The first episode leads us to a series of stretti using the subject in the original (S) and inverted (SI) forms:
- The false entrance in the alto in measure 12 serves as a preparation.
- The first stretto is between the soprano and alto at a three beats distance.
- The bass uses motive a in its original and inverted forms.
- The first part of the countersubject (CS-a) appears in the soprano.
- Motive b1 is inverted in the alto.
A second stretto begins in measure 17:
- This is a stretto between the bass and alto using the original form of the subject. Once again they are at a three beats distance.
- The second part of the countersubject (CS-b) is used.
- Bass and alto in measure 19 use inversion at the tenth.
- The section ends with a cadence to A minor.
A triple stretto appears in measure 21 between the bass (original form), soprano (inverted) and bass (inverted). The last notes are missing from the first two entries:
A short episode in measures 25 and 26 uses the inverted version of motive a. The soprano uses the inverted versions of the countersubject (CS-a and CS-b):
Another triple stretto starts in measure 27 (inverted soprano, alto and bass original). The soprano and bass subjects lack the last note. CS-a and CS-b are used:
© 2011 José Rodríguez Alvira. Published by teoria.com
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