Visit the Fugues of the Well-Tempered Clavier Flash or Shockwavewhere all of the techniques discussed on this page are illustrated in interactive hypermedia. At its simplest, a fugue might consist of one exposition followed by optional development. A more complex fugue might follow the exposition with a series of developments, or another exposition followed by one or more developments. Because its outline is so variable, it is preferable to speak of the fugue as a "process" rather than "form" per se.
If not, Google Translate doesn't cack up French to English translations too badly. It not only has scores, but books on music and music theory in PDF form. I'd link directly to the category indexes, but this is my first post here and I haven't got the rep points yet for lots of links.
I can pretty much guarantee you'll find other books on fugue there, in English and in other languages than French. You'll certainly find fugue scores there, and that is even more important.
The idea of fugue is pretty straightforward: You introduce each voice with imitative entries of the subject, usually at the tonic level and transposed to the dominant level subject and answerand each voice continues fairly freely after exposing its subject entry.
The initial exposure of the subject in all the voices is called the exposition. You may need to make tonal adjustments to the answer to keep it from modulating away from the tonic too quickly.
The Gedalge book goes into how that's done in some detail. The continuation of a voice after the subject may involve a countersubject that is played consistently against a subsequent entry of the subject in a different voice. That is to say, one voice exposes the subject, then continues with the countersubject as the next voice comes in with the subject.
If you already know your invertible counterpoint, this isn't particularly tough to manage.
|On Air Now||A simple fugue has only one subject, and does not utilize invertible counterpoint. Similarly, a triple fugue has three subjects.|
|Elements of the fugue||Overview A fugue has three main sections, the Exposition, the Middle Section sometimes referred to as the modulating section and the Final Section.|
|composition - How to Write A Fugue - Music: Practice & Theory Stack Exchange||A simple step guide to writing an amazing fugue 7 February|
|Analysis of Bach's fugue BWV 851 in D Minor (WTC I)||Thus, one can emulate fugue composition by following a few basic procedures, and then using the fugues of Bach as supreme if somewhat intimidating!|
|History of the fugue||A fugue French or fuga Italian is a polyphonic composition with two or more voices, built on a subject theme introduced at the beginning. Each successive voice enters in imitation of the subject in a manner similar to singing Row, row, row your boat.|
These episodes usually serve one of two functions: Note that the bare minimum fugue involves an exposition, subsequent entries of the subject, and episodes between these. Everything else is optional, whether countersubjects, invertible counterpoint, stretti overlapping subject entries; the singular is strettoor multiple different subjects double or triple fugues, etc.
Sometimes, for stretto fugues i. Now, from a practical point of view, variation in the sense I think you mean doesn't enter into the writing of fugue too much: The biggest problems I usually see are problems of handling the composite rhythm of the voices when played together: Your voices are freely expanding melodies, so you do want some rhythmic differentiation within them and between them.
If one voice is using straight quavers, for instance, arrange that the other voices are using longer and more irregular rhythmic values. This is where your counterpoint studies come into their own: This is no less important in a fugue than in a sonata.
You want your voices' rhythms to come together to put weight on important cadences; you want enough rhythmic incompletion and momentum that the voices don't come to a complete halt at an internal cadence.
Are you finding specific problems when you try to write a fugue?Bach Fugue 16 in G Minor, BWV Analysis Johann Sebastian Bach’s Fugue 16 in G Minor is an example of a conventional fugue.
What is interesting about this piece is that the body of the fugue is comprised of fragments of the subject and countersubject. The BWV fugue in D minor is an excellent example of effective use of contrapuntal techniques like transformation by inversion or contrary motion, invertible counterpoint and stretti.
Exposition The fugue is a three voice fugue.
Explanation of fugal procedures exemplified in the works of J. S. Bach. I.
Definition of a Fugue Polyphonic procedure involving a specified number of voices in which a motive is exposed, in each voice, in an initial tonic/dominant relationship, then developed by contrapuntal srmvision.com But writing a fugue is a compositional challenge, because you cannot just write anything for a subject and then expect the fugue to work out.
Once you start putting the counter subject in, and then layering on a third voice, and maybe a fourth voice, each with its own countersubject, then you will have to go back and revise the subject, so that.
A fugue begins with an exposition. In this example from Fugue BWV in C minor by Bach the alto starts with the subject: The same thing happens when the third voice enters.
Opening of Bach's Fugue no. 2 in C Minor from The Well-Tempered Clavier, Book I, BWV , showing the subject, In a fugue, a countersubject is "the continuation of counterpoint in the voice that began with the subject", occurring against the answer (Benward and Saker , ). Bach Fugue 16 in G Minor, BWV Analysis Johann Sebastian Bach’s Fugue 16 in G Minor is an example of a conventional fugue. What is interesting about this piece is that the body of the fugue is comprised of fragments of the subject and countersubject. A fugue in which the opening exposition takes place in stretto form is known as a close fugue or stretto fugue (see for example, the Gratias agimus tibi and Dona nobis pacem choruses from .
These counterpoints are called countersubject when they are regularly used in the fugue. A fugue begins with an exposition. In this example from Fugue BWV in C minor by Bach the alto starts with the subject: The same thing happens when the third voice enters. These counterpoints are called countersubject when they are regularly used in the fugue.