Timeline for How to realize the figured bass of the second movement of BWV 1014?
Current License: CC BY-SA 4.0
12 events
| when toggle format | what | by | license | comment | |
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| Jan 17, 2019 at 14:42 | comment | added | Albrecht Hügli | great discussion. That's the way I like it! | |
| Jan 17, 2019 at 13:54 | history | edited | Richard | CC BY-SA 4.0 |
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| Jan 17, 2019 at 13:19 | comment | added | Ma Joad | Let us continue this discussion in chat. | |
| Jan 17, 2019 at 13:17 | comment | added | Richard | Oh, you're transposing it! Well, transposing it would fit above the B-minor progression, but then you'd be doubling the violin line, which would just be redundant. In fact, it may even weaken the texture by playing two of the same melodic line with only one bass line. | |
| Jan 17, 2019 at 13:12 | comment | added | Ma Joad | I mean if you transpose the countersubject play by m. 5 violin into B minor, then the first several note fit into the Bm chord in m.1, because it begins with a D. I mean the transposed and adjusted countersubject, NOT just simply copy and paste. | |
| Jan 17, 2019 at 12:58 | comment | added | Richard | I also just spotted an error in my earlier comment that may have been confusing: the last sentence should read "These different levels of transposition prevent the countersubject in m. 5 from being consonant with the harmonic progression in m. 1." | |
| Jan 17, 2019 at 12:56 | comment | added | Richard | It is an exact transposition. But because it's transposed to F♯, it no longer fits above the B-major progression of the first bars. This is evident from the very first pitch of the answer in m. 5: this C♯ does not fit above the B-major chord on the downbeat of m. 1. | |
| Jan 17, 2019 at 12:31 | comment | added | Ma Joad | I still cannot understand. The answer in b 4 is an EXACT transposition of the subject in b 1. Consonance and dissonance doesn't change after transposition. (As far as I know, of course) The counterpoint also seems invertible. | |
| Jan 17, 2019 at 11:55 | comment | added | Richard | Great question! In m. 5, the subject is played at the level of the dominant, whereas the subject in m. 1 is played at the level of tonic. Notice how the subject starts on F♯ in m. 1 but on C♯ in m. 2. These different levels of transposition prevent the countersubject in m. 5 from being consonant with the subject in m. 1. | |
| Jan 17, 2019 at 11:52 | comment | added | Ma Joad | Thank you for the answer. But why do you say that the countersubject b 5-8 causes some terrible dissonances? If it is OK in 5-8, it should be right in b 1-4, because nothing is really different except the upper two voices are swapped. (I know it doesn't match the figures, but it should not be dissonant) | |
| Jan 17, 2019 at 10:57 | history | edited | Richard | CC BY-SA 4.0 |
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| Jan 17, 2019 at 10:06 | history | answered | Richard | CC BY-SA 4.0 |