wtc fugue 1 analysis
In m. 10, the subject enters in the Bass in the Tonic key, while countersubject is in the Soprano. This piece is 18 measures long and according to tonal areas can be divided into two parts: mm. The next section can be treated as a contra exposition in mm. Strettos, strong dissonances, minor keys, upward scales help to create the climax. These can be seen in 2 forms: Example of a double fugue – J.S. Please check your email inbox for a confirmation email to access the FREE resources.. we respect your privacy and will never share your email address with 3rd parties, 2 subjects appear together at the start of the piece. Have a look/listen to my 2nd episode below. A countersubject acts like an accompaniment to the Subject and Answer. I have decided to use stretto after my 2nd episode to increase the tension as we move towards the end of my fugue: Can you see how each voices enters before the previous voice has finished playing its subject? 1-2 establishes the Tonic key. The odd numbered fugues are in major. recent scholarship is incorporated in Section 1.3, including discussion of corpus analysis. 13-17. 1 in C major, BWV 846 Prelude & Fugue No. 18 in G sharp minor BMV 887 (WTC II), Share this post: Change ), Information, Analysis, Tips, Techniques, and Strategies for Learning the Music of World's Greatest Composer, A Guide to Learning the Music of Johann Sebastian Bach, Prelude and Fugue in C Major, BWV 846 from WTC I, Prelude and Fugue in D Minor, BWV 851 from WTC I, Prelude and Fugue in E Major, BWV 854 from WTC I, Prelude and Fugue in F Major, BWV 856 from WTC I, F (tonal answer, in the Dominant key; the first interval is changed), C (Tonic) beginning of the contra exposition. 60-63) and in m. 63 it reaches g” which is the climactic point. In m. 14 the pedal point starts with a long trill on the b flat (V4/2). The first subject comes in the Alto voice, the tonal answer follows in the m. 5 in the Soprano in the Dominant key. You can see from my fugue example that the answer (orange notes) has been changed and so it is a tonal answer. While the Prelude shows more harmonic vertical thinking, the Fugue exhibits more linear thinking. We will now turn to analysis of fugue. J.S. Viewed 1k times 12. You will sometimes come across Double Fugues. The second subject joins during the last measure of the first subject. The second Stretto is a three voice Stretto with two-voice overlap. In mm. This section is followed by the third Episode which brings back the Tonic key. 57, 1952). Basic color mappings are: C = green, G = light blue, D = dark blue, A = violet, E = red, B = orange, and F = yellow. This Fugue is architectural. In the Strettos, Bach uses all possible voice combinations except Bass/Soprano (although again the same attempt of the subject in the Bass gives a feeling of the Bass/Soprano Stretto). When all the voices have entered this signals the end of the Exposition. The episode is in the Dominant key. For building up the climax Bach uses the Strettos, dissonant chords on the strong beats (diminished). Here is the countersubject (highlighted yellow) at the start of my fugue: After the Exposition there comes an Episode. 1-8 and mm. WTC (The presence of accidentals give a big clue when spotting key changes). The 2 subjects are then combined at a later point in the piece. on Google+, Ben Dunnett LRSM is the founder of Music Theory Academy. 7-8 there is an attempt to make a cadence in D minor. In entirety the fugue has a total of 3 subjects. In m. 15, the upper voice reaches the highest point c”’ which can be considered as the climactic point. Usually a composer chooses to describe or define a fugue they have composed according to the number of parts it is written for. ( Log Out / This idyllic pastoral image corresponds well with this piece. This fugue, as the Passepied starts with the upbeat, and its subject is roughly four measures long (also typical for Passepied). The answer begins a perfect Þfth higher than the subject. This dataset gives a reference analysis for the 24 fugues of the first book of Bach's Well-Tempered Clavier (WTC I, BWV 846-893) and the 12 first fugues from Shostakovich 24 Preludes and Fugues (op. If it is an exact transposition of the subject then it is called a “real answer”. Each of these fugues were proceeded by a prelude in the same key. Although it is written in 12/8 meter, it is not a gigue because its character is different from the gigue. Change ), You are commenting using your Facebook account. 18-31. The Well-Tempered Clavier, BWV 846–893, is a collection of two sets of preludes and fugues in all 24 major and minor keys, composed for solo keyboard by Johann Sebastian Bach.In Bach's time Clavier was a generic name indicating a variety of keyboard instruments, most typically a harpsichord or clavichord – but not excluding an organ.. But at least he doesn’t have a big nose. This section is written in D minor which is concluded with the first cadence in mm. Sequences in mm. In m.13, the third voice is added to help to build up tension. ): Measures 1-6 (p. 122) Measures 7-25 (p. 123) Measures 26-34 (p. 124) Commentary on Fugue 16 Analysis Section 30.8 Fugue Analysis. In the context of a fugue it describes a situation where each voice enters before the previous voice has finished its subject. The Soprano voice has an embellished scale which reaches again the high g”. keyboard j-s-bach trills ornaments. A (d minor parallel key) The halfway of the fugue. Passepied in the dance suites usually appeared in pairs (da capo). The subject appears again in m. 18, in the Soprano, in the Tonic key. The countersubject here is divided between the Alto and the Bass. The Soprano overlaps with the Alto, and Alto with the Bass. Have a look/listen to my fugue exposition: Stretto literally means “drawn together”. Reply. The Prelude is written in 12/8 and the Fugue in 3/8. Each part/voices enters in imitation of each other. Bach, WTC I, Fugue in E minor. Thank you for subscribing. Overall, the Fugue has three Strettos (for details of the Strettos refer to the Appendix 2). Have a look/listen to my fugue exposition: Contrasting keys play a vital role in the composition of a fugue. 1. Moreover, this Prelude and Fugue complements each other very well. The exposition is followed by the first episode in mm. Subject Answer. He is a music teacher, examiner, composer and pianist with over twenty years experience in music education. 9-18. Well Tempered Clavier Book I: Fugue D major The D major fugue is a very interesting piece, as there are some parallels to (the first part of) a French overture, with its ornamental lines and dotted notes (almost in the style of Jean Babtiste Lully; see also JS Bach’s Orchestral Suite Nr 2 in B minor, the gigues of the 1.French Suite and the 6. Here is my analysis (color-coded and all! ! This thesis is intended as a music-theoretical account of stretto in the forty-eight fugues of the . From this point onwards, the music starts to go into the climax. It consists of three elements: arpeggiated sixteenths, arpeggiated eights and long trills. It is a little bit similar to Sicilian because of its meter, and graceful character. Both times the starting pitch is D, pitch interval is an octave and time interval is three quarters. The Coda in a fugue is a final section of music that often includes stretto. A general Introduction covers topics like the origins of the WTC, the "well-tempered" scale, the clavier at Bach's time, the history of the prelude, and the background of fugue composition. These annotations are based on several musicological sources as well as on our own analysis. Finally, Section 1.4 will establish the questions that the remaining chapters will address. ( Log Out / intelligent analysis of a fugue. The next subject entry is in the Alto voice in the Dominant, while the countersubject is featured in the Soprano. How should this trill be played? In my coda I have used stretto to continue to increase the drama as the fugue ends: Hopefully this worked example will help you understand the basic meaning of what a fugue is and how it is composed. WTC I: 1. For example, Fugue in F Major from WTC 1 is in the style of a passepied and resembles the passepied movement that Bach labeled in his Partita No. on Facebook Arguably the most famous composer of fugues is Johann Sebastian Bach. In m. 65, the last subject appears in the Soprano key. Analysis of Bach's Fugue BWV 847 in C minor (WTC I) José Rodríguez Alvira ©2011 José Rodríguez Alvira. Two tritons are formed in the two upper voices e’-b’ flat and e’ flat-a’. Keyscapes for J.S. This Prelude shows his ability to write in the perpetual motion. A fugue starts with the 1st voice/part playing a melody/phrase called the Subject. Here is the subject I have written for my worked example of a fugue: This whole section of music is called The Exposition. In m. 12, the long trill starts in the right hand. In the manner of Cyrano de Bergerac, however, he needs a little assistance. The graph attempts to show the processes determining this prelude.1 WTC I/1 in C major – Fugue The subject of this fugue is one and a half measures long. Ask Question Asked 6 years, 8 months ago. on Twitter The tension is finally resolved in the last two measures by the final cadence in F major. Its primary aim is to move the piece to an appropriate conclusion. Analysis of J.S. The subject of this Fugue consists of eighth and sixteenth notes, which with an exception of the leap of the minor sixth move stepwise up and down. Publication date [pref. The subject is played by the 1st voice in the tonic key. Measures 9 and 10 are a little break before the third subject enters at measure 11 until measure 15. Although the harmony is less dense, the tension is still growing. Music - University of … Have a look/listen to this excellent video which shows the Art of Fugue by Bach: There are various other forms of fugues that you may come across. 45-46. The first half of the Fugue has strong sense of the Tonic and Dominant keys and after that it modulates into D minor. This Stretto is written in three voices, with two-voice overlap. Let us set out definitions first. A detailed guide that analyzes the structural, harmonic and thematic frame of the Prelude and the Fugue. This scale goes up without a break for three octaves (it is doubled by thirds in mm. IN COLLECTIONS. 26 between the Bass and the Alto. 3 from Book I of Johann Sebastian Bach 's Well-Tempered Clavier , composed in 1722. 1. Johann Sebastian Bach: WTC 1 . The first Stretto starts in mm. The long trills on the high notes also help to create tension. The Bass overlaps with the Alto, and the Alto with the Soprano. I/4 Prelude and Fugue in C-sharp minor: I/5 Prelude and Fugue in D major: I/6 Prelude and Fugue in D minor: I/7 Prelude and Fugue in E-flat major: I/8 Prelude and Fugue in E-flat minor/D-sharp minor: I/9 Prelude and Fugue in E major: I/10 Prelude and Fugue in E minor: I/11 Prelude and Fugue in F major It is interesting that Bach forms only one complete cadence in the entire Prelude. 2 in C minor, BWV 847 Prelude & Fugue No. This piece is written in F major, which was often used for a pastoral scene. He uses seven in the first half and seven in the second half of the piece. 4 in C sharp minor, BWV 849 ⇒ 9 more: Fugue No.1 in C major, BWV 846 • Prelude No.2 in C minor, BWV 847 • Fugue No.2 in C minor, BWV 847 • Prelude No.5 in D major, BWV 850 • Fugue No.5 in D major, BWV 850 • Prelude No.6 in D minor, BWV 851 • Fugue No.6 in D minor, BWV 851 • Prelude No.21 in B-flat major, BWV 866 • Fugue No.21 in B-flat major, BWV 866 Bach – Prelude and double fugue no. Thus, the exposition ends on the tonic-chord, but in a very weak form in the second position without the tonic (beginning of m.7). Fugue 2 is off-limits. Analysis – Unpacking the B minor Fugue from WTC 1 Stephen Hung | September 2018 Last year I asserted that by one measure of statistical count, the second book of Bach’s Well-Tempered Clavier (WTC) is more chromatic than his first book. Appendix 1: Subject and Countersubject Entries. The Second half goes into a climax. In m. 9, which is the halfway of the piece, the climax starts to build up. SHOW ALL. We are going to look at the basic structure of a fugue through a worked example. “a fugue in 4 parts”, “a fugue in 3 voices”. This overlapping adds thick texture and dimensions to the the piece. After you are confident that you have completed the analysis, compare your answers to mine (for your own benefit, do not look at these links until you have completed your own). download 18 Files download 11 Original. The upper voice reaches the g#” and a”. A fugue is a contrapuntal composition for a number of separate parts or voices. This brings added variety to the entries of the Subject later on in the fugue. Establishment of D minor key in m. 8 marks the end of the first half of the Prelude. The pitch interval is an octave, time interval three quarters, beginning pitch is C. This Stretto is followed by the second Episode, which modulates in to D minor (parallel minor). As it was mentioned before, this Fugue is instrumental dance-like piece. This alternating of Subject entries and Episodes can continue in a fugue for as long as the composer wants. The Subject is repeated in the entry of the 3rd voice (usually in the tonic, but at a different octave) and is “answered” by the 4th voice (if there is one), again in the dominant key. A fugue starts with the 1st voice/part playing a melody/phrase called the Subject. e.g. The next subject entry is significant because it introduces the first Stretto. In the second bar of the J.S. TORRENT download. Here is the subject I have written for my worked example of a fugue: This whole section of music is called The Exposition. A fugue exposition is a section that contains at least one full statement of the subject of the fugue. Published by teoria.com. This prelude is dance-like instrumental type of piece. M. 36, is the halfway of the piece. The closing episode starts in m. 68. 1-13. The other connection between Prelude and Fugue is the meter. In m. 54, in the Bass voice, the scale starting from G is going up. I have included this in my fugue example, but in the dominant key: These new entries of the subject are followed by another Episode (second episode in Green below). A Countersubject often appears in the Exposition (and also later in the fugue). The Episodes in a fugue are often used by the composer to modulate to different keys.
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