It may seem so considering Bach's majestic Fugue in Ebm (Volume 1, No. 8)
which has several unusual characteristics:
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First, the Fugue's subject starts right on the first beat
rather than shortly after it, as Bach's fugues usually do.
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Moreover, it is clear, listening to the subject,
that it is composed of two similar phrases,
each of a three 1/2-note length.
However, the Fugue was written in 4/4 time
and each phrase is therefore a bar and a half long,
which seems to indicate that the bars should also be
of a three 1/2-note length, thus in 3/2 time.
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Also, in order to end on a first beat, these phrases
should all start on the second beat.
In other words, instead of starting shortly after the first beat,
say an 1/8 note after the first beat,
as in the Fugue in G minor, Vol. 1, No. 16
(and the Fugue in D major, Vol 2, No. 5), as Bach usually does,
it would start a little later
(a complete 1/2 note after the first beat).
In such a large level ternary grouping, might it not have been
convenient for Bach to place it in the catch-all, convenient bars
of 4/4, as he did for his Aria in the Suite in D
(commonly known as the "Air For The G-string") which also
starts with a three-1/2-note phrase?
What would the fugue
look (and sound)
like if it were written in the 3/2 time of its subject?
Check it out. Have a look, listen, compare, and tell us
what you think.
More On This
You can find more information on this through
MusicPhenomenon.com's "Footsies'Jukebox" animated
clips,
by following other links on this page, by browsing the Music Phenomenon Newsletter
introduction page,
as well as by discovering the encyclopedic
MusicNovatory
web site, as well as its volume on
Rhythm.
Questions & Comments
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and consider your comments, especially concerning binary and ternary rhythm. Just simply
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