Fugue

This explanation begins with the opening section. The subject is in the soprano from measures 1-2. A phrase break occurs at the final A of measure 2. During this, there are only two types of rhythms: triplets and eighth notes. The final G of the triplet (measure 1) is considered to resolve to the next eighth note A. Consequently, this eighth note A on the third beat should not be accented. The subsequent D also commences piano and gradually swells towards the vicinity of the third beat of measure 2, then gradually diminishes after passing the third beat (thus, it can be considered that this subject comprises two distinct parts). Thereafter, the subject repeats this pattern. Furthermore, regarding points requiring attention in locations of resolution, the soprano sixteenth note G on the third beat of measure 8 constitutes a resolution from the A on the second beat. Here too, avoid accenting. The most challenging aspect concerning voice independence is found in the left hand at measure 11. In the left hand at measure 11, the tenor and bass engage in a dialogue from the third beat, continuing until the second beat of measure 12. Each voice presents two notes per beat, resulting in a total of four notes per beat across the two voices. All four of these notes emerge at distinct timings. Let's take the third beat of measure 11 as an example. The bass has A-D, and the tenor has G-F#.

It is imperative that these four notes do not coalesce into a single sound such as A-G-F#-D. Try playing this section with your right hand taking the tenor and your left hand taking the bass. You will likely find it easy to make the two voices independent this way. However, it is quite difficult to play this section with only the left hand.

The author refers to the Henle edition, which prescribes a '2-1' fingering for the two tenor notes. This implies an instruction to play the first tenor note with finger 1, the second with finger 2, and then immediately revert to finger 1. However, employing finger 2 for the second tenor note renders it exceedingly difficult to sustain the bass's dotted eighth note through to the subsequent sixteenth note. Consequently, the bass line becomes disconnected, and these two independent voices merge into what sounds like a single voice. Therefore, concerning the tenor fingering, it is recommended to use finger 1 for both notes, adopting a '1-1' fingering. Should notes become disconnected with this fingering, the use of the pedal may be considered; however, this approach should significantly facilitate the legato connection for finger 5 in the bass. Please try it.

Measures 19-20 introduce a sequential passage. Fragments of the subject (specifically, only the triplet portion) are extracted and presented in various keys. Endeavor to vary the tonal color according to the prevailing key.