initially wanted to write tonal subject, and consequently a tonal answer; as often happens to me, I think one thing and write another

.

Abate, I have just seen your proposal, I haven't tried playing it so I don't know how it would be; that 5th between the E-natural in the middle of the 3rd beat of the

second measure is a relation with one of the two notes that does not move by step but with a minimal leap of a minor 3rd, like for the E-natural.

Ciao

the subject starts on the tonic, therefore a real answer and a beautiful florid countersubject, given the static nature of the subject.

...in short RStrauss, it ends on a tonicization of the dominant. There will definitely be a mutation.

Diciamo che tutti si sono concentrati sul CS...Zedef parla di risposta

To academically establish the type of answer, simply follow the following scheme where T stands for tonic and D stands for dominant:

subject starting on T and ending on T: real subject

subject starting on D and ending on T: tonal subject

subject starting on T and ending on D (or seventh): tonal subject

By beginning or ending, I mean what happens approximately in the first or last measure, and as I said, this is speaking academically.

I can say that there are masterly cases where a subject that theoretically (or by practice) could have been treated tonally was instead treated really. Even Bach did this; there aren't many examples, but there are some.

It depends on the musicality of the solution demonstrable in the development of the fugue.

Some considerations....

I suggest proposing the answers; once put on paper, everything will be clearer, also because we have a subject that closes on re- and therefore hypothetically one can already start with the answer from there.

The opposite, however, where would we arrive without changing a comma in the answer? ...so where to change? Could that last B-flat in the first measure be a good opportunity?

Clearly straying from the beaten path, in the case of a real answer, once the second is tonicized in the answer, it would suffice to create a short connecting episode (stray solution) by tonicizing the fifth and returning to sol-

The point is to understand from Zedef what kind of fugue they would like to develop

RE MI FA (p) fa | SIb. sol fa# la re fa#| Sol

He asked for the Answer, not the countersubject...

In fact, I also said that a response was being requested... by the way Carlos, how would you harmonize your response?

Organista94 wrote:

"Strange" subject or at least, not very baroque I think

In my opinion you must first decide the answer, then you will think carefully about the CS ...

Natan wrote:

In fact, I also said that a response was being requested... by the way Carlos, how would you harmonize your response?

Well, I don't know... you?

Zedef wrote:

What answer would you give to this subject?

Since the modulation is mandatory, otherwise we would end up in the minor key, I would do it like this:

S: G-A-Bb- pause - Bb-Eb-D-C#-E natural-A-C#-D

R: D-E-F- pause- F-A (modulation) - G -F#- A - D - F# - G.

No?

I was talking about the answer..

Given the tonal clarity of the subject's opening and conclusion, I do not consider the possibility of a real answer, but rather a matter of taste (de gustibus).

The crucial note, in my opinion, is the first of the second measure (Eb in the subject) which I hear as a Neapolitan note and therefore already in the key of the dominant. I would therefore propose a mutation at the second measure: Re Mi Fa (pause) Fa | Lab Sol Fa# La Re Fa# | Sol.

The subject is by Giuseppe Sarti (1729-1802).

Well then, why not RE MI FA (p) mi LA etc.? The leap of a fourth is not bad at all. Can't the modulation be done directly after the three conjunct degrees? I am asking seriously: I wrote my last response to a fugue in the old millennium, so...

...harmonically, how do you get to the Neapolitan Zedef? I mean coming from F, in G major it is too modal. Maybe putting a nice Eb instead of the last F of the first measure?

@Natan....you're right I got fixated on the CS without considering the Response and it is also limited

@Carlos/@Natan....as expected, I think Frank is right, in his writing he already speaks of a good opportunity on the last quarter of the first measure ....

@Zedef: I join Natan's question, how would you harmonically manage the first 2 measures of your response?