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SCART 1b (Ii) Counterpoint Fugal - Exposition 2

This document provides an overview of a university lecture course on Baroque counterpoint and discusses different types of answers in fugal composition. It explains that there are two types of answers - real and tonal. Real answers literally transpose the subject, while tonal answers adjust intervals to preserve the tonic key. There are three cases where tonal answers are used: when the subject prominently features the tonic and dominant, when it starts on the fifth scale degree, or for modulating subjects. Examples from Bach's works are provided to illustrate different types of answers.

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69 views18 pages

SCART 1b (Ii) Counterpoint Fugal - Exposition 2

This document provides an overview of a university lecture course on Baroque counterpoint and discusses different types of answers in fugal composition. It explains that there are two types of answers - real and tonal. Real answers literally transpose the subject, while tonal answers adjust intervals to preserve the tonic key. There are three cases where tonal answers are used: when the subject prominently features the tonic and dominant, when it starts on the fifth scale degree, or for modulating subjects. Examples from Bach's works are provided to illustrate different types of answers.

Uploaded by

sharon oliver
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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SCART

The University of Oxford


Preliminary Examination in Music
SCART: Stylistic Composition, Arranging and Transcription
1b: Baroque counterpoint
SCART | Fugal exposition

This lecture course:


• Introduction

• 1a) 16th-century modal polyphony

• 1b) Baroque instrumental counterpoint

• 2a) String Quartet

• 2b) piano accompaniment for a solo line

• 2c) Jazz lead-sheet realisation


SCART | Fugal exposition

The Answer i)

There are two kinds of Answer:

• Real – a literal transposition, note by note, of the S into the


dominant key; either a 5th above or a 4th below the S

• Tonal – where the intervals of the S are adjusted, or


‘mutated’ in order to preserve the tonic key throughout the
exposition, despite the alternation of tonic and dominant
entries
SCART | Fugal exposition

The Answer ii)

Real Answer (e.g. 1)

J.S. Bach (1685-1750) Fugue in C (BWV 846)


SCART | Fugal exposition

The Answer iii)

Real Answer (e.g. 2)

Élisabeth de Haulteterre (Levésque) (1720?–1768) Duet fugue


from Troisième suite
SCART | Fugal exposition

The Answer iv)

There are 3 cases where Tonal Answers are used:

Prominent I-V in the S (e.g. 1)

J.S. Bach Fugue in c (BWV 537)


SCART | Fugal exposition

The Answer v)

Prominent I-V in the S (e.g. 2)

This also applies when V is reached via arpeggiation:


SCART | Fugal exposition

The Answer vi)

Starting on 5th degree of the scale (e.g. 1)


SCART | Fugal exposition

The Answer vii)

Starting on 5th degree of the scale (e.g. 2)

Handel – Flute Sonata Op. 1 no. 9


SCART | Fugal exposition

The Answer viii)

Modulating Subjects
- Some subjects modulate to the dominant, and the tonal answer must
therefore modulate back to the tonic.

- The best way to deal with this is to split the subject into two sections,
and transpose accordingly.

- There may be more than one possible solution.

- The modulating subject may be applied to subjects which fall into


either of the earlier two categories: i.e. Prominent I-V OR Starting on V
SCART | Fugal exposition

The Answer ix)

Modulating subjects and possible answers (e.g. 1)

J.S. Bach – Cantata Singet dem Herrn ein neues Lied


SCART | Fugal exposition

The Answer x)

Modulating subjects and possible answers (e.g. 2)

J.S. Bach – Fugue in C BWV 547


SCART | Fugal exposition

The Answer xi)

Modulating subjects and possible answers (e.g. 3)

J.S. Bach – Fugue in C BWV 564 (extract a)


SCART | Fugal exposition

The Answer xii)

Modulating subjects and possible answers (e.g. 3)

J.S. Bach – Fugue in C BWV 564 (extract b)


SCART | Fugal exposition

The Answer xiii)

Modulating subjects and possible answers (e.g. 4)

J.S. Bach – Fugue in b BWV 869


SCART | Fugal exposition

The Answer xiv)

How to work out the answer. In summary:


• Decide whether you need a real or a tonal answer – check if the subject falls into one
of the 3 categories for a tonal answer

• As a default, each note of the subject is transposed up a 5th, or down a 4th, to create
the answer

• Once you have the preliminary transposition, make any necessary adjustments
(mutations) according to the principles set out above for tonal answers.

• Note that subjects starting on V or modulating subjects are adjusted in this way
during the answer in order to assist the flow of the exposition: they allow the music
to cadence in the key necessary for an immediate entry of the next voice
SCART | Fugal exposition

Bibliography and useful weblinks


• Dreyfus, Laurence, Bach and the Patterns of Invention
(Cambridge [Ma] & London, 1996), Chapter 1

• Rose, Bernard, Fugal Exposition (Oxford, 1988)

• Verrall, John, Fugue and Invention in Theory and Practice


(Palo Alto [Ca], 1966)

• High Baroque Fugal Exposition – Open Music Theory


(pressbooks.pub)
SCART

The University of Oxford


Preliminary Examination in Music
SCART: Stylistic Composition, Arranging and Transcription
1b: Baroque counterpoint

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