User talk:Rperlner: Difference between revisions

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:::::::::::: Well, given Wikipedia's definition of a [[Wikipedia:Leitmotif|leitmotif]], I think it can be said the a fugue's subject can be thought of as a kind of leitmotif. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 23:51, 5 January 2021 (UTC)

:::::::::::: Is me or is the fugue's subject- when harmonically stable- often counterbalanced by the contrasting sections where the more extensive harmonic development and key changes takes place? --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 00:17, 6 January 2021 (UTC)

:::::::: I just had a thought... Since the wolf fifth is a different interval from the perfect fifth with different properties, perhaps a succession of chords in root position such as the sequence G-Major (1/1-5/4-3/2), A-Wolf-Minor (1/1-32/27-40/27), B-Diminished (1/1-6/5-32/27), C-Major (1/1-5/4-3/2) in the key of C-Major could potentially be allowed in non-meantone settings, seeing as it seems to be that only two successive chords with parallel perfect fifths or octaves lead to the loss of independence among the different voices. Do you think this is a viable technique for things like fugues? --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 23:12, 4 January 2021 (UTC)

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 :::::::::::: Well, given Wikipedia's definition of a [[Wikipedia:Leitmotif|leitmotif]], I think it can be said the a fugue's subject can be thought of as a kind of leitmotif. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 23:51, 5 January 2021 (UTC)
+:::::::::::: Is me or is the fugue's subject- when harmonically stable- often counterbalanced by the contrasting sections where the more extensive harmonic development and key changes takes place? --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 00:17, 6 January 2021 (UTC)
 :::::::: I just had a thought...  Since the wolf fifth is a different interval from the perfect fifth with different properties, perhaps a succession of chords in root position such as the sequence G-Major (1/1-5/4-3/2), A-Wolf-Minor (1/1-32/27-40/27), B-Diminished (1/1-6/5-32/27), C-Major (1/1-5/4-3/2) in the key of C-Major could potentially be allowed in non-meantone settings, seeing as it seems to be that only two successive chords with parallel perfect fifths or octaves lead to the loss of independence among the different voices.  Do you think this is a viable technique for things like fugues? --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 23:12, 4 January 2021 (UTC)