He is the first composer who never had an official position during his adult life. For him, music was not merely a means for self-expression but it was also a moral and ethical power. His Opus 1 was published in
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. The fugal purpose, method, character, and essence Before form, the fugue is metaphorical; its purpose is to reveal connections between seemingly unlike things.
Its method is to develop an idea in never precisely the same way. Its character is to demonstrate relationships, unveiled both in terms of new ideas born of old, but also in counterpoint with the old.
The fugal essence is experienced in discovery of the new to be of the stame "stuff" as the old. Parts of a Fugue A. Subjects typically have two parts: Subject imitation which immediately follows the first statement of the subject: Answers are a subclass of subjects which bear certain interval characteristics in relationship to the subject as it was originally stated.
An answer that typically though not always stays in the same key as the subject.
To do this it is necessary for the intervals of the subject to change somewhat. In a tonal answer "do" and "sol" switch places: The position occupied by "do," in the subject, becomes "sol" in the answer and vice versa. Subjects having many skips disjunct that focus upon the tonic and dominant scale degrees lend themselves to a tonal answer.
An answer that is a transposition of the subject to another key, usually the dominant. Subjects having mostly steps conjunct that don't focus upon "do" and "sol" lend themselves to a real answer. Substantive figure that sometimes recurs immediately following the subject or answer in the same voice.
Countersubjects serve as counterpoint to subjects or answers sounding simultaneously in a different voice. Not every fugue will have a countersubject. Some fugues may have more than one countersubject. Some people use the term "false subject" to describe an entry of the subject or answer that begins but never finishes.
This term should be reserved for instances where the subject appears to enter, breaks off, then follows immediately with a complete statement. Most other instances of incomplete subjects are developmental and should be termed "imitation. Main Sections of the Fugue Exposition: Portion s of the fugue consisting of subject s with at least one answer, and possibly countersubject s.The exposition of the finale of Bruckner's Fifth Symphony begins with a fugal exposition.
The exposition ends with a chorale, the melody of which is then used as a second fugal exposition at the beginning of the development. The recapitulation features both fugal subjects concurrently. The fugal purpose, method, character, and essence. Before form, the fugue is metaphorical; its purpose is to reveal connections between seemingly unlike things.
Exposition: Portion(s) of the fugue consisting of subject(s) with at least one answer, and possibly countersubject(s).
This fugue was created today for this page, by way of example. 1. Of course, you must create a subject. For a beginning fugue, it is best to keep it simple, and it is extremely helpful if you have a harmonic scheme in mind first before you create the subject.
Jul 17, · You do only have "tonal" and "real" as options for fugal answers in traditional fugues, anyway. You do have a lot of licence with your options after the exposition of the fugue. But also,5/5(2). Sep 22, · Podcast 3 (Chapter 24, Week 3) introduces the concept of the fugue exposition.
We can learn how to recognize the fugal form by just listening to the opening measures. A fugue begins with the exposition of its subject in one of the voices alone in the tonic key.
After the statement of the subject, a second voice enters and states the subject with the subject transposed to another key (usually the dominant or subdominant), which is known as the answer.
To make the music run smoothly, it may also have to be altered .