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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 ...
The text, however, was written on the subject "So you want to write a fugue?" Both the text and the music are parodies of the rules and compositional techniques of the genre, as well as the relationship between intellectual methods and artistic intuition in the creative process (e.g., "Just forget the rules, and write one").
A fugue subject of above-average length andante At a walking pace (i.e. at a moderate tempo) andantino Slightly faster than andante (but earlier it is sometimes used to mean slightly slower than andante) ängstlich (Ger.) Anxiously anima Soul; con anima: with feeling animandosi Progressively more animated animato Animated, lively antiphon
Fugue subject is 19 notes long, 20 if you count the 8th rest in the beginning. The subject ends on a E in Voice 1, ends on B in voice 2. Now, back to Theme B. If Theme B is used consistently during the course of the fugue to accompany subject entries, then Theme B is called a counter-subject. If Theme B is developed in a fugal fashion and is ...
Johann Sebastian Bach used the motif in a number of works, most famously as a fugue subject in the last Contrapunctus of The Art of Fugue. The motif also appears in other pieces. [4] Later commentators wrote: "The figure occurs so often in Bach's bass lines that it cannot have been accidental." [5]
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)
Three Fugues on One Subject, No. 2 (1952) String Quartet in F minor, Op. 1 (1953–55) So You Want to Write a Fugue?, for 4 solo voices & piano or string quartet (1957–58) Lieberson Madrigal, for 4 solo voices (1964) [1] From Chilkoot's Icy Glacier, for 4 solo voices (1967)
Robert Kahn sees the main subject of the fugue as a precursor of the tone row, [51] the basis of the twelve-tone system developed by Arnold Schoenberg. "Your cradle was Beethoven's Grosse Fuge," artist Oskar Kokoschka wrote to Schoenberg in a letter. [52] Composer Alfred Schnittke quotes the subject in his third string quartet (1983).