Abstract:

In the music conception of the Baroque era, composition technique is based on the contrast. In contrast, multiplicity was sought not in the vertical placement of voices, as in the Classical era, but in the harmony within the horizontal movement of the parties. The most mature and systematic work to form the foundation of the classic period of multiplicity in the Baroque era is the Equal Regular Keyboard I-II work by J. S. Bach for keyboard playings. Because in this work, Bach emphasized the major and minor tonality; therefore, the 3 (M,m) and 6 (M,m) intervals revealed the compatible and equal coating between the parties. Füg means “flight” in Latin and takes this name from each party’s pursuit by imitating each other. The main elements that make up the structure of the shell are the subject, the answer, the counter, the exhibition, the intersection, the stretto and the pedal. The aim of this study is to find traces of the foundations of the classical period tonality understanding by identifying the folds where the 3 (M,m) and 6 (M,m) intervals are vertically used between the 48 Füg in J. S. Bach's Work of Equal Regular Keyboard I-II. The universe of this study is formed by Fug technique, and the sample is made up of the subjects, answers and counter-subjects included in the 48 Füg of Bach's Equal Regular Keyboard I-II study. The study is a qualitative study due to the detection of the vertically used between the intervals of 3 (M,m) and 6 (M,m) between the subjects in the exhibition section of Bach's figured notes selected by the visual scan method and the achievement of an outcome through the found findings. In the studies on the findings in the study, Bach's work of Equal Regular Keyboard I-II has seen that the contrast multiplicity is placed on a tonal system, and it has been observed that it has been found in the 10 fights where the intervals of 3 (M,m) and 6 (M,m) are more frequently used vertically, rather than the intervals of 4, 5 and 8, as in the classical fusion, and that it has prepared the ground for the tonality of the classical period.

Abstract:

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.

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