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Now I'm having some more trouble with my fugue. But this time it has to do with key modulation. I feel my fugue is becoming too jazzy thanks to the modulation.

There are the primary modulations(from 1 subject entry to another) and secondary modulations(modulating to another key for a short amount of time to transition into the next key.

Here are the primary modulations: Cm -> Gm -> Eb -> Fm -> Bb -> Cm

Having the Bb section last before I go back and end in C minor kind of gives away that the Bb is leading to Cm. Eb is the relative major and the Gm and Fm kind of reinforces the Cm because they both have Cm as a chord in the natural minor scale.

And here is my first secondary modulation(the others I haven't figured out yet):

Cm -> Dm -> Gm

As you can see, that is a II -> V progression but all in minor keys. In the D minor section with subject fragments, I have both E and A naturals. In the Gm section with a full subject entry, I have just A naturals(you could view it as C dorian but I'm sticking with G minor).

But I feel as though I have lost my grounding in C minor when I get to the D minor section and that this makes the fugue feel like it does not have any 1 specific key it is in despite it both beginning and ending in C minor. It feels too jazzy to me despite there being no swing to the rhythm. Not saying fugues can't be written in jazz but I was not aiming for it to sound like jazz in any context, harmonic or otherwise. I was just trying to smoothly go from C minor to G minor in 9 measures and the II -> V was an option.

Now I'm thinking "Should I change the Dm to another mode, say Locrian, to give back that Cm feel or should I just stick with it and hope the fugue doesn't end up being a jazz fugue(because I was really aiming towards Bach, not jazz) because of me using a II -> V?"

But my real question is, how do I not lose sight of the tonic when I am doing something like a II -> V? Will having Cm be in the harmony of the Gm section be enough?

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    I'm not sure I understand your question. If you are modulating, you don't want to make the old tonic seem like the tonic. That's the point of modulation. A fugue is supposed to go through several modulations and if you do it right, it will be seamless and propel the feel of the fugue. – Dom Sep 9 '18 at 4:39
  • But the modulation to me seems seamless and not like a sudden change only when it is obvious that the 2 keys are closely related. So that is why a Bb to Cm modulation feels seemless to me even though with the circle of 5ths, I would need 2 transformations to go from Bb major to C minor. With the supertonic scale degree, that obvious relation is lost in the modulation and so a II -> V feels jazzy, even if rhythmically the music is nothing like jazz, simply because there is a sudden key change. That is what I mean, harmonically it sounds jazzy when I was not trying to create that jazzy feel, – Caters Sep 9 '18 at 5:53
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    If the thing's modulated to ii, then it's now in Cm. The V of that could be G or Gm, and using G will give a more positive feel it's moved on. But, does it really matter. Musos will perceive the whole thing in a very different way from non musos. I doubt whether the latter would be too aware of some modulations in some pieces. – Tim Sep 9 '18 at 8:30

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