Clara Schumann's op. 16 no. 3 and "Fifth Above, Third Below": Discerning Inverted Canonic Potential

Abstract

This video equips the viewer with a method to determine if a melody can support tonally idiomatic inverted canonic combinations, detecting not only diatonic consonances but also prohibited parallel motions. This method reveals that the subject for the third fugue from Clara Schumann’s op. 16 can form two dubious combinations at a particular time delay; she concludes her fugue with an ameliorating hybrid of these two combinations.