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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 ...
Two blocks of 7 fugues (according to Milka) 7 seals = 4 Horsemen of the Apocalypse + 3 calamities, or 7 trumpets = 4 plagues + 3 woes 4: 4 canons; fugues in each block in groups of 4 and 3: 4 beasts in Revelation chapter 4 (animals of the 4 evangelists); see also the 4+3 symbolism above 3: Fugues in groups of 4 and 3: See the 4+3 symbolism above
This article lists the fugal works of Johann Sebastian Bach, defined here as the fugues, fughettas, and canons, as well as other works containing fugal expositions but not denoted as fugues, such as some choral sections of the Mass in B minor, the St Matthew Passion, the St John Passion, and the cantatas.
The work is sometimes called "The Wedge" due to the chromatic outward motion of the fugue theme. [1] Unlike most other organ preludes and fugues of Bach, the autograph fair copy of the score survives, [ 2 ] though the handwriting changes twenty two measures into the fugue to the hand of Johann Peter Kellner , [ 3 ] a likely pupil and ...
The BACH motif from The Art of Fugue Contrapunctus XIXc is the "1st Theme'/fugue subject" of Ives' combined sonata-allegro and fugal procedures. [ 14 ] Audio playback is not supported in your browser.
All three themes share a three semiquaver figure: in the first theme in bar 1, it is a figure typical of a French ouverture; in the second theme in bar 32, it is an echo in the galant Italian style; and in the third theme in bar 71, it is a motif typical of German organ fugues. The three themes reflect national influences: the first French; the ...
The two themes appear in complex combinations, until the cantus firmus is heard from measure 73 as a canon in the bass and alto, and then in augmentation (long notes) from measure 92 in the tenor. [ 29 ] Then the movement slows down to Adagio (a written tempo change, rare in Bach), as the altos sing the word "peccatorum" (sinners) one last time ...
Theme. The fugue's four-and-a-half measure subject in G minor is one of Bach's most recognizable tunes. The fugue is in four voices. During the episodes, Bach uses one of Arcangelo Corelli's most famous techniques: imitation between two voices on an eighth note upbeat figure that first leaps up a fourth and then falls back down one step at a time.