Name: Prelude and Fugue Op. 12, No. 8
Duration: 3 min 15 s
Channel: Vincent Lo
Description: This prelude and fugue is in F-sharp minor, a key I rarely use, mainly because it is uncomfortable to read and play. I chose this key because it is the tonic minor of the key G-flat major, which I find a very warm sounding key. It is hard to pinpo...

Prelude and Fugue Op. 12, No. 8

zeryx28

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This prelude and fugue is in F-sharp minor, a key I rarely use, mainly because it is uncomfortable to read and play. I chose this key because it is the tonic minor of the key G-flat major, which I find a very warm sounding key. It is hard to pinpo...

classical video game japanese background baroque final fantasy rpg

zeryx28

I have been composing and arranging music for 17 years. I started piano when I was 6 and received my ARCT diploma in performance in 2005. I come from a diverse background that combines traditional music theory, Classical music, and video game music. My SoundClick page is a showcase of my work as a video game music composer. If you are interested in hiring me for work, feel free to contact me at zeryx28 [at] hotmail [dot] com.

Song Info

Genre

Classical • Baroque

Charts

Peak #107

Peak in subgenre #8

Author

Vincent Lo

Rights

2006 audioMuse

Uploaded

January 13, 2008

Track Files

MP3

MP3 3.0 MB • 128 kbps • 3:15

Story behind the song

This prelude and fugue is in F-sharp minor, a key I rarely use, mainly because it is uncomfortable to read and play. I chose this key because it is the tonic minor of the key G-flat major, which I find a very warm sounding key. It is hard to pinpoint why exactly, but I find that the black keys, when being principle to the key signature, produce very round and soft tones. Hence, in contrast, the key of F-sharp minor, coupled to the rigid and angular nature of the prelude seems natural. Maybe it's just a psychological thing. I really cannot say.

Prelude. The prelude is generally based on a pattern of alternating low and high notes that are separated by symmetrical three note motifs. Whilst this is happening in the right hand, the left hand takes on a well-marked simplistic quarter-note rhythm, mainly accenting on strong and medium beats. The hands reverse roles in turn. The first half ends with a descending sequence followed by an unusually syncopated cadence. In the second half, more manipulation of the thematic material is heard until we reach a more complex section where both hands are playing a modified version of the pattern of the alternating notes from the beginning. The second half ends in a similar fashion.

Fugue. The fugue is slightly slower in comparison. The subject begins on the dominant note and ends on the mediant note. It is short and sweet and quite practical for use in a stretto. A special feature of this fugue is that it contains a canon-like section, that is, strict imitation between two voices. Where it ends, a stretto begins and culminates in a chromatic descend to a lower register. The ending borrows material from an episode that is heard near the beginning.

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