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Experiment 2

Inverse ゛Canon per Augmentationem゛upside down.

In Canon per Augmentationem, the follower imitates the leader with its
figure inverted upside down and this inversion is done taking ゛h-c'゛ as a
pivot, which is the same way as a mirror fugue. Regarding the melody, ゛d゛
and ゛a゛ are switched in each other, that is, the melody is transposed one
octave lower by inversion taking ゛ｆ゛as a pivot.
Then, I wondered what would be if the leader were inverted since the
inverted melody works out as a music.

BGM you are listening now is arranged by my rubbish idea.
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So I gave it a try at once, but as I expected, it did sound strange.
(partly interesting though)

Before we take the various limitations into account on making a mirror
fugue, already mentioned in Cp.12, to create a beautiful music is a top
priority, then, the notes disturbing a tonal motion have to be avoided.



Bar 29 in the above music exemplifies a harmonic motion, being associated
with dominant, however, with the appearance of tonic, it has become an
erratic development. Seeing from the view of tonality and melody, this kind
of failure happens many times in this trial.

As the whole piece was not supposed to be inverted originally, the output
was musically infeasible as I expected, although the melody itself was
practically invertible.
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Yet, the strange thing is that you can get used to it if listening over and
over again. That's our Bach, isn't it! What do you think?

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