This Prelude enlists another one of the known techniques of the time, making a blooming sound out of a completely natural, colloquial position of the hand. The parallel voices I seek to subvert, instead of following their inexorable tandem procession, I highlight 3-note melodic cells, through articulative transparency and dynamic shading, first in the upper voice, alternating with the supporting partner. The repeat is not only an invitation to ornament, it is an opportunity to present the apposite melodic and articulative foreground and background of the first binary iteration.
Similarly, in the Fugue I explore articulative paths suggested anew by the subject counter-intuitive to their apparent mnemonic instinct.
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