Bach, WTC I, Fugue in E minor. Click on the link below each diagram to access an interactive version of these analysis, with scores. In the context of a fugue it describes a situation where each voice enters before the previous voice has finished its subject. 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). ⇒ 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 Although the harmony is less dense, the tension is still growing. After the exposition Bach presents numerous stretti without any interruption. A countersubject acts like an accompaniment to the Subject and Answer. D (g minor) one sixteenth note added to the subject, C (Tonic) This subject is altered (embellished), Beginning pitch of the subject (beginning pitch of the following entry). Reply. The intervals of the tritone are very prominent (this is another connection with the Prelude). Read More. The second subject joins during the last measure of the first subject. ( Log Out /  This Stretto is written in three voices, with two-voice overlap. Therefore this set of two pieces is very united. In entirety the fugue has a total of 3 subjects. The four-volume work consists of various elements. In this case, Bach paired this Prelude with the Fugue (they both exhibit dance features), but without da capo. A second subject is then introduced and also answered. This Fugue also shows Bach’s talent to combine the instrumental dance style with the contrapuntal writing. Each of the two volumes of the Well-tempered Clavier contains one prelude and one fugue in every major and minor key. The odd numbered fugues are in major. The Subject is remarkable for its elaborate character and in length it exceeds any of the other Fugues in this series. 3-4 have sequences where tension goes up and down because of the secondary dominant chords and resolutions. This Fugue has a “real” Answer, and would be styled as a “real” Fugue. J. S. Bach Fugue 16 Answers. There are many examples of fugues. The 2 subjects are then combined at a later point in the piece. Assignment 1 Analysis of Bach Prelude in C major (WTC 1-1) Due: Tuesday, 1/22. He is a music teacher, examiner, composer and pianist with over twenty years experience in music education. Music - University of … This Prelude shows his ability to write in the perpetual motion. This fugue, as the Passepied starts with the upbeat, and its subject is roughly four measures long (also typical for Passepied). This brings added variety to the entries of the Subject later on in the fugue. In the second bar of the J.S. intelligent analysis of a fugue. ( Log Out /  The Bass overlaps with the Alto, and the Alto with the Soprano. Fugue 2 is off-limits. This section is written in G minor and it is concluded with a cadence in mm. Each part/voices enters in imitation of each other. Trill in Bach fugue WTC 1 BWV 851. 13-17. Strettos, strong dissonances, minor keys, upward scales help to create the climax. The music never stops. One explanation for this might be that JS Bach may have re-used a fugue which was originally composed in D minor and transposed it into D# minor, in order to include it in the WTC book 1, which might be why he applied this key instead of Eb minor for the fugue. The first Stretto starts in mm. Bach masterfully resolves tension in the closing measures. The episode is in the Dominant key. A detailed guide that analyzes the structural, harmonic and thematic frame of the Prelude and the Fugue. The first half of the Fugue has strong sense of the Tonic and Dominant keys and after that it modulates into D minor. 1910] ... download 1 file . 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. 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. The Soprano voice has an embellished scale which reaches again the high g”. 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). It has some added notes. When all the voices have entered this signals the end of the Exposition. The subject is played by the 1st voice in the tonic key. 5-6 sequences are used to modulate to D minor key (parallel minor). The Fugue is also dance-like. Stretto literally means “drawn together”. Sequences in mm. 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.. 9-18. You will sometimes come across Double Fugues. Ask Question Asked 6 years, 8 months ago. Two tritons are formed in the two upper voices e’-b’ flat and e’ flat-a’. Proportionally, m. 9 is a halfway of the Prelude. ! These annotations are based on several musicological sources as well as on our own analysis. It begins unaccented, after what can be called an “implied breath” on beat 1. The second Stretto is a three voice Stretto with two-voice overlap. The first Stretto starts in mm. An analysis of J.S Bach's Prelude and Fugue No.1 in C major, BWV 846, from the Well Tempered Clavier Book 1. The subject ended on ^3, so the answer will end on ^7, allowing for an easy return to the tonic. There are a total number of 14 entries (for list of a detailed analysis of subject and countersubject entries refer to Appendix 1). The outer ones (A and B) are on the tonic, while the inner ones (S, T) are on the dominant. The Fugue is written in three parts and has 72 measures. Here is my analysis (color-coded and all! The subject appears five times in all voices except the Bass (although the Bass has an attempt to make the subject in m. 35). In the manner of Cyrano de Bergerac, however, he needs a little assistance. This piece is 18 measures long and according to tonal areas can be divided into two parts: mm. Tweet Follow @teoriaEng. 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. This scale goes up without a break for three octaves (it is doubled by thirds in mm. 1-2 establishes the Tonic key. 3 from Book I of Johann Sebastian Bach 's Well-Tempered Clavier , composed in 1722. Although it is written in 12/8 meter, it is not a gigue because its character is different from the gigue. You can see from my fugue example that the answer (orange notes) has been changed and so it is a tonal answer. A Countersubject often appears in the Exposition (and also later in the fugue). If it is an exact transposition of the subject then it is called a “real answer”. Establishment of D minor key in m. 8 marks the end of the first half of the Prelude. Video lessons, worksheets and EXCLUSIVE CONTENT. keyboard j-s-bach trills ornaments. Search • Write to us. This overlapping technique is used by composers to increase the emotional tension of the piece. The subject is played by the 1st voice in the tonic key. Immediately, after this cadence, begins the third Stretto. While the Prelude shows more harmonic vertical thinking, the Fugue exhibits more linear thinking. In the Exposition the subject 1st appears in the tonic key. 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). Also all the pitches of the fugue subject (although not in the same order) can be found in the first two measures of the Prelude. Change ), You are commenting using your Facebook account. Real Answers! Thank you for subscribing. In m. 10, the subject enters in the Bass in the Tonic key, while countersubject is in the Soprano. Countersubject is some sort of extension of this subject. 26 between the Bass and the Alto. (The presence of accidentals give a big clue when spotting key changes). J.S. There are prominent dissonances created by the diminished seventh chords. The tension is finally resolved in the last two measures by the final cadence in F major. The Episodes in a fugue are often used by the composer to modulate to different keys. A fugue starts with the 1st voice/part playing a melody/phrase called the Subject. A subject is introduced at the start of the piece and answered in the usual way. First, mm. “a fugue in 4 parts”, “a fugue in 3 voices”. Finally, Section 1.4 will establish the questions that the remaining chapters will address. The subject appears again in m. 18, in the Soprano, in the Tonic key. Here is the subject I have written for my worked example of a fugue: This whole section of music is called The Exposition. recent scholarship is incorporated in Section 1.3, including discussion of corpus analysis. This prelude is dance-like instrumental type of piece. A fugue is a contrapuntal composition whose form features sections called expositions and episodes. 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. 55-56. Both times the pitch is A, pitch interval an octave and time interval three quarters. 57, 1952). He uses seven in the first half and seven in the second half of the piece. Bach’s Well-Tempered Clavier: In-depth Analysis and Interpretation. The summery prelude is followed by a fugue that appears to evoke precisely this sort of association. This post is for a friend of mine, who is trying to perfect the art of wooing women using his music theory and analysis skills. In m. 54, in the Bass voice, the scale starting from G is going up. Each of these fugues were proceeded by a prelude in the same key. Publication date [pref. 18 in G sharp minor BMV 887 (WTC II), Share this post: on Twitter 1. The Fugue starts with an exposition mm. ( Log Out /  In m. 12, the long trill starts in the right hand. 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. Sample Title/Composer Performer Time Stream; The Well-Tempered Clavier (24), collection of preludes & fugues, Book I, BWV 846-869 (BC L80-103) 1 11-12 help to modulate to G minor key which is closely related key to both F major and D minor. 1 in C major, BWV 846 Prelude & Fugue No. This Fugue is architectural. 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. The Alto has the first countersubject at the same time. Usually a composer chooses to describe or define a fugue they have composed according to the number of parts it is written for. Thank you. 1-13. For more information, and discussion on this method and its results, please see the fugues main page and the bibliographical references. Measures 9 and 10 are a little break before the third subject enters at measure 11 until measure 15. 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. This is a sign of returning to a Tonic (F major) key. The Soprano overlaps with the Alto, and Alto with the Bass. Section 30.8 Fugue Analysis. An episode is a connecting passage of music in a fugue and is usually made up of a development of the music that has already been heard in the Exposition. Fugue begins right after the Prelude. It consists from sixteenth notes which also (except one minor third leap) move stepwise. It also exhibits his sense of proportions. 26 between the Bass and the Alto. Richard Atkinson analyzes the amazing counterpoint of the D major fugue from The Well-Tempered Clavier, Book II, by J. S. Bach. Passepied in the dance suites usually appeared in pairs (da capo). Analysis of Bach's Fugue BWV 847 in C minor (WTC I) José Rodríguez Alvira ©2011 José Rodríguez Alvira. Can you see/hear the key changes? Analysis of Fugue 2, WTC 1, BWV 847 Exposition (8) subject m. 1 i (2) answer (tonal) m. 3 v (2) - counter subject (CS) episode m. 5 (2) - 1st 6 notes of CS inverted subject m. 7 i (2) - CS (two components) Middle (13) episode m. 9 (2) - 1st 5 notes of S, 16ths from CS ME1 m. 11 III (2) - CS X 2 episode m. 13 (2) - 8ths and inv. Bach's Well-Tempered Clavier, Books 1 & 2 Click on an image to view a larger version which also includes a color-to-key mapping legend. It is interesting that Bach forms only one complete cadence in the entire Prelude. 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). Bach – Prelude and double fugue no. Although m. 16 is still intense because of the seventh chords and the secondary dominant, tension is starting to resolve. Bach's forty-eight fugues (Das wohltemperirte clavier) by Prout, Ebenezer, 1835-1909; Prout, Louis Beethoven. The next subject entry is significant because it introduces the first Stretto. M. 36, is the halfway of the piece. Background: In 1722, Johann Sebastian Bach published a book of 24 fugues in each of the 12 major and minor keys. The next subject entry is in the Alto voice in the Dominant, while the countersubject is featured in the Soprano. Whereas the prelude is practically all in major, the fugue keeps moving towards autumnal minor keys. The exposition is followed by the first episode in mm. We will now turn to analysis of fugue. In m. 15, the upper voice reaches the highest point c”’ which can be considered as the climactic point. In m. 14 the pedal point starts with a long trill on the b flat (V4/2). Music21 is used to generate these visualisations. At the same time both the Prelude and the Fugue are dance-like and have similar characters. So, the voice/part which has just played the Subject will go on to play the Countersubject whilst the next voice is playing the answer. It is a little bit similar to Sicilian because of its meter, and graceful character. The Well-Tempered-Clavier, Book I / Part 1 (WTC 1) French Title: Le Clavier bien tempéré, Premier livre: Spanish Title Works: Preludes & Fugues (24), BWV 846-869 Prelude & Fugue No. An interesting feature of this episode is that it has the countersubject in the Bass. The next section can be treated as a contra exposition in mm. 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. 2 in C minor, BWV 847 Prelude & Fugue No. In m. 9, which is the halfway of the piece, the climax starts to build up. Here is the 1st episode of my fugue example which comes directly after the exposition: After the Episode in a fugue there is usually another entry (or entries) of the Subject. From this point onwards, the music starts to go into the climax. There is an evident relationship between this Prelude and Fugue. In mm. For building up the climax Bach uses the Strettos, dissonant chords on the strong beats (diminished). Johann Sebastian Bach: WTC 1 . Appendix 1: Subject and Countersubject Entries. e.g. Change ), You are commenting using your Google account. Viewed 1k times 12. 45-46. A fugue is a contrapuntal composition for a number of separate parts or voices. 3 in C sharp major, BWV 848 Prelude & Fugue No. This idyllic pastoral image corresponds well with this piece. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Basic color mappings are: C = green, G = light blue, D = dark blue, A = violet, E = red, B = orange, and F = yellow. IN COLLECTIONS. The Prelude is written in 12/8 and the Fugue in 3/8. Real Answers! It resembles Passepied which usually is a faster version of the minuet. This fugue in C major, the first fugue from the first book of Bach's Well-Tempered Clavier, presents several interesting aspects: The voices appear in the exposition in the unusual order of subject - answer - answer - subject. 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. In m.13, the third voice is added to help to build up tension. We are going to look at the basic structure of a fugue through a worked example. The Coda in a fugue is a final section of music that often includes stretto. The overall effect is graceful and esthetically pleasing. This thesis is intended as a music-theoretical account of stretto in the forty-eight fugues of the . This section is written in D minor which is concluded with the first cadence in mm. 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. on Google+, Ben Dunnett LRSM is the founder of Music Theory Academy. However, if it is altered to fit the new key then it is a ”tonal answer”. I was searching for information on the Schwnencke measure and found your detailed analysis of the Prelude. First of all, there is an immediate transition between Prelude and Fugue. Here is the countersubject (highlighted yellow) at the start of my fugue: After the Exposition there comes an Episode. Keyscapes for J.S. Have a look/listen to my 2nd episode below. Here is the subject I have written for my worked example of a fugue: This whole section of music is called The Exposition. Fugue 10 (1:03 min) Fugue 22 (3:30 min) Fugue 11 (1:12 min) Fugue 23 (3:28 min) Fugue 12 (5:21 min) Fugue 24 (8:15 min) Comment: Fugues 8, 12, 14, 18, 20 and 24 are probably too long for a project. WTC TORRENT download. WTC I: 1. This creates the impression of a very long upbeat, in which the tension toward 18-31. Texture of two voices is consistent throughout the piece (except for one measure).

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