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From:
Thomas Dent <[log in to unmask]>
Reply To:
Harpsichords and Related Topics <[log in to unmask]>
Date:
Mon, 23 Jan 2017 15:31:13 +0100
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Hi Ibo,

note, though, that ab and db in a g-minor version of BWV 867 would be
mostly in the 'shaded' (unexpectedly flat-laden) bars 33-36 just prior to
resolution into F major [analogous to cb and fb in the actual piece before
resolution into Ab major] thus the 'dissonant' Db major chord would
function as a considerable musical contrast, as also in b.52 though milder
due to the 1st inversion.  Ab's in other places would be passing notes.

Indeed, it could be relevant that the fugue manages to avoid C major
harmonies (= B major if transposed bb -> a) but the Prelude clearly
doesn't, the first page has lots of root position C chords.

Best, Tom

My caveat for the fugue in b [flat] minor (BWV 867), though, would be
the range of pitches (in the circle of fifths)
> in g-minor: db, ab … f#, c#.
>
> In a-minor: eb, bb … g#, d#.
> The d sharp (in b-minor: e) never occurs in a consonant chord.
>
>

On 22 January 2017 at 23:47, Thomas Dent <[log in to unmask]> wrote:

> Hi again,
>
> btw, I once wrote out the Bb minor P&F from 'Book 1' to play on a
> double-fretted clavichord (chromatic from C in the bass) in G minor.  It
> seems to work quite well - noting that the tessitura of both pieces is
> pretty high - except for the one B natural in the bass (near the end of the
> Fugue).
> BUT then you notice that that note is part of a line which descends an
> octave in the middle of a bar, then a couple of bars later jumps back up
> the octave - so no contrapuntal content is lost by *not* descending the
> octave, the low B natural is not at all necessary - if anything the
> octave-down jump looks like an afterthought.
>
> Almost as if Bach wrote the piece in a lower key, then transposed it up
> into Bb minor, then noticed that this line could be given some extra
> gravitas for free in the higher key ..
>
> .. does this make any sense?  I suppose A minor is the other obvious
> 'original' key, but somehow G minor feels more logically related, and there
> would not be any Ab/G clashes in an 'original' G minor version - i.e. it
> would be completely 'fret-friendly'.
>
>
> On 13 January 2017 at 14:16, Thomas Dent <[log in to unmask]> wrote:
>
>> Hi Ibo,
>>
>> My Tovey edition of 'WTCII' says, in a footnote to the C# minor fugue,
>>
>> ".. the C minor version recorded by Kellner .."
>>
>> indicating that Tovey knew of a version of that fugue in C minor, i.e.
>>
>> 04 F in c#  –>  c
>>
>> from a (near)-contemporary source.
>>
>> I'm not sure how this relates to Dürr's suggestion of the same C minor
>> transposition with question mark, or your suggestion of D minor instead -
>> what is that based on?
>>
>> Best, Tom
>> --
>>
>>
>

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