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Abstract


THE RELATIONSHIP AMONG SUBJECT-ANSWER-COUNTERSUBJECT IN J. S. BACH’S WELL-TEMPERED KEYBOARD I-II FUGUE WORKS

The music compositional technique of Baroque period is based on the counterpoint. In counterpoint, polyphony was sought not in the vertical arrangement of sounds as in the Classical period, but in the harmony of the horizontal movement of the parties. The most experienced and systematic study of polyphony in the Baroque period, which constitutes the basis of the Classical period, is the Well-Tempered Keyboard I-II study composed by J. S. Bach for keyboard instruments. So Bach emphasized major and minor tonality in this work; therefore, it has revealed the harmonious and equal fusion of 3rd and 6th (M,m) intervals between parties. The main elements that make up the fugue structure are subject, answer, opposite subject, exposition, cross sections, stretto and pedal. The aim of this study is to use the fugue in which triad (M, m) and 6 (M, m) intervals are vertically used among the subject-answer-countersubject parties in the exposition among 48 Fugues in J.S. Well-Tempered Keyboard I-II and to find traces of the basics of the Classical period tonality approaching. The study, the determination of the vertically used 3 (M, m) and 6 (M, m) intervals among the parties in the subject, answer and counter-subject parts of the exposition section of Bach's fugue notes selected by descriptive scanning method and the findings. It is a qualitative study because of an inference. Based on the findings of the study, the counterpoint polyphony in Well-Tempered Keyboard I-II was based on a tonal system, rather than the 4th, 5th and 8th intervals like in the classical fugue. It has been determined in 10 fugues that 3th (M, m) and 6 (M, m) intervals vertically are used more frequently and it has been observed that it has prepared the ground for Classical period tonality.



Keywords
Bach, Well Tempered Keyboard I-II, Fugue, Intervals, Tonality



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