Fugue

The Fugue (from the Latin fuga = "escape" ) is a musical composition principle, which is characterized by a special arrangement of imitations. A joint can be a single, composed according to this principle piece, joints and fugue-like structures are also used within works of other forms, such as cantatas, masses, concerts, symphonies or overtures.

Emergence of the concept

The term Fuga was used in the 14th century for the canon, later also commonly used for imitations. Even with the composer of the Franco- Flemish school called Fuga or ad fugam canonical compositions, although in the polyphony of the 16th century already show up the first created in the later sense of the joint structures. Only in the course of the 17th century such pieces are called joints.

Features

A special feature of the joint is their complex issues processing. A fugue begins with the exposition of votes: The first voice carries the - usually short and concise - Topic ago. This theme used is referred to as Dux (Latin for " leader "). To this end, joins in the sequence a second voice, the subject now as Comes (Latin for " companion " ) on the upper fifth (or fourth below ) were added recites.

If the Quintton appears exposed above the fundamental topics in the head of the Dux, this is the most varied Comes to fourth ( tonal answer ), to ensure the identity of the key. This technique goes back to the location of the modes. Otherwise, the topic interval faithfully ( "real " ) is transposed.

Further comments can be added according to this principle, until the full number of votes (usually 3 or 4, rarely 5 or more ) is reached.

Bring the first voice during the second thematic use motivic or thematic significant material that is later revived ( in some cases even as a new theme), it is called a counter-subject. The counter-subject must form the subject of a double counterpoint to appear both above and below the subject can, without violating the rules of voice leading.

All sections in which the subject - in different voices - will be carried forward, hot -throughs ( not to be confused with the implementation of the sonata form ) or topic - phases, with the beginning of the fugue, so the exposure is already the first implementation. The other topics inserts or bushings can be, inter alia, in the relative minor of the home key and the upper and lower fifth key. From the 19th century, the theme appears also in more distant tonalities.

There are various types of joints. In most cases, the subject entries are connected by interludes, which generally serve the modulation and often consist of sequences. Other joints have no interludes (eg C major, WTC I, BWV 846 ). A special case to check out the Fugue in C sharp minor by JS Bach ( WTC I, BWV 849 ), which contains three topics. These are introduced sequentially and continuously stretto in the course together, so that in addition to lack of interludes also little room for topic material remains at all. For the formal outline the key of each insert, but rather the underlying cadence plan in such cases is less critical - ie which stages the home key be achieved by a recognizable cadence?

In the theme -phase addition narrowness of the topic can also inversions, augmentation (enlargement of the note values ), diminutions ( reduction), etc. occur by topic or counter-subject.

Before the end of a fugue is sometimes a pedal point - added, either as a signal for the next circuit or already the same as configuration - on the dominant or the tonic. A well-known example is cited here Fugue in C minor ( WTC I ) or the G minor Fugue from Sonata for solo violin ( BWV 1001) by JS Bach.

The theme has an area of two clocks. It appears, as with joints usual, alone, to present himself at the beginning, in the home key of C minor.

The answer to the topic is a precise transposition of the topic at the fifth above the key of G minor, with one exception: the fourth note is c, not d, as should be expected. This small change is necessary in order to maintain the basic key nor the second subject entry also can. One speaks in this case of tonal answer (as opposed to the real answer, in a subject without any change in the fifth above the key appears).

In cycle 5, the two voices have the fifth above the key of G minor finally reached. Thus, the third voice may establish, with the theme, but in C minor must be returned modulates the original key. This is done in the two-bar codetta of bars 5 and 6, the composer makes here in the soprano use of the characteristic initial motive of the theme, while the old clock in the introduced three of his counter-subject (or counterpoint) used. However, the typical for this countersubject tone steps are inverted, that is, not descending, but ascending. In addition, the rise takes place three times to the next higher tone: it is a sequence. In bar 7, the basic key of C minor is reached, and the bass can be used with the theme.

While the bass carries the theme in the soprano is heard to the counter-subject. The Old launched another counter-subject, which will appear several times in different voices in the further course of the fugue nor justified and triple counterpoint.

With their simple, almost homophonic lead soprano and alto take over from bar 8 accompaniment features. At this point, the chamber music, less complex polyphonic character of this fugue is particularly clear.

At the beginning of the ninth clock of the subject entry is completed in the bass, and thus the exposure: each of the three parts has the theme complete.

History and Significance

The principle of imitation between voices of a piece of music has been known since the late Middle Ages. As a precursor to the first joint of the gun was kept. Around 1600, the terms Fantasia, Canzona, Capriccio, Ricercar and Tiento designate similar forms of instrumental pieces (mostly for keyboard instruments ) that may be precursors of the joint. Also in the motet, the principle holds joints gradually feeder.

In the High Baroque follows the emancipation of the Fugue as a separate ( sub-) form. In the French overture, the second part is a fugue in the North German organ school, the gap to the final counterpart of a preceding prelude, toccata or other forms.

The most famous composer of fugues was Johann Sebastian Bach; in his works (eg, Well-Tempered Clavier, The Art of Fugue ), he explored all the possibilities of the joint, so that many later composers grappled with the issue of joint and Bach.

After the Baroque period, the joint was indeed a historical and thus obsolete form, but it was never abandoned. Later composers sat down again and again with its principles apart, each was clear that the results always meant a reference to the past. Writing a Fugue also was regarded as evidence of special compositional skills.

Significant nachbarocke master of fugal composition

Wolfgang Amadeus Mozart: Fugues for Piano for 2 and 4 hands
Last movement of the Symphony No. 41 in C major, K. 551 "Jupiter Symphony"

Fantasy in F minor, D 940 for piano four hands: in the finale there is a large gap

Three Preludes and Fugues, Op 37 (1836 /37)

Six Fugues on the Name BACH, Op 60 (1845 )
Seven Pieces in Fughetta Op 126 (1853)

Fughetta F.H. .. g o.op.

Fantasy and Fugue on the chorale Ad nos, ad salutarem undam ( 1850)
Prelude and Fugue on the name BACH (1855, rev., 1870)

Prelude and Fugue in A minor WoO 9
Prelude and Fugue in G minor, WoO 10
Variations and Fugue on a Theme by Handel, Op 24 (1861 )

Double fugue in the last movement of his Symphony No. 5 in B flat major, WAB 105

Six Fugues and collection joints and exercises (WD 60-66 )

Variations and Fugue on a Theme (from the musical comedy The Ärndtekranz ) by Johann Adam Hiller, Op 100 (1907 )
Variations and Fugue on a Theme by Mozart, Op 132 (1914)
Variations and Fugue on a Theme by Johann Sebastian Bach, Op 81 (1904 )
Variations and Fugue on a Theme of Ludwig van Beethoven for 2 pianos, Op 86 (1904 )
Introduction, Passacaglia and Fugue, Op 96 for 2 pianos (1906 )
Variations and Fugue on a theme of Georg Philipp Telemann, Op 134 (1914)
Fantasy and Fugue on BACH, Op 46 (1900)
Numerous small organ pieces, preludes & fugues, etc.

Variations and Fugue on an Original Theme in D major ( King fanfare from Fredigundis ) ( 1916/1924 )
Prelude and Fugue in E- flat major (1924 )
Prelude and Fugue in C major (1924 )
Four Little Preludes and Fugues (1928 )
Prelude and Fugue in A major (1934 )
Siegelfuge (organ) from the book with seven seals ( 1935-1937 )
6th seal (organ) from the book with seven seals ( 1935-1937 )

Astor Piazzolla mixed classical Fugentechnik and Argentine Tango to a new unit.

Special forms

Permutation

From a permutation is when ever occur several, always constant counterpoint topics on the subject. The composer then exchanged at the next topic - phase only the votes from each other. This is popular in vocal works; Example: the opening chorus of the cantata sky, sei willkommen by JS Bach.

Doppelfuge

A double fugue is a fugue with two subjects. Possible form - processes:

Joint with Theme 1 - joint with Theme 2 - Fugue on both topics. Example: Bach, Well -Tempered Clavier Part II, G-sharp minor fugue
Joint with Theme 1 - Fugue on Theme 1 and theme 2 examples: Bach, Well -Tempered Clavier, Part II, Joint -flat major and B major

Since many joints also use a solid, ever-constant counter-subject, is the analytical distinction between the technique of double counterpoint and formal system of double fugue of some importance. A special case is the use of the term double fugue by Johann Mattheson. In his 1739 published writing "the perfect Capellmeister " he called double fugues all the joints, which is applied in double counterpoint. He focuses on the demand for " double joints with Dreyen Subjecten " on, a type of joint, with the Johann Sebastian Bach extensively dealt, inter alia, in his late work, The Art of Fugue, but even in the joint to Passacaglia in C minor BWV 582, in the topic (subject) two contrasting subjects are added, and in the three-part Sinfonia in F minor, BWV 895 If three topics are covered in double counterpoint, it is called in modern terminology of six invertible counterpoint.

Triple fugue

The triple fugue is a fugue with three themes. These in turn are placed in separate exposures and then combined. Examples: JS Bach, Well -Tempered Clavier, Part II, Fugue in F sharp minor, Art of Fugue, Contrapunctus 8 and 11

Quadruple fugue

The quadruple fugue is a fugue with four subjects. As an example, the often fragmentary surviving final fugue of Bach's cycle called " The Art of Fugue ", but stops after the introduction of the third theme and its combination with the foregoing. Since the basic theme of the work would also still be added fit, a planned quadruple fugue is likely, but not recorded in this form.

Fächerfuge

This is a fugue in which the subject first goes in Comes to fifth, but then does not follow the Dux back to the tonic, but rises again a fifth. This technique was developed with the modulation need of romance. Example: Johannes Brahms, " Why is light given to the weary? " From: Two Motets, Op 74 Here is the fugue subject, which begins in D minor, answers real in A minor. This answer is real again answered in E minor. This in turn in B Minor, and those for the last time in F sharp minor. The fugue subject is increasing in this motet therefore equal to four times in succession by a fifth to. Also designed into compartments or pyramid shape is the first sentence of Béla Bartók's " Music for Strings, Percussion and Celesta ". The first appearance of the theme is first then answered in the upper fifth, in the lower fifth, followed by the second upper fifth, the second lower fifth, etc. On the whole piece transpositions of the subject, thus, prior to each chromatic tone. After six inserts the theme is heard in the tritone of the output sound, ie in a structurally important in Bartok interval. This insert is also the dynamic climax of the play.

Spiegelfuge

In a Spiegelfuge the subject appears mirrored either as counter-subject, or as a second subject, processed in a double fugue. Joints of this type are extremely rare; Bach brings two examples in the Art of Fugue, in each of which the entire sentence in ( tonal, that is not one hundred percent ' exact ') reflection is repeated.

Fughetta

The Fughetta is a joint of a smaller scale, without a wide realization and already the topic of lighter, graziöserer attitude.

Fugal

A fugue-like section in a sonata, a symphony, a concert, etc. is called fugal. It 's not about to lead the subject through all the parts, it is merely intended to act like a fugue. Often these fugati are only a few bars long. Examples are most circuit sets the harpsichord suites and partitas or in the Brandenburg Concertos Nos. 2 and 5 as well as the fast middle parts of Bach's French overtures in the first movements of the orchestral suites. Handel uses the Hallelujah chorus of his " Messiah " skillfully the fugal technique. Mozart developed an extremely showy fugal, inter alia, in the first sentence of his 40.Symphonie. Also in the 9th Symphony of Beethoven and Bruckner's Symphony No. 5 contained known fugati.

Sample

Fuga a 3 voci II in C minor ( 7KB )? / I from Bach's Well-Tempered Clavier I

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