This site introduces unknown composer Emanuel Bach (C. P. E. Bach). This English version was translated from Japanese one by ChatGPT.
I asked ChatGPT4o: "It seems that many of Sebastian Bachʼs fugue themes are chromatic. Is there a relationship between the art of fugue and chromatic melodies?"
The chromatic themes in Johann Sebastian Bachʼs (hereafter “Bach”) fugues are not merely a compositional technique but reflect the depth of his musical exploration and expression. The relationship between the art of fugue and chromatic melodies can be explained from the following perspectives.
Chromatic melodies have the following characteristics:
Bachʼs fugues are characterized by forming complex musical structures based on counterpoint. By using chromatic melodies as themes, the modulation and contrapuntal treatment in the musical progression become richer, increasing tension while demonstrating advanced compositional techniques.
In Bachʼs unfinished masterpiece “The Art of Fugue” (Die Kunst der Fuge), chromatic elements play a significant role.
By utilizing chromatic themes, techniques such as modulation and inversion (retrograde of the theme) can be effectively employed, strengthening the overall structure of the fugue.
One reason Bach favored chromatic melodies was his pursuit of both theoretical and technical exploration and emotional and philosophical expression in music.
Chromatic fugues existed before Bach, but they developed significantly in his hands. His influence was passed on to his successors (e.g., Mozart and Beethoven), promoting further evolution of musical techniques.
In conclusion, the art of fugue and chromatic melodies are closely related, and Bach skillfully utilized their characteristics to achieve formal perfection and deep expressiveness. This feature elevates Bachʼs fugues beyond mere exercises in music theory to works of art.
I asked ChatGPT4o: "What does it mean that ʼmodulation and contrapuntal treatment in the progression of music become richerʼ?"
"Modulation and contrapuntal treatment in the progression of music become richer" refers to the fact that chromatic melodies create diverse expressions and possibilities in musical development. Specifically, the following points can be mentioned:
Chromatic melodies have the characteristic of blurring tonality. This results in effects such as:
In Bachʼs fugues, modulation is a crucial element that energizes the musical progression, and chromatic themes skillfully support this.
In fugue counterpoint, music develops by repeating or transforming the theme (subject) in other voices. Chromatic melodies are particularly effective for these operations:
For example, if a fugueʼs subject is chromatic, even when used in a form like a canon (strict imitation), new colors are added to the harmony between voices.
Chromatic progressions not only blur tonality but also provide psychological tension to the listener. Bach skillfully used this property to create effects such as:
For instance, the theme of the first piece in “The Art of Fugue” includes chromatic movement. This theme expands the possibilities of modulation and counterpoint in the following ways:
"Modulation and contrapuntal treatment in the progression of music become richer" means that chromatic melodies enhance the freedom of modulation, promote complex interactions between voices, and create a dynamic of tension and resolution. This elevates the music beyond mere theoretical exercises to works of art with deep expressiveness.
I asked ChatGPT4o: "Chromatic melodies are ambiguous in key, but did they ever become atonal?"
In Johann Sebastian Bachʼs works, while chromatic melodies often blur tonality, they never became completely atonal. Here are the reasons and background:
The Baroque era, during which Bach was active, was a period when functional harmony (tonal relationships such as tonic, dominant, and subdominant) was established.
For example, even if the theme of “The Art of Fugue” is chromatic, the beginning and end of the piece are always based on tonality.
Chromatic melodies can temporarily blur tonality, but they differ from atonality in the following ways:
Bach used chromatic movements not as “detonalization” but as a means of “exploring and expanding tonality.”
In Bachʼs music, there are moments that suggest the possibility of later atonality, but these are always developed within the framework of tonality.
Bachʼs music was perceived as symbolizing order and divine harmony. Atonality, seen as disrupting that order, was incompatible with Bachʼs musical philosophy.
Some of Bachʼs pieces have sections where tonality is very ambiguous and may sound atonal to modern ears.
In Bachʼs music, while chromatic melodies may blur tonality, they never reached complete atonality. Instead, Bach used chromatic elements to expand the possibilities of tonal music and pursue the beauty of its tension and resolution. This is one reason why his music is appreciated across ages.
In relation to the above questions, I asked about the relationship between Romanticism, Schoenberg, and atonality, which is written in the following sections.