User talk:Rperlner: Difference between revisions

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:::::::::::::: Okay then. It seems to me that I personally would prefer the Subject and Answer of a fugue to be more lengthy passages in more stable keys, even though the Subject is in the original Tonic key while the Answer is in the key located a perfect fifth above the original- at least when we're not working in Locrian mode, as for a Locrian fugue, the Answer seems to need to be in the key located a perfect fourth above the original due to having a flat five. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 01:38, 6 January 2021 (UTC)

::::::::::::::: I see why you like Bach's little fugue in G then. Very long and very tonally stable subject. It leans pretty heavily on the dominant and the raised leading tone to get this effect, so it's not obvious how to do something like that in Locrian. Speaking of Locrian, I think it is possible to have the answer be a transposition up a perfect 5th of the subject, as is common for fugues based on other modes, but up a 4th is certainly easier and it's what I did for my Locrian fugue. (I had the for voices entering on B, E, D and B respectively.) --[[User:Rperlner|Rperlner]] ([[User talk:Rperlner|talk]]) 15:50, 12 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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 :::::::::::::: Okay then.  It seems to me that I personally would prefer the Subject and Answer of a fugue to be more lengthy passages in more stable keys, even though the Subject is in the original Tonic key while the Answer is in the key located a perfect fifth above the original- at least when we're not working in Locrian mode, as for a Locrian fugue, the Answer seems to need to be in the key located a perfect fourth above the original due to having a flat five. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 01:38, 6 January 2021 (UTC)
+::::::::::::::: I see why you like Bach's little fugue in G then. Very long and very tonally stable subject. It leans pretty heavily on the dominant and the raised leading tone to get this effect, so it's not obvious how to do something like that in Locrian. Speaking of Locrian, I think it is possible to have the answer be a transposition up a perfect 5th of the subject, as is common for fugues based on other modes, but up a 4th is certainly easier and it's what I did for my Locrian fugue. (I had the for voices entering on B, E, D and B respectively.) --[[User:Rperlner|Rperlner]] ([[User talk:Rperlner|talk]]) 15:50, 12 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)