J.S. In m. 10, the subject enters in the Bass in the Tonic key, while countersubject is in the Soprano. 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? Ask Question Asked 6 years, 8 months ago. 5-6 sequences are used to modulate to D minor key (parallel minor). Video lessons, worksheets and EXCLUSIVE CONTENT. Viewed 1k times 12. The Second half goes into a climax. The long trills on the high notes also help to create tension. It consists of three elements: arpeggiated sixteenths, arpeggiated eights and long trills. 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). The intervals of the tritone are very prominent (this is another connection with the Prelude). 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). The piece is more solemn and feels like a wistful late summer. The subject appears five times in all voices except the Bass (although the Bass has an attempt to make the subject in m. 35). Music21 is used to generate these visualisations. A fugue is a contrapuntal composition whose form features sections called expositions and episodes. 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. These can be seen in 2 forms: Example of a double fugue – J.S. The Soprano overlaps with the Alto, and Alto with the Bass. ⇒ 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 Appendix 1: Subject and Countersubject Entries. The other connection between Prelude and Fugue is the meter. The fugue dataset. 60-63) and in m. 63 it reaches g” which is the climactic point. keyboard j-s-bach trills ornaments. Establishment of D minor key in m. 8 marks the end of the first half of the Prelude. 3 in C sharp major, BWV 848 Prelude & Fugue No. An analysis of J.S Bach's Prelude and Fugue No.1 in C major, BWV 846, from the Well Tempered Clavier Book 1. You can see from my fugue example that the answer (orange notes) has been changed and so it is a tonal answer. Here is the countersubject (highlighted yellow) at the start of my fugue: After the Exposition there comes an Episode. Active 4 years, 4 months ago. These annotations are based on several musicological sources as well as on our own analysis. 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. In the manner of Cyrano de Bergerac, however, he needs a little assistance. e.g. 45-46. In this case, Bach paired this Prelude with the Fugue (they both exhibit dance features), but without da capo. 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. 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. Reply. 2 in C minor, BWV 847 Prelude & Fugue No. Strettos, strong dissonances, minor keys, upward scales help to create the climax. 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). Johann Sebastian Bach: WTC 1 . Click on the link below each diagram to access an interactive version of these analysis, with scores. This alternating of Subject entries and Episodes can continue in a fugue for as long as the composer wants. The Bass overlaps with the Alto, and the Alto with the Soprano. 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). It resembles Passepied which usually is a faster version of the minuet. Analysis of J.S. In m. 65, the last subject appears in the Soprano key. on Google+, Ben Dunnett LRSM is the founder of Music Theory Academy. Bach masterfully resolves tension in the closing measures. on Facebook 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. A fugue is a contrapuntal composition for a number of separate parts or voices. ): Measures 1-6 (p. 122) Measures 7-25 (p. 123) Measures 26-34 (p. 124) Commentary on Fugue 16 Analysis 11-12 help to modulate to G minor key which is closely related key to both F major and D minor. Therefore this set of two pieces is very united. The fugue is in four voices entering in alt (A), Soprano (S), tenor (T) and bass (B). This creates the impression of a very long upbeat, in which the tension toward IN COLLECTIONS. Basic color mappings are: C = green, G = light blue, D = dark blue, A = violet, E = red, B = orange, and F = yellow. Change ), You are commenting using your Google account. 18-31. In m. 15, the upper voice reaches the highest point c”’ which can be considered as the climactic point. Stretto literally means “drawn together”. Moreover, this Prelude and Fugue complements each other very well. ! As it was mentioned before, this Fugue is instrumental dance-like piece. A second subject is then introduced and also answered. The total number of the subjects is 14. The summery prelude is followed by a fugue that appears to evoke precisely this sort of association. The subject appears again in m. 18, in the Soprano, in the Tonic key. There are prominent dissonances created by the diminished seventh chords. Fugue #1 J. S. Bach, The Well-Tempered Clavier, volume 1 At the same time both the Prelude and the Fugue are dance-like and have similar characters. 13-17. This section is written in D minor which is concluded with the first cadence in mm. Keyscapes for J.S. It has some added notes. 1. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Analyze the Prelude and Fugue from Bach's Well-Tempered Clavier. In entirety the fugue has a total of 3 subjects. Real Answers! Tweet Follow @teoriaEng. In mm. The Coda in a fugue is a final section of music that often includes stretto. This section is followed by the third Episode which brings back the Tonic key. 1 in C major, BWV 846 Prelude & Fugue No. A detailed guide that analyzes the structural, harmonic and thematic frame of the Prelude and the Fugue. 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). A countersubject acts like an accompaniment to the Subject and Answer. Two tritons are formed in the two upper voices e’-b’ flat and e’ flat-a’. 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. This overlapping adds thick texture and dimensions to the the piece. I was searching for information on the Schwnencke measure and found your detailed analysis of the Prelude. This brings added variety to the entries of the Subject later on in the fugue. Trill in Bach fugue WTC 1 BWV 851. Countersubject is some sort of extension of this subject. 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. The Alto has the first countersubject at the same time. There are a total number of 14 entries (for list of a detailed analysis of subject and countersubject entries refer to Appendix 1). However, it is very important that you listen to some famous examples of fugues. In m. 9, which is the halfway of the piece, the climax starts to build up. WTC I: 1. This section is written in G minor and it is concluded with a cadence in mm. Publication date [pref. ( Log Out /  Let us set out definitions first. In the second bar of the J.S. 18 in G sharp minor BMV 887 (WTC II), Share this post: Background: In 1722, Johann Sebastian Bach published a book of 24 fugues in each of the 12 major and minor keys. 26 between the Bass and the Alto. 1-13. Finally, Section 1.4 will establish the questions that the remaining chapters will address. 3-4 have sequences where tension goes up and down because of the secondary dominant chords and resolutions. Have a look/listen to my fugue exposition: Contrasting keys play a vital role in the composition of a fugue. , with two-voice overlap the m. 5 in the dance suites usually appeared in pairs da... 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