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From:
Ibo Ortgies <[log in to unmask]>
Reply To:
Harpsichords and Related Topics <[log in to unmask]>
Date:
Wed, 11 Jan 2017 13:02:30 +0100
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Hi,

hit the send-button too early. The first paragraph might not have been clear a

according to Alfred Dürr (Johann Sebastian Bach. Das Wohltemperierte Klavier. Kassel, Bärenreiter 1998; third ed. 2008) there are two sources that have (earlier versions of) the pieces in transposition. These are C# prelude or pair (originally in C) and the fugue in Ab which originated in F, but was heavily amended in the process. 
I thought there was a third source, but I can't find it back.


The Fugue in d# minor (BWV 853) in WTC I  is a good example how to determine a strong hypothesis for a transposition:
In measures 15-16 there is a simple scale going up to b#2. The b#2 is being held across the barline then jumps a septima below to c# and cadences (shortly) in F# major:

Eighth-notes, all in the second octave:

| b c# d# e# f# g# a# b#– | –b# c# [f#_]
 
The septima jump, otherwise a decisively doubtful solution (contrapuntally, melodically), was simply forced, because otherwise the standard WTC-1 compass in the treble (b2 = c3) would have been exceeded. This example shows Bach as the highly pragmatic composer he was. 

If the original can be assumed to have been in d the somewhat awkward septima jump disappears. The result is:
| bb c d e f g a b | c3 c [f_]

Interestingly this piece has a subject and its contrapuntal treatment displaying a distinct touch of “old style”. It never exceeds the meantone range (keys from eb, bb… c#, g#), either, and can be played without problems on a fretted clavichord (d and a unfretted). It needs however a full chromatic compass in the bass.     


Kind regards
 
Ibo

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Dr. Ibo Ortgies
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