In the answer in measure 3, the third note descends a perfect fifth to the fourth note. Subjects, answers, and countersubjects can be fragmented into head motives and tail motives in episodes in fugues. We will now turn to analysis of fugue. Here is the first exposition of Fugue 2 in C minor in Book I of the J.S. The opening of the piece, which consists of the ostinato stated in the pedal with no accompaniment from the manuals, is slightly more unusual, although this idea also occurs elsewhere, and may even have been used by Buxtehude. Some authors reserve the term “exposition” solely for the first exposition and use the term “middle entry” for later statements of the full subject. Johann Sebastian Bach's The Art of Fugue is a work of high art. Motives from the subject will be used throughout the fugue:. We will use the letters a and b to identify the motives. An analysis of J.S Bach's Prelude and Fugue No.2 in C minor, BWV 871 from the Well Tempered Clavier Book 2. Within the bridge (bar 5 in the example above), we see motivic fragmentation of the subject (“subject head”). It is widely accepted the Bach’s The Well-tempered Clavier was modelled on J.C.F. The passacaglia is in 4 time, which is typical of the form. “Countersubject 1” is in the alto voice in measure 3 and in the soprano voice in measure 7. Below is the first episode, which contains motivic fragmentation of the subject and countersubject 1. Fischer’s Ariadne musical, a set of 20 short preludes and fugues in a chromatic key order ascending from C-B. A countersubject is counterpoint that consistently accompanies each occurrence of the subject. The bridge, if it occurs, is a brief modulatory passage that only happens within the first exposition, usually to connect the answer to the subsequent subject statement. The answer, called “response” in some texts, refers to the statement of subject in the key of the dominant by the second voice to enter in a fugue. Sometimes this statement of the answer has intervals altered in order to start in the tonic before modulating to the dominant. \). Prelude and Fugue in C Minor, BWV 847, is a keyboard composition written by Johann Sebastian Bach.It is the second prelude and fugue in the first book of The Well-Tempered Clavier, a series of 48 preludes and fugues by the composer. The Fantasia and Fugue in C minor, BWV 537 is a piece for the organ written by Johann Sebastian Bach.It was composed during the composer's period of residence in Weimar. Below are the second exposition, the second episode, the third exposition, and the third episode. Bach's Fugue no.2 in C minor from WTC 1 - analysis by Timothy A. Smith A detailed guide that analyzes the structural, harmonic and thematic frame of the Prelude and the Fugue. In this fugue, we will see the subject, countersubject 1, and countersubject 2 fragmented. The alternative to using a countersubject would be for a composer to write different accompanying counterpoint (labeled as “CTRPT” in the examples) each time a subject is stated. For instance, the nineteenth-century commentator Hugo Riemann calls this pair of works in C-sharp minor the ‘holy of holies’, filled with ‘dignity, inspiration and noble sentiments’. The fugue in C minor from book 1 of Bach’s ‘48’ is now generally described by English speakers as follows. Further, the episodes use motives derived from the subject and the countersubjects to further increase the counterpoint effects. Fugue Book 1 C minor is an elegant and well balanced piece, which draws its fascination of its pure structure and the beauty of the interaction between the subject and the countersubjects. It is important to note that a answer is considered equivalent to a subject because the intervallic alterations are so minute. In the four systems below, we see the fourth exposition, fourth episode, and final exposition, which includes two subject statements separated by cadential material. Analysis of Bach's Fugue BWV 847 in C minor (WTC I) José Rodríguez Alvira ©2011 José Rodríguez Alvira. The BWV 851 fugue in D minor is an excellent example of effective use of contrapuntal techniques like transformation by inversion or contrary motion, invertible counterpoint and stretti.. Exposition. The fugue is for three voices, which may be labelled soprano, alto and bass, and the independence and integrity of each are strictly maintained until the last two bars, when chords are introduced to lend fullness and finality. A detailed guide that analyzes the structural, harmonic and thematic frame of the Prelude and the Fugue. The prelude always preceeds the fugue and is a dance which is … \newcommand{\lt}{<} Below is a graph of what happens structurally in the fugue - omitting the … First Exposition of Fugue 2 in C minor from WellTempered Clavier, Book I (BWV 847) The bridge, if it occurs, is a brief modulatory passage that only happens within the first exposition, usually to connect the answer to the subsequent subject statement. The Passacaglia and Fugue in C minor (BWV 582) stands out among Bach's greatest organ pieces. \newcommand{\amp}{&} A fugue is a contrapuntal composition whose form features sections called expositions and episodes, A fugue exposition is a section that contains at least one full statement of the subject of the fugue. Published by teoria.com. An episode is a section that does not contain a full statement of the fugue subject, but instead develops the subject or other prominent ideas through fragmentation and sequencing. In homework and on the test, you will be asked to analyze a fugue with regard to expositions (including the bridge, if it occurs), episodes, subjects, answers, countersubjects, and motivic fragmentation. Search • Write to us.