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  Encyclopedia of Keywords > Society > Culture > Arts > Music > Fugue   Michael Charnine

Keywords and Sections
PERMUTATION FUGUE
BAROQUE
FUGUES
FUGUE WRITING
FINALE
BACH
TEMPERED CLAVIER
CONTRAPUNTAL
MAX REGER
DOUBLE FUGUE
VOICE
RELATED KEYS
SUBJECT
FUGUE BEGINS
QUARTET
VARIATIONS
MATERIAL
ENTRIES
THEME
VARIANTS INCLUDE FUGHETTA
RECAPITULATION
SUITES
RATHER
STARTING
ENTERED
TEXTURE
FUGUE
Review of Short Phrases and Links

    This Review contains major "Fugue"- related terms, short phrases and links grouped together in the form of Encyclopedia article.

Definitions

  1. A fugue is a musical form that Bach used a lot.
  2. A fugue is a complex composition in which the theme (called the subject) is developed by imitative counterpoint.
  3. Fugue is the most complex of contrapuntal forms and, as such, gifted composers have used it to express the profound. (Web site)
  4. Fugue - A composition written for three to six voices.
  5. The fugue is for keyboard and in three voices, with regular countersubjects.

Permutation Fugue

  1. One example of permutation fugue can be seen in the opening chorus of Bach---s cantata, Himmelsk--nig, sei willkommen BWV182.
  2. It is common during the course of a permutation fugue for every single possible voice-combination (or 'permutation') of the themes to be heard at some point.
  3. Bach favored the permutation fugue early in his career for its economy and elegance, although later he largely abandoned this form.

Baroque

  1. The fugue is perceived, then, not merely as itself, but in relation to the idea of the fugue, and the greatest of examples from the Baroque era forward. (Web site)
  2. These stylistic differences mark the transition from the ricercars, fantasias, and canzonas of the Renaissance to the fugue, a defining Baroque form.

Fugues

  1. During the Classical era, the fugue was no longer a central or even fully natural mode of musical composition.
  2. The fugue of the "Polka and Fugue" from his opera "Schwanda the Bagpiper" is a superb example.
  3. Several Bachianas Brasileiras of Heitor Villa-Lobos feature a fugue as one of the movements.
  4. The second movement of this challenging work is an amazing four-part fugue.
  5. Even the margins of Mozart's manuscript for the Fantasia and Fugue in C Major contain calculations of the probability to win the lottery.

Fugue Writing

  1. He also points out that fugue writing has its roots in improvisation, and was, during the baroque, practiced as an improvisatory art.
  2. This work laid out the terms of "species" of counterpoint, and offered a series of exercises to learn fugue writing.
  3. By the beginning of the Romantic era, fugue writing had become specifically attached to the norms and styles of the Baroque.
  4. The Baroque period also saw an rise in music theory, and the most influential text on fugue writing was based on Renaissance counterpoint and fugue writing. (Web site)

Finale

  1. The finale of Giuseppe Verdi 's opera Falstaff is a ten-voice fugue. (Web site)
  2. The unfinished Finale of his Ninth Symphony has a fugue section, too.

Bach

  1. SAAS of the first fugue in Bach's Well-Tempered Clavier. (Web site)
  2. The best-known example of a two-voice work is the E minor fugue from Book I of Bach's Well-Tempered Clavier. (Web site)
  3. Example of a false answer in J.S. Bach's Fugue no. (Web site)
  4. Example of a tonal answer in J.S. Bach's Fugue no. (Web site)

Tempered Clavier

  1. Bach's Fugue in Bb from the Well Tempered Clavier explores the relative minor, the supertonic, and the subdominant.
  2. Jazz musician Alec Templeton even wrote a fugue (recorded subsequently by Benny Goodman): Bach Goes to Town. (Web site)
  3. Listen to a fugue ( Johann Sebastian Bach 's C-minor fugue from the Well Tempered Clavier I, in 3 voices). (Web site)
  4. Bach's French Overture, BWV 831) fugue in music, a fugue is a type of piece written in counterpoint for several independent musical voices. (Web site)
  5. Such was Bach's expertise on the organ that he could improvise a four-part fugue.

Contrapuntal

  1. Perceptions and aesthetics Fugue is the most complex of contrapuntal forms and as a result, gifted composers have used it to express the profound.
  2. In music, a fugue ( IPA: ) is a type of contrapuntal composition. (Web site)

Max Reger

  1. The Czech composer Jaromir Weinberger studied fugue with Max Reger, and had an uncommonly facile skill in fugal writing.
  2. The late Romantic composer Max Reger had the closest association with the fugue among his contemporaries.

Double Fugue

  1. Examples of the double fugue are the Bach A major WTC I and g# minor WTC II (External links to Shockwave movie).
  2. A double fugue has two subjects that are often developed simultaneously. (Web site)

Voice

  1. The number of voices in a fugue generally ranges from three to five, but eight or even ten voices are possible in large choral or orchestral fugues. (Web site)
  2. A fugue may have as few as two voices (the word voice does not necessarily imply singing in this context) and seldom more than four.

Related Keys

  1. For example, a fugue may not even explore the dominant, one of the most closely related keys to the tonic.
  2. Permutation fugues differ from conventional fugue in that there are no connecting episodes, nor statement of the themes in related keys. (Web site)

Subject

  1. The fugue's exposition concludes when all voices have stated or answered the subject. (Web site)
  2. In music, a fugue is a process in which a subject is stated and developed in imitative counterpoint. (Web site)

Fugue Begins

  1. A fugue begins with its subject (a brief musical theme) stated by one of the voices playing alone. (Web site)
  2. A fugue begins with an exposition of its subject by one of the voices in the tonic key. (Web site)

Quartet

  1. Beethoven used fugue in some of his profoundest music, such as the 'Hammerklavier' Sonata op.1O6 and his String Quartet in c-sharp Minor op.131.
  2. These included the fugues for string quartet, K. 405 (1782) and a fugue in C Minor K. 426 for two pianos (1783).
  3. The first movement of this quartet invents the common nineteenth century form of variations and fugue.

Variations

  1. Two of Reger's most-played orchestral works, the Hiller variations and the Mozart variations, end with a large-scale orchestral fugue.
  2. Stephen Schwartz wrote a song from his 1974 Broadway hit The Magic Show called "The Goldfarb Variations" which uses fugue-like vocal counterpoint.

Material

  1. The fugue, like the invention and sinfonia, employs a basic melodic subject and spins out additional melodic material from it to develop an entire piece.
  2. The remainder of the fugue further develops the material using all of the voices. (Web site)

Entries

  1. Benjamin Britten composed a fugue for orchestra in his The Young Person's Guide to the Orchestra, consisting of subject entries by each instrument once.
  2. There may also be middle entries: these are entries of the subject by fewer than all the voices in the fugue, often varied in some way. (Web site)
  3. Stretto entries of the subject often are found near the end, usually at the point where the fugue reaches its climax of tension. (Web site)
  4. In the latter case, the work has the structure: fugue on subject A; fugue on subject B; combination of subjects A and B. (Web site)
  5. There also may be false entries, which begin the fugue subject, but do not give it in full (the isolated beginning is sometimes called the head motif). (Web site)

Theme

  1. The Art of Fugue is a collection of fugues (and four canons) on a single theme that is gradually transformed as the cycle progresses.
  2. Brahms' Variations and Fugue on a Theme of Handel ends with a fugue, as does his Cello Sonata No. (Web site)
  3. In each fugue theme, then, there is an implied structure of where and at what intervals the theme can begin in another voice. (Web site)
  4. Ratz argues that the formal organization of a fugue involves not only the arrangement of its theme and episodes, but also its harmonic structure.

Variants Include Fughetta

  1. Variants include fughetta (a small fugue) and fugato (a work or section of a work resembling a fugue but not necessarily adhering to the rules of one). (Web site)
  2. Variants include fughetta (literally, 'a small fugue') and fugato (a passage in fugal style within another work that is not a fugue). (Web site)

Recapitulation

  1. A fugue may end with a recapitulation, in which the entries of the subject are repeated in the manner it was first introduced. (Web site)
  2. The recapitulation of Liszt's B minor sonata is cast in the form of a 3-part fugue.

Suites

  1. The three choral preludes that follow and Art de Fugue are played with registrations used for the suites of versets composed for French organs. (Web site)
  2. Many baroque keyboard suites end with a fugal gigue, and all of Joseph Haydn's Opus 20 string quartets end with a fugue.

Rather

  1. A widespread view of the fugue is that it is not a musical form (in the sense that, say, sonata form is) but rather a technique of composition.
  2. B--la Bart--k opened his Music for Strings, Percussion and Celesta with a fugue in which the tritone, rather than the fifth, is the main structural interval.
  3. So, the fugue may be considered a compisitional practice rather than a compositional form, similar to the invention.

Starting

  1. The fugue arose from the technique of "imitation", where the same musical material was repeated starting on a different note.
  2. Every prelude is followed by a fugue in the same key, starting with C major, and proceeding up the chromatic scale (i.e. (Web site)

Entered

  1. He often entered into contests where he would be given a subject with which to spontaneously improvise a fugue on the organ or harpsichord. (Web site)
  2. In a fugue, one main theme (the subject) is imitated successively in each voice; when each voice has entered, the exposition is complete.

Texture

  1. The term fugue designates a contrapuntal texture which may be in any formal design. (Web site)
  2. In pairs of preludes and fugues Pachelbel aimed to separate homophonic, improvisatory texture of the prelude from the strict counterpoint of the fugue.

Fugue

  1. The 19th century's taste for academicism - setting of forms and norms by explicit rules - found Marpurg, and the fugue, to be a congenial topic.
  2. The adjectival form of fugue is fugal. (Web site)
  3. The fugue rarely stops after its initial exposition, more often continuing to one or more developmental episodes. (Web site)
  4. The beginning of the fugue tends to be written to definite rules, whereas in the later portions the composer has considerably greater freedom. (Web site)
  5. At the very end of the fugue there may be a coda section, which follows a strong Cadence on the tonic chord. (Web site)

Categories

  1. Society > Culture > Arts > Music
  2. Glossaries > Glossary of Musical Forms /
  3. Books about "Fugue" in Amazon.com

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  Short phrases about "Fugue"
  Originally created: March 16, 2008.
  Links checked: February 26, 2013.
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