Page 112 - (DK) The Classical Music Book - Big Ideas Simply Explained

110 BAROQUE COUNTERPOINT

Structure: The fugue

EXPOSITION EPISODE MIDDLE SECTION EPISODE FINAL SECTION CODA

Soprano S FP FP A FP S CS FP CS FP FP

Alto A CS FP S CS FP FP FP FP S FP FP

Bass S CS FP FP FP FP FP FP A FP FP S TP

In a fugue, a word derived from the Key
Latin for “flight,” each of three or more S = Subject—The principal theme of the fugue.
voices enter one after the other, imitating A = Answer—The subject, repeated a fifth (5 notes) higher.
and modifying the initial theme. The CS = Counter-Subject—A contrasting secondary theme.
structure illustrated here has many FP = Free Part—Material based on the first theme.
other possible variants. TP = Tonic Pedal—Sustained final bass note.

within far more rigorous structures, same note in a different octave, although they are often performed
which allow for very rich listening while the second voice now in concert halls, they are not as
experiences. The basic structure of performs the counter-subject and powerful as his organ fugues or
a fugue requires a melody known the first voice will usually play free those found in his sacred music.
as the “subject” to be presented by material derived from the subject. However, they had a considerable
the first voice in the home key. The This continues in the same way influence on later composers, who
next voice then presents the same until all the voices have entered, dubbed them the “Old Testament”
melody but starting on the fifth creating an exposition that of music (the Beethoven sonatas
note of the scale being used, and moves rapidly from simplicity to were the New Testament) and paid
this is known as the “answer.” complexity, while using limited tribute to them; Shostakovich, for
When replying to this, the original musical material. instance, composed 24 Preludes
voice plays a “counter-subject,” The fugue will then progress and Fugues. Even now, pianists
which may be very contrasting. by adding mood-changing study Bach’s The Well-Tempered
The third voice then enters with “episodes,” again often derived Clavier as part of their training.
the “subject” again, starting on the from the opening material. The Bach’s fascination with
middle section, in turn, presents counterpoint did not merely focus
the subject in different keys and on the fugue. His suites of dance
formats until the work returns to movements rely on an understanding
the opening key. However, further of counterpoint for their inner
variants heighten this journey, such energy; even when the music is for
as the “stretto,” where subjects and solo violin or cello, it often hints at
Ceaseless work, analysis, answers enter before the previous what the other voices would play
reflection, writing much, ones have been resolved. if there were more instruments by
endless self-correction, injecting notes and phrases in
that is my secret. Teaching tools different registers.
Johann Sebastian Bach In writing the 48 fugues of The Bach was similarly attracted
Well-Tempered Clavier, Bach offered to canons, where one voice follows
a compendium of techniques to be the exact melodic contour of the
studied by both keyboard players other but slightly later (the round,
and composers. These were “London’s Burning” is an example
designed as teaching tools, and of this). His use of this technique is

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