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The six-part fugue in the "Ricercar a 6" from The Musical Offering, in the hand of Johann Sebastian BachIn classical music, a fugue (/ f juː ɡ /, from Latin fuga, meaning "flight" or "escape" [1]) is a contrapuntal, polyphonic compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches ...
Examples: The Art of Fugue; The Well-Tempered Clavier; Subcategories. This category has only the following subcategory. B. Fugues by Johann Sebastian Bach (1 C, 28 P)
Dozens of analyses have attempted to delve into the structure of the Grosse Fuge, with conflicting results.The work has been described as an expansion of the formal Baroque grand fugue, [16] as a multi-movement work rolled into a single piece, [17] and as a symphonic poem in sonata form. [18]
BWV 577 – Fugue in G major "à la Gigue" (spurious) BWV 578 – Fugue in G minor "Little" BWV 579 – Fugue on a theme by Arcangelo Corelli (from Op. 3, No. 4); in B Minor; BWV 580 – Fugue in D major (spurious) BWV 581 – Fugue in G major (not by Bach, composed by Gottfried August Homilius) BWV 581a – Fugue in G major (spurious)
Poems by form (4 C) Poetic rhythm (3 C, 95 P) R. Rhyme (1 C, 46 P) S. Stanzaic form (1 C, 72 P) Pages in category "Poetic forms" The following 141 pages are in this ...
The term has also been applied since the 17th century to mean "little Canzona" and has been used by such composers as Dieterich Buxtehude to apply to smaller Canzona-type keyboard works (often, like the Canzona, in fugue form and style). A good example of this is the Canzonetta in A minor, BuxWV 225.
[106] [107] This can be observed across contemporary published poetry in the West as an intensification within individual poets' oeuvres of "all kinds of style, subject, voice, register and form" [108] which replaces, in large measure, the more conventional or traditional search by authors for a singular definitive poetic voice.
Baroque forms such as fugue, which might be called polyphonic, are usually described instead as contrapuntal. Also, as opposed to the species terminology of counterpoint, [clarification needed] polyphony was generally either "pitch-against-pitch" / "point-against-point" or "sustained-pitch" in one part with melismas of varying lengths in ...
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