Dux and Comes

from Wikipedia, the free encyclopedia

The words Dux (Latin for “Führer”) and Comes (Latin for “Companion”) designate the first (Dux) and second (Comes) inserting voice in a contrapuntal-imitative composition (e.g. a canon ). The terms are mainly used in the context of joint compositions . The theme form of the Dux is seen as the basic form of the theme; Changes may occur in the responses from the other voices. Typically, the Comes brings the theme to the fifth level , i.e. the upper fifth or the lower fourth . The third voice that comes in then usually uses the root note again and is often referred to as "comes".

There are basically two ways in which the comes can be designed:

Real answer

Example: start of the joint by JS Bach, BWV 846 .
The Comes imitates the Dux a fifth higher, true to the interval.

The Comes imitates the theme of the Dux faithfully on the fifth level. This may make it necessary to use a sign in the notation.

Tonal answer

Example: Beginning of the fugue by JS Bach, BWV 895.
The Comes in the Unterquart, but the first three tones one whole tone lower (marked in red).

If the note of the fifth appears above the root note in a stressed place in the topic head and occupies a prominent position in the subject, it is usually modified in the Comes to that of the fourth (tonal answer) in order to guarantee the identity of the key.

Example: Beginning of the fugue by JS Bach, BWV 1098 on the chorale We all believe in one God.
Here even a whole passage in the Comes is lowered by a whole tone (marked in red).

It was also quite common, however, to substitute more than just the fifth level tone. Examples of this can be found in Bach and even more numerous in earlier music, for example in Buxtehude.

Example: Beginning of the joint by Dietrich Buxtehude, BuxWV 147.
Passages of the come are lowered by a whole tone (marked in red).

literature

  • Friedrich Wilhelm Marpurg: Treatise from the fugue . Berlin 1753/4; Reprint: Laaber-Verlag, Laaber 2002, ISBN 978-3-89007-384-2