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Bach's Fugues Techniques (Essay Sample)


A. Write a 5-6 page paper (1250-1500 words). Tables, figures, and footnotes do not apply to the page count. All citations and bibliographic materials must be included within the paper.
B. All papers must adhere to the following formatting guidelines, also found in your syllabus, along with the Chicago Manual of Style, 17th Ed.:
1. 1” page margins on all pages.
2. Double spaced 12-point Times New Roman font.
3. Last name on the header of every page with page count (upper right).
4. Stapled in the upper left corner.
5. A cover page that includes:
a) The title of your paper (upper middle half of cover page)
b) Your name, class designation (MUS 331), title (Music History I), and date (bottom of cover page, double-space between each element)
c) Word count: This is a new inclusion and should not include the words on your title page or bibliography.


Student's Name
Professor's Name
Institutional Affiliation
Bach's Fugues Techniques
Scholars have defined fugue in disparate ways, and looking at their views on the concept is imperative. Vaughan Williams is among the people who have described this term and whose definition can provide insight into what fugue entails. It is possible to find Bach's fugues throughout his works, including motets, suites, and partits. The primary subject is introduced at the outset of the fugue, and it regularly reappears throughout the duration—a retrospective view of the fugue to identify features and examples that can explain this term. One subject and countersubject considerations by Cherubini are essential to discussing the fugue technique. Bach wrote fugues for several instruments, including the organ, harpsichord, and clavichord, in the Well-Tempered Clavier and other works. In addition to choral and orchestral fugues, he also created solo violin fugues in partitas and sonatas. Violin solo fugues on his instrument were another of his talents. Bach employed dichotomous fugues techniques that one can best apprehend from the theory of counterpoint, the use of the stile antico, and the concept of invertible counterpoint.[Chapter Four: Fugues, 72.]
Different concepts constitute counterpoint of the analysis of the obligo and how it contributes to technical constraint in music. The recapitulation, the development, and the recapitulation are the three most common ones. However, a recapitulation is not always included in a fugue. Bach's Fifteen Inventions include only a few two-voice fugues, including Nos. 5, 10, 12, and 15 in Book 1 of The Well-Tempered Clavier, among his most famous compositions. Although it is possible to compose a fugue with as many as seven sections, it is pretty rare.
The restriction is a vital facet of fugue. Exploring how it functions is essential to understanding Bach's techniques, such as character and expression, ascertaining his views on a fugue. It is a method known as "augmentation" that increases the rhythmic value of each note by two. Additionally, they may reduce the subject's value by half or halving its values. For example, with a whole tone, the inversion would be changed from a g to a f. G to f inversion occurs when the topic goes from an entire tone to an a. This technique is known as melodic inversion. BWV 1080: The Art of the Fugue, BWV 1080 was first published in 1751 and contained two three-voice mirror fugues identical to the original fugue.
The stile antico first existed in the Middle Ages but was not defined until the Renaissance, when it gained a more definite meaning. The integration of lively dance with light character pieces is an example of a double fugue. Two subjects are portrayed simultaneously; this is akin to a simple fugue with an anti-issue. As in the three-voice fugue from The Well-Tempered Clavier, Book 2, Number 18, produced by Johann Sebastian Bach, the composer gives each theme its extensive elaboration before combining them. Fugue in G Minor, K 401 (1782), has two melodic inversions that are played at the same time.
Bach intended to portray baptism sacrament as to possess unchanging nature. The stile antico symbolism represents different places and actions. Since the 17th century, imitative counterpoint has been intensively studied, and it continues to do so now. Three-subject fugues can be found in Bach's Well-Tempered Clavier, No. 4, and his Fugue in E-flat Major for organ BWV 552, also known as the St. Anne 1739. Both of these pieces are five-voice fugues, but only a complete texture of the five different parts appears only part of the time, with passages of 2, 3, or 4 elements making up the majority of the piece. Three subjects are presented in their time signatures in the St. Anne fugue, although only one issue is blended similarly to the others.
Some of the irreducible elements include semibreve and minimal fundamental note values and fluidity lines. The alla breve is a time signature that falls among the features of Bach traditions. This analysis also reveals how Bach regularly treated dissonance. The sort of fugue based on a cantus firmus is especially notable. Mozart's Variations on a Subject of Mozart for Orchestra 1914 ends with an extended fugue that culminates in the superimposition of Mozart's original theme from the A Major Piano Sonata, K 331; a similar notion may be found in Benjamin Britten's Variations and Fugue on a Theme of Purcell 1946. Music created by Frederick the Great and performed by Johann Sebastian Bach is the inspiration for these works.
Bach worked on mixing styles into novel composites as a unique fugue technique. This process involves selecting fugue major and minor and combining them to obtain a second subject which is sequential and quaver-based. Bach's other works are a Trio Sonata, 10 Canons, and an 8-Part Ricercare. Two canonic voices are performed simultaneously in the Fuga Canonica in epidiapente, one on either side of a fifth apart in pitch. Many of the aforementioned melodic methods can be found in Bach's unfinished Art of the Fugue. After presenting a three-note motive, Bach composed 16 fugues and four canons, all of which have melodically descended from the first's subject; the 17th, intended to be a quadruple fugue, falls off shortly after. To sign one of his final works in this manner was entirely appropriate for the composer. The German notation for the notes B-flat, A, C, and B-natural can be seen here.
Ornamentation technique presents difficulties in the performance of stile antico fugues. Playing this fugue in the 17th century involved using ornaments, which informed Bach's development of ornaments table. When Baroque composers like Bach began to use the fugue as a fundamental contrapuntal composition during this period, the fugue quickly became a popular form of essay. Bach's examples and music theory literature such as Gradus Ad Parnassum established the present conventions of fugal writing. Mozart, Beethoven, and many Romantic through Modern and Postmodern composers have used fugues in their musical repertoires, as have many other composers throughout history. Bach and George Frideric Handel have long been linked with Baroque music, notwithstanding this fact. J.S. Bach's Baroque fugues are some of the best examples of the musical form ever written. Flute pieces of Bach and his contemporaries are being studied and performed today.
There is a combination of prelude and fugue. Bach’s work involved loosening and separation. This process consists in separating a composite into its various elements. He utilized an early piano tuned to equal temperament to construct his first set of preludes and fugues, which was an entirely new idea at the time of his compositions. One of the greatest fugal works in classical music history is Bach's Well-Tempered Clavier, divided into two volumes. Bach returned to fugal counterpoint displays later in his

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