Specifics

Form AAAA BBAA - Chord Pattern M34 - Subject line 2-1 - Counter-subject line, preferably 3-2

         Another 16-bar fugue.

The Expositions

The Fugue-lines

Here again each Orbit 3 has been replaced by 0(3) 3
                   in CS2 (G)F, in CS1 (G)A,
         to facilitate the entrance by attacking on a more fundamental note,
                   the COMMON TONE, and
         to "improve" the Sonorities between the Subject and the Counter-subject
                   (see Class 1).
We use the same choices of "X"s in Fugue-lines 1 and 2
         (Orbit lines 0-0 with the COMMON TONE and 1-1 with the PROPER TONE).

The Choral Dispositions

The last Exposition (AA)

2 dispositions
The last Exposition, being a consequent, must come to a full close (cadence),
         Here again, we have 2 possible dispositions
                    because Fugue-lines 1 and 2 can offer the FB.

The first disposition -
If Fugue-line 1 is placed in the Bass Voice, with the FB for the last 2 cells,
         Fugue-line 3 (the corresponding line) must be placed in the Alto Voice.
         Fugue-line 4 seems the best for the Soprano Voice,
                   (reserving Fugue-line 2 for the weak ending of the first exposition).
         Fugue-line 2 is thus placed in the Tenor Voice.
Leaving this in the Key of C gives us a good Choral Disposition.
         The first Exposition (AAAA) of this disposition will be seen later.

The second disposition -
If Fugue-line 2 is placed in the Bass Voice, with the FB for the last cell,
         Fugue-line 4 (the corresponding line) must be in the Alto Voice,
         Fugue-line 3, with its S1 and CS2 (ending on Orbit 2), must be in the Tenor Voice,
         Fugue-line 1, with its "X"s on Orbits 1-1-1-1, will be in the Soprano Voice.
Placing this in the Key of F, gives us a good Choral Disposition.
         The first Exposition (AAAA) of this disposition will also be seen later.

NOTE -
Remember that only the second half of the last Exposition will be used,
because it is only an AA, the first AA being replaced by the BB.

The first Exposition (AAAA)

Remember to invert the high Voices (Soprano and Tenor) and the low Voices (Alto and Bass)
         to avoid the full close (cadence) in the first Exposition, an antecedent.

The first disposition, in C
         NOTE the choice of Orbit-lines for the "X"s -
                   in the Alto Voice, for the 2 "X"s, we chose the 1-1-1-1 line,
                             to avoid FRAME inversion with the Bass Voice on the DOMINANT chord,and
                   in the Soprano Voice, the 1-0 line in the second "X", for a weak ending,
                             which is particularly effective with the 3-2 line in the Bass Voice.

The second disposition, in F
         The choice of Orbit-lines for the "X"s in the Tenor and Alto Voices
                   is somewhat arbitrary here,
                             the Soprano and Bass Voices elegantly avoiding a strong cadence.

Ornaments

In this class, we will add embroideries as melodic ornaments for the Subject or the Counter-subject.
         Embroidering the Subject, where there is no movement,
                   produces particularly successful sonorities
                             with the substitution (and the MOTRIX) of the Counter-subject.

One could find simple, possibly silly, words to fit this Melo-rhythm, such as -
         for the Subject : "Getting the knack"
         for the Counter-subject : "of this crazy fugue"
         for the first "X" : "will make"
         for the second "X" : "my day."
NOTE the addition of passing tones as a pick-up to the Counter-subject
         (with the words "of this").

The Divertimento

The Fugue-lines

The Counter-subject as canon motif -

In the Key of C, using CS2 as motif, with the words "Of this crazy fugue"
         the canon starts in Fugue-line 2 with the pick-up
                             followed by 0(3) 3 / 2 on the Ante-3, CD\ED/C, and
                   is answered in Fugue-line 1, also with the pick-up
                             followed by 0(3) 3 / 2, on the Ante-2, F#G/AG\F#.
                   NOTE that the CS2 is subdivided into / /
                             as suggested in the "Ornaments".
         At the end of the Divertimento, we see (in parentheses) the resolutions,
                   which we will need to tie in the lines of this Divertimento with the next (and last) AA.
                             Fugue-line 1 resolving to Orbit 1 ties in with an "X", and
                             Fugue-line 2 resolving to Orbit 2 ties in with CS1.

The Complete Fugue

The fugue in C - Version 1 with a Counter-subject canon

Place the Expositions, insert the BB Divertimento,
         have some voice tie in the AAAA with the BB, and adjust the words.

The first Exposition AAAA is the inversion of version 1 of the last disposition.
The last Exposition AA is the first half of version 1 of the last disposition
                   (with the embroideries added, of course).
         NOTE (in the Soprano Voice) the subdivision in s
                             to place the words of the 2 "X"s into 1 "X".
                   (for the words "will make my day", at the end of the first line).
The 2 Divertimento Counter-subject lines have been disposed
                             in the Tenor and Bass Voices,
                   replacing the 2 first entries in the original version 1 of the last disposition,
         to tie in to the second half of version 1 of the last Exposition,
                   Fugue-line 1 tying in to the CS1 in the Tenor Voice, and
                   Fugue-line 2 tying in to the 2 "X"s (the FB) in the Bass Voice.
         NOTE, in the Tenor Voice,
                   a rebound from the preceding AAAA Exposition, with the words "the knack",
                             (at the same time as the CS2 pick-up in the Bass Voice), as well as
                   a longer note-value after the Divertimento in the CS1 on the word "cra-zy".
         NOTE, in the Bass Voice,
                   the word "crazy" is repeated (in s) to fill in the 2 "X"s (at the end).

You should be able to work out the second version of voice disposition, in F,
         using the Subject as canon motif.
         .

On to Class 3