How to write a good fugue definition
However, if you are wanting to extend your knowledge of fugues here is an excellent analysis of a Bach fugue by an American educator. Van Swieten, during diplomatic service in Berlin , had taken the opportunity to collect as many manuscripts by Bach and Handel as he could, and he invited Mozart to study his collection and also encouraged him to transcribe various works for other combinations of instruments. Here is a straightfoward process for composing a fugue. Fugue is often described as a process rather than a form. Examples of Fugues There are many examples of fugues. Here, the subject is down in the bass register while the countersubject is quite high in the soprano voice. Bach's influence extended forward through his son C. It's the layout of the keys that defines the form. Here is the countersubject: And here is the the full entrance of the third voice: There is a possible cross relation here between the E natural in the soprano and the Eb in the bass, but since the E natural is rising upwards, as if part of the G melodic minor scale, and the Eb is an upper neighbor of the D as part of the G natural minor scale, it sounds fine. This is unlike later forms such as the sonata, which clearly prescribes which keys are explored typically the tonic and dominant in an ABA form. This was a practice that Haydn repeated only once later in his quartet-writing career, with the finale of his String Quartet, Op. Bach — Prelude and double fugue no. Key Contrasts in the Exposition In the Exposition the subject 1st appears in the tonic key. Here is the original subject, entering now in the bass voice, with the countersubject transposed up a fourth to the tonic, then up an octave to appear, quite brightly, in the soprano voice: Note that this is the essence of what is known as invertible counterpoint. This is in anticipation of a second countersubject, soon to be introduced, which will fill in the missing third.
This was a practice that Haydn repeated only once later in his quartet-writing career, with the finale of his String Quartet, Op.
Techniques such as stretto, sequencing, and the use of subject incipits are frequently heard in the movement. Joseph Kermanp.
According to Charles Rosenp. Permutation fugues differ from conventional fugue in that there are no connecting episodes, nor statement of the themes in related keys. Haydnfor example, taught counterpoint from his own summary of Fux and thought of it as the basis for formal structure.
Fugal passage from the finale of Mozart's Symphony No. Music in Theory and Practice.
How to write a good fugue definition
That's another important aspect of fugue as theory display: you often need to read these things from the score to be aware of them. The more of these procedures employed, the more impressive the display to those music theory insiders who can recognize them. Contrasts of Key in a Fugue Contrasting keys play a vital role in the composition of a fugue. The hallmark of sonata form is the 'second theme group' usually in the key of the dominant or relative major and then that materials subsequent recapitulation in the tonic key. Haydn then studied Handel's techniques and incorporated Handelian fugal writing into the choruses of his mature oratorios The Creation and The Seasons , as well as several of his later symphonies, including No. All of the devices above deal directly with the main subject and are testable. It's sort of like music theory 'insider' knowledge of the score.
There are fugal sections in Beethoven's early piano sonatas, and fugal writing is to be found in the second and fourth movements of the Eroica Symphony Here is the countersubject: And here is the the full entrance of the third voice: There is a possible cross relation here between the E natural in the soprano and the Eb in the bass, but since the E natural is rising upwards, as if part of the G melodic minor scale, and the Eb is an upper neighbor of the D as part of the G natural minor scale, it sounds fine.
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