{"id":926,"date":"2015-08-14T22:52:26","date_gmt":"2015-08-14T22:52:26","guid":{"rendered":"https:\/\/courses.candelalearning.com\/musicappreciation\/?post_type=chapter&p=926"},"modified":"2015-09-11T20:52:08","modified_gmt":"2015-09-11T20:52:08","slug":"fugue","status":"publish","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/music-app-rford\/chapter\/fugue\/","title":{"raw":"Fugue","rendered":"Fugue"},"content":{"raw":"

Introduction<\/h2>\r\n[caption id=\"attachment_967\" align=\"alignright\" width=\"225\"]\"The<\/a> The first page of the manuscript of the \"Ricercar a 6\" BWV 1079 by Johann Sebastian Bach.[\/caption]\r\n\r\nIn music, a fugue is a contrapuntal compositional technique in two or more voices, built on a subject (theme) that is introduced at the beginning in imitation (repetition at different pitches) and recurs frequently in the course of the composition.\r\n\r\nThe English term fugue<\/i> originated in the sixteenth\u00a0century and is derived from the French word fugue<\/i> or the Italian fuga<\/i>. This in turn comes from Latin, also fuga<\/i>, which is itself related to both fugere<\/i> (\"to flee\") and fugare<\/i> (\"to chase\").\u00a0The adjectival form is fugal<\/i>.\u00a0Variants include fughetta<\/i> (literally, \"a small fugue\") and fugato<\/i> (a passage in fugal style within another work that is not a fugue).\r\n\r\nA fugue usually has three sections: an exposition, a development, and finally, a recapitulation that contains the return of the subject in the fugue's tonic key, though not all fugues have a recapitulation.\u00a0In the Middle Ages, the term was widely used to denote any works in canonic style; by the Renaissance, it had come to denote specifically imitative works. Since the seventeenth\u00a0century, has described what is commonly regarded as the most fully developed procedure of imitative counterpoint.\r\n\r\nMost fugues open with a short main theme, the subject,\u00a0which then sounds successively in each voice (after the first voice is finished stating the subject, a second voice repeats the subject at a different pitch, and other voices repeat in the same way); when each voice has entered, the exposition<\/i> is complete. This is often followed by a connecting passage, or episode<\/i>, developed from previously heard material; further \"entries\" of the subject then are heard in related keys. Episodes (if applicable) and entries are usually alternated until the \"final entry\" of the subject, by which point the music has returned to the opening key, or tonic, which is often followed by closing material, the coda.\u00a0In this sense, a fugue is a style of composition, rather than a fixed structure.\r\n

Exposition<\/h2>\r\nThe table below illustrates the structure of the fugue exposition:\r\n\r\n\r\n\r\n\r\n\r\n\r\n
Voice<\/strong><\/td>\r\nThemes played<\/strong><\/td>\r\nThemes played<\/strong><\/td>\r\nThemes played<\/strong><\/td>\r\nThemes played<\/strong><\/td>\r\n<\/tr>\r\n
Soprano<\/strong><\/td>\r\nSubject<\/td>\r\nCounter subject 1<\/td>\r\nCounter subject 2<\/td>\r\nAnswer<\/td>\r\n<\/tr>\r\n
Alto<\/strong><\/td>\r\n<\/td>\r\nAnswer<\/td>\r\nCounter subject 1<\/td>\r\nCounter subject 2<\/td>\r\n<\/tr>\r\n
Bass<\/strong><\/td>\r\n<\/td>\r\n<\/td>\r\nSubject<\/td>\r\nCounter subject 1<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n
Read \"Forms: Contrapuntal Composition Techniques: The Fugue\" here<\/a>.<\/div>\r\n
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Listen: Fugue: Subject and Answers<\/h3>\r\nListen to J. S.\u00a0Bach's, \"Little\" Fugue (G minor, BWV 578) below; the different colors represent the voices of the fugue. See if you can identify the subject and answers throughout the piece.<\/span>\r\n\r\nhttps:\/\/youtu.be\/pVadl4ocX0M\r\n\r\n<\/div>\r\n

After the Exposition: Episodes, Development<\/h2>\r\n
Read\u00a0\"Forms: Contrapuntal Composition Techniques: After the Exposition\" here<\/a>.<\/div>\r\n
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Listen: Fugue: Episodes, Development<\/h3>\r\nPlease listen to the following along with the score:\r\n\r\nJ. S. Bach, Brandenburg Concerto No. 4<\/em>, 3rd Movement, Presto<\/a>\r\n\r\nMusical score for Brandenburg Concerto No. 4<\/em><\/a>\r\n\r\n<\/div>\r\n

Key\u00a0Terms<\/h2>\r\n