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Rowley, Alec : Miniature Fugue No.3

Work Overview

Music ID : 50582
Instrumentation:Piano Solo 
Genre:fuga
Total Playing Time:0 min 35 sec
Copyright:Needs Research
Original/Related Work: omnibusPRECEDE INVENTION -POLYPHONIC MUSIC FOR PIANO-

Commentary (2)

Author : Ooi, Kazurou

Last Updated: May 14, 2024
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

When performing this small fugue, there are points to note regarding dynamics. Within the piece, there are two instances of forte, in measures 1 and 17. However, upon examining these forte markings, both are placed where the left-hand theme (subject) is identical in pitch and register and begins in C major.

From this, it can be inferred that:

  • The forte markings are written for the left hand.
  • The dynamic markings written here are not merely to make that specific spot louder, but to make the entire theme stand out in volume.
  • Assuming that the theme in G major in measure 5, the theme in C major in measure 9, and the theme in A minor in measure 14 are each played by different instruments, the themes in measures 1 and 17 should be the most prominent.

In sections where no dynamic markings are written, there are neither crescendo nor diminuendo markings. Therefore, sections without any markings are left to the performer's discretion regarding dynamics. Performers should consider where to place peak points, where to change the 'color' (timbre/character), and since there are several variations of the same C major theme, what kind of distinctions to make. It is advisable to discuss these points with your teacher.

Writer: Ooi, Kazurou

Author : Kumamoto, Ryohei

Last Updated: January 16, 2025
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

This piece is in a three-part structure.

  • Exposition (measures 1-12)
  • Episode (measures 12-17)
  • Stretto (measures 17-25)

Characteristics of the Subject

The subject is first presented as the dux in measures 1-4. It begins on the tonic, descends scalewise to the dominant, then ascends a second to scale degree 6 (A), then ascends a third to reach the tonic again, descends to the leading tone, and finally resolves back to the tonic.

In the initial scalewise descent from the tonic to the dominant (a fourth), the melody passes through scale degree 7 (B). Although this B is a leading tone (which harmonically is a tendency tone that must ascend a second to the tonic), it descends directly to A instead of ascending to the tonic. This melodic movement creates a sound reminiscent of a church mode.

The subject as a whole features many stepwise motions, resulting in a melody with a strong horizontal connection. Although the score indicates a long slur over the subject, as noted in the footnote at the bottom of the score, this merely indicates the subject itself, and articulation must be considered separately. In the style of the Baroque period, short slurs that do not cross bar lines might be considered. It would be beneficial to experiment with several possibilities, considering the character of the subject and the overall structure.

Overall Structure

Although short, this work establishes a basic structure as a two-voice fugue. In the exposition, the subject is first presented in the lower voice in the tonic key (dux), and then imitated by the upper voice in the dominant key (comes). From measure 9, the subject is re-presented in the upper voice in the tonic key.

There is no fixed countersubject or countermelody, but the motif in the lower voice at measure 5 is utilized in the upper voice at the beginning of the episode.

The episode begins with a VI chord in D minor. From measure 14, a subject beginning on A is presented. In this subject development, the latter half (measures 16-17) modulates to A minor, but the first half (measures 14-15) is in D minor, with a harmonic resolution from the dominant seventh to the tonic triad. This entire subject development is not presented to establish (secure) the subject, but rather, from a harmonic structural perspective, it has a transitional meaning.

Focusing on expressions tied to individual tonalities in this section can structurally lead to a stagnant expression. Therefore, it is desirable to convey an overall image of the subject presentation in the minor key that contrasts with the major key subject presentation in the exposition.

At measure 17, the subject begins in the lower voice, followed by its imitation in the upper voice at measure 18. The subject is imitated in another voice rapidly in quick succession before one subject presentation is complete. This is stretto.

In large-scale fugues, there are small stretti that occur like skirmishes between two voices during the piece, and grand stretti that unfold majestically with all voices at the end. As this work is a small-scale two-voice fugue, it cannot be described as grand, but the section beginning at measure 17 corresponds to a grand stretto. Within the bright tonality of C major, the presence of stretto creates a lively and energetic atmosphere.

The conclusion, measures 24-25, is difficult to discern due to the two voices, but the chords change every beat here (IV-II7-V-I). It would be effective to express a poco ritardando while feeling these harmonic changes.