Lesson with Ram

Still a bit busy. Will post comments after this weekend. My apologies!

Ok, looks good.

Next I want you to think about composing your Answer to your subject. Do you have much practice in working with the differences between Tonal, and Real answers?

Originally Posted by Majesty

Ok, looks good.

Could you answer the questions from my previous posts? There are too many loose questions...

Originally Posted by Majesty

Next I want you to think about composing your Answer to your subject. Do you have much practice in working with the differences between Tonal, and Real answers?

I'm afraid not. Does "tonal" answer mean that the subject is mutated to modulate back to the tonic at the end of the answer? How would you call an answer which is simply transposed to the dominant with only one alteration at the end, because the subject naturally modulates to the dominant and not mutating it would modulate to the dominant of the dominant, etc...?

Originally Posted by ram

Here are the remaining harmonizations. I have added an harmonization of the homonym subject in D minor as well.

I've changed the mixed interval inversion when it is in the bass, putting a natural A instead of A# at the end of bar 1. This allowed a different harmonic path to be used. This should be OK given the nature of the inversion...

I have a few open questions in previous posts, and a new one for you:

In the mixed inversion harmonization, when subject is in the soprano, I have possibly used harmony syncopation at the bar1 / bar2 crossing: I end on the I of F# major, which is really the V of B minor, and I immediately make it clear that it's a V and not a I at the next bar because the subject adds the 7th (E). Is this permissible in that context or must I rework that part?

Thanks for your guidance.

The E in the soprano on beat 1 of bar 2 is permissible. Remember the harmonization is not a strict 4-part harmony exercise. A fugue is a countrapuntal piece. THe purpose of the harmonization exercises is to get you thinking and planning about harmonic movement that you might want to consider when creating your lines of counterpoint for the fugue. The E adds a touch of dissonant color that you relsolve without issue.


Before we go on with tonal and real answers, are there any other questions you have?

OK thanks, can you clarify what a "tonal" versus "real" answer is, and how to know which variant to use in general, and which I should use in my particular case with this subject?

Hopefully, we will begin work on the difference between the two types of answers this week. Sorry for the delay.

As promised we will now discuss "Tonal" and "Real" Answers in a fugue.

1) A Real Answer in a traditional tonal fugue is basically the subject transposed to the key of the Dominant.

2) A Tonal answer in a traditional fugue is an answer that usually stays in the same key as the subject but the positions of Tonic and Dominant switch places. Therefore you will notice that various intervals in the subject will change in a tonal answer.

Here is an example of in C major with a subject and a tonal answer.

Sub: GAGCBAG, Ans: CDCGEDC
Notice how the positions of the tonic and dominant switch places in the tonal answer. There is also a modification of intervals for the answer to continue in stepwise motion as was presented in the subject.

Make sense?

Originally Posted by Majesty

Make sense?

Makes perfect sense. So the "mutation" in the tonal answer is there to avoid the natural F that you would have if you were in a real transposition mode, which would indeed be weird if you had been modulating to the dominant (since then a F# would be warranted). Am I getting this correctly?

Raphael

Whether or not you are modulating to the dominant with a tonal answer, the key issue is to remember that the positions of the tonic and dominant in the subject switch places in the answer. In the example that I gave, if there was a decision made to modulate to the dominant you would still need the note C and not F# simply because of the nature of the tonal answer. Its more about keeping the relationship of the intervals of the tonic and dominant that make it a tonal answer. Remember, many of the "rules" and practices were made for observation of the works of the "masters". After understanding the tradtional practices there is no written rule that states that you cannot deviate from these traditional practices.


Was that clear?

Originally Posted by Majesty

In the example that I gave, if there was a decision made to modulate to the dominant you would still need the note C and not F# simply because of the nature of the tonal answer.

This is not clear to me.

Your example was:

Sub: GAGCBAG, Ans: CDCGEDC

The answer is mostly a fifth below excepted for the C which is answered with G instead of F if it were a pure transposition.

The problem, as I see it, is that in the subject in C major, C is the tonic. If the answer is modulating to the dominant (G), then clearly one cannot put an F in the answer, it would be a F#. But that would not be the tonic of G, so that's why you said one would put G instead, to remain in the tonality of G major and not shift back to C (as the natural F would).

Am I understanding this correctly?

Now back to my subject, I think I'd write a real answer to it, not a tonal answer, but I would slightly mutate the last note of the answer so as to be able to go back to the original tonic. That is, I would end the answer with EDC#E, instead of the natural transposition up a fifth, which would be ending with EDC#D (last 4 8th notes).

That single change of the last note of the answer would allow me to outline the dominant of D and go back to D in the next entry (A-C#-E-G, being the V7 of D). If I keep the D instead of E, then I need a bridge to modulate back to D after the answer is stated.

Is this analysis correct? Am I allowed to change the last interval of the subject in a "real" answer or is this only allowed in a "tonal" answer?