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It not only has scores, but books on music and music theory in PDF form. The idea of fugue is pretty straightforward: You introduce each voice with imitative entries of the subject, usually at the tonic level and transposed to the dominant level subject and answerand each voice continues fairly freely after exposing its subject entry.
The initial exposure of the subject in all the voices is called the exposition. You may need to make tonal adjustments to the answer to keep it from modulating away from the tonic too quickly.
The continuation of a voice after the subject may involve a countersubject that is played consistently against a subsequent entry of the subject in a different voice. That is to say, one voice exposes the subject, then continues with the countersubject as the next voice comes in with the subject.
These episodes usually serve one of two functions: Note that the bare minimum fugue involves an exposition, subsequent entries of the subject, and episodes between these.
Everything else is optional, whether countersubjects, invertible counterpoint, stretti overlapping subject entries; the singular is strettoor multiple different subjects double or triple fugues, etc.
Sometimes, for stretto fugues i. The biggest problems I usually see are problems of handling the composite rhythm of the voices when played together: Your voices are freely expanding melodies, so you do want some rhythmic differentiation within them and between them.
If one voice is using straight quavers, for instance, arrange that the other voices are using longer and more irregular rhythmic values. This is where your counterpoint studies come into their own: This is no less important in a fugue than in a sonata. Are you finding specific problems when you try to write a fugue?
When to bring a voice in with the subject? Most of the time, when a voice drops out, it does so on a cadential melodic note, usually the tonic or dominant of the current key.
When it comes back in, it usually does so with a subject entry, and, of course, the entry is going to come in when the harmony and beat can support its incipit or opening motif.
Subject entries usually stand out when they are at the top or bottom of the texture. For alto or tenor entries that need to stand out, it is usually a good idea either to drop out the voices above or below that might obscure the entry, or to hold them fairly static so that the melodic changes in the internal voice are noticeable.
Thanks for the info.B. Main Sections of the Fugue Exposition: Portion(s) of the fugue consisting of subject(s) with at least one answer, and possibly countersubject(s). To qualify as an exposition, the subject (or answer) must appear in all voices and answers must be in the proper relationship (tonal or real) to subjects.
The 3-Semester Music Theory Course for Earlham College (in development) 8C Composing a Fugue To begin, we will write (and you will write) a three voice fugue with two repeating countersubjects. This fugue was created today for this page, by way of example.
1. Of course, you must create a subject. Here is a straightfoward process for composing a fugue. To begin, we will write (and you will write) a three voice fugue with two repeating countersubjects.
This fugue was created today for this page, by way of example. 1. Of course, you must create a subject. A fugue is a piece of music of contrapuntal texture which is predominantly based on one theme called the subject. It's important to note that a fugue isn't really .
In music, a fugue (/ f juː ɡ / fewg) is a Canadian pianist and musical thinker Glenn Gould composed So You Want to Write a Fugue?, a full-scale fugue set to a text that cleverly explicates its own musical form.
Outside classical music. Fugues (or fughettas/fugatos) have been incorporated into genres outside Western classical music. Fugue: Fugue, in music, a compositional procedure characterized by the systematic imitation of a principal theme (called the subject) in simultaneously sounding melodic lines (counterpoint).
The term fugue may also be used to describe a work or part of a work.