tag:blogger.com,1999:blog-10680113.post8659462514507023820..comments2024-03-23T11:40:13.092-05:00Comments on Musical Assumptions: Prelude and Fugue in F# major from Book II of the WTCElaine Finehttp://www.blogger.com/profile/14248422399226824168noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-10680113.post-54262976961192798972015-02-11T06:34:19.120-06:002015-02-11T06:34:19.120-06:00Beautiful. Thank you.Beautiful. Thank you.Elaine Finehttps://www.blogger.com/profile/14248422399226824168noreply@blogger.comtag:blogger.com,1999:blog-10680113.post-59605505850040970852015-02-11T02:58:42.303-06:002015-02-11T02:58:42.303-06:00Those delicious double-sharps as markers pointing ...Those delicious double-sharps as markers pointing from beneath to the current tonal domain, mark additionally in the WTC secondary dominant functions pointing "towards," while the naturals then mark the downward progress when as the minor seven of a current temporary dominant. The inclusion in the fugue subject of the leading tone twice as bookends around the interesting appearance of the lowered seventh of the scale is tasty, heightening the flow to and away from the tonic, with the delight of such as a D sharp minor being spelling implications of the signature itself. What might this look like in the complimentary G flat major? Easy for some to read? <br /><br />I wonder when one thinks as a keyboard player confronting the parts as a whole if there is a difference as when one thinks as another sort of instrumentalist confronting a single line. Are the double sharps then as daunting, barbed wire and all in imagery? There is a delight in counting the appearances of what some call the "rule of three," but I prefer the aesthetic stance of three, as Bach shows us some sequence and then moves at just the right time to a next.<br /><br />Given the "working through" musical ideas and notations as you mention from your preceding post about a young student, is this all merely -- quite an adverb -- on a continuum from one pole of your student to the other pole of our grand master of counterpoint and structure? We are all then works-in-progress.Anonymousnoreply@blogger.com