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Thanks for replying Lee.
The reason I asked this question is because I simply don't understand why a Tonic-Dominant-Tonic-Dominant establishes the root key of the tonic. I understand that (within a key) this establishes it quite well (that is, with Dom7), but here we're talking about 2 different keys. Keys that are only 1 sharp or flat away, no different in this respect than other nearly related keys to the tonic.
Earlier when I asked about a different key format for the exposition you gave as an example this fugato - which I'm looking at now. The entry of the mediant in the Bass voice is nice - but you're right, it does get a little awkward from there.
I'm wondering if you have ever tried to modify it so the bass enters on the Dominant per the exposition rules, then keep the same (rhythmic) changes in key you've done from there.
I'm going to look at this further, but one thing I notice right away is that when T,S,A voices state the theme, the key is pretty uniform throughout each statement. Tonic key, Dominant key, Tonic Key. However, when the Bass enters, before reaching the end of Bass's statement of the theme, you move through quite a few keys.
I'm no expert in this, but it would seem to me that tonal center for the Bass part sounds a little awkward solely for this reason. For each of the other entries you stay in the key it enters on for the most part. For the Bass entry, you move through quite a few. This isn't exactly "harmonic rhythm" - but it is sort of - key rhythm, if you will.
53-55 Key of C - 3 bars
56-58 Key of G - 3 bars
59-62 key of C - 3 bars
63 Key of Em - 1.1 bar only
64.2 Modulate to C through G7
65.1-65.3 Establish G key
65.4-66.1 Establish C key
66.2 Re-establish G key
66.3 Re-establish C key
What do you think?
I'm going to look at this more in depth later. Thanks again for sharing it. I hope you don't mind me analysing it like I've done here. I'm just trying to understand the reasons for the exposition key layout.
On the whole, I enjoyed this music, btw.
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