The first half of the Fugue has strong sense of the Tonic and Dominant keys and after that it modulates into D minor. ( Log Out /  We are going to look at the basic structure of a fugue through a worked example. If it is an exact transposition of the subject then it is called a “real answer”. A fugue is a contrapuntal composition for a number of separate parts or voices. e.g. In this case, Bach paired this Prelude with the Fugue (they both exhibit dance features), but without da capo. The first Stretto starts in mm. I’d love to read more analysis from you, this level of detailed walkthrough of the masters are a rare treat. 7-8 there is an attempt to make a cadence in D minor. 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). Two tritons are formed in the two upper voices e’-b’ flat and e’ flat-a’. It consists from sixteenth notes which also (except one minor third leap) move stepwise. You can see from my fugue example that the answer (orange notes) has been changed and so it is a tonal answer. In the second bar of the J.S. A subject is introduced at the start of the piece and answered in the usual way. 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. ( Log Out /  Overall, the Fugue has three Strettos (for details of the Strettos refer to the Appendix 2). It may be divided into four short sections, (1) at Bar 2, (2) at Bar 3, (3) at Bar 4, and (4) at Bar 6. The Subject is remarkable for its elaborate character and in length it exceeds any of the other Fugues in this series. The subject introduces all pitches of the F major scale. 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. 26 between the Bass and the Alto. The Episodes in a fugue are often used by the composer to modulate to different keys. The odd numbered fugues are in major. Read More. Therefore this set of two pieces is very united. The subject appears five times in all voices except the Bass (although the Bass has an attempt to make the subject in m. 35). Each of these fugues were proceeded by a prelude in the same key. There are a total number of 14 entries (for list of a detailed analysis of subject and countersubject entries refer to Appendix 1). It has some added notes. This overlapping technique is used by composers to increase the emotional tension of the piece. The Fugue shows Bach mastery of the contrapuntal writing. ( Log Out /  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. Viewed 1k times 12. Assignment 1 Analysis of Bach Prelude in C major (WTC 1-1) Due: Tuesday, 1/22. The subject ended on ^3, so the answer will end on ^7, allowing for an easy return to the tonic. 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). The Soprano overlaps with the Alto, and Alto with the Bass. 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. In mm. 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. Sequences in mm. For more information, and discussion on this method and its results, please see the fugues main page and the bibliographical references. The second subject joins during the last measure of the first 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. The subject is played by the 1st voice in the tonic key. Real Answers! Bach – Well-Tempered Clavier Mm. This is a sign of returning to a Tonic (F major) key. However, if it is altered to fit the new key then it is a ”tonal answer”. After the Subdominant in m. 17, the final cadence is formed in the last measure of the Prelude. Prelude ends with no long chord, no fermata. WTC I: 1. 3 in C sharp major, BWV 848 Prelude & Fugue No. This overlapping adds thick texture and dimensions to the the piece. This fugue, as the Passepied starts with the upbeat, and its subject is roughly four measures long (also typical for Passepied). You will sometimes come across Double Fugues. This creates the impression of a very long upbeat, in which the tension toward Reply. Subject Answer. Keyscapes for J.S. SHOW ALL. The first Stretto starts in mm. In m. 10, the subject enters in the Bass in the Tonic key, while countersubject is in the Soprano. This section is written in G minor and it is concluded with a cadence in mm. Real Answers! Background: In 1722, Johann Sebastian Bach published a book of 24 fugues in each of the 12 major and minor keys. While the Prelude shows more harmonic vertical thinking, the Fugue exhibits more linear thinking. J.S. The tension is finally resolved in the last two measures by the final cadence in F major. A fugue starts with the 1st voice/part playing a melody/phrase called the Subject. 18-31. The second Stretto is a three voice Stretto with two-voice overlap. This Stretto is written in three voices, with two-voice overlap. Bach’s Well-Tempered Clavier: In-depth Analysis and Interpretation. Fugue #1 J. S. Bach, The Well-Tempered Clavier, volume 1 He uses seven in the first half and seven in the second half of the piece. 13-17. 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. keyboard j-s-bach trills ornaments. 1 in C major, BWV 846 Prelude & Fugue No. Bach's forty-eight fugues (Das wohltemperirte clavier) by Prout, Ebenezer, 1835-1909; Prout, Louis Beethoven. 3 from Book I of Johann Sebastian Bach 's Well-Tempered Clavier , composed in 1722. The first part of the Prelude can be divided into a few sections. I/4 Prelude and Fugue in C-sharp minor: I/5 Prelude and Fugue in D major: I/6 Prelude and Fugue in D minor: I/7 Prelude and Fugue in E-flat major: I/8 Prelude and Fugue in E-flat minor/D-sharp minor: I/9 Prelude and Fugue in E major: I/10 Prelude and Fugue in E minor: I/11 Prelude and Fugue in F major In the manner of Cyrano de Bergerac, however, he needs a little assistance. ⇒ 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 This prelude is dance-like instrumental type of piece. intelligent analysis of a fugue. 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. The exposition is followed by the first episode in mm. The Fugue is also dance-like. The countersubject here is divided between the Alto and the Bass. Although the harmony is less dense, the tension is still growing. As it was mentioned before, this Fugue is instrumental dance-like piece. 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. But at least he doesn’t have a big nose. The 2nd voice plays the “answer” in dominant key (a 5th higher or a 4th lower) – this transposed line in the 2nd voice is called the answer. The answer begins a perfect Þfth higher than the subject. I was searching for information on the Schwnencke measure and found your detailed analysis of the Prelude. Have a look/listen to my fugue exposition: Search • Write to us. Published by teoria.com. The Alto has the first countersubject at the same time. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. Countersubject is some sort of extension of this subject. In m. 14 the pedal point starts with a long trill on the b flat (V4/2). It resembles Passepied which usually is a faster version of the minuet. Texture of two voices is consistent throughout the piece (except for one measure). 1-8 and mm. The Second half goes into a climax. The Soprano voice has an embellished scale which reaches again the high g”. 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 Bass overlaps with the Alto, and the Alto with the Soprano. At the same time both the Prelude and the Fugue are dance-like and have similar characters. 1910] ... download 1 file . Proportionally, m. 9 is a halfway of the Prelude. A fugue starts with the 1st voice/part playing a melody/phrase called the Subject. It consists of three elements: arpeggiated sixteenths, arpeggiated eights and long trills. 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). The next section can be treated as a contra exposition in mm. A detailed guide that analyzes the structural, harmonic and thematic frame of the Prelude and the Fugue. The fugue is in four voices entering in alt (A), Soprano (S), tenor (T) and bass (B). ! Bach – Prelude and double fugue no. A fugue is a contrapuntal composition whose form features sections called expositions and episodes. Passepied in the dance suites usually appeared in pairs (da capo). A countersubject acts like an accompaniment to the Subject and Answer. 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. download 18 Files download 11 Original. This section is written in D minor which is concluded with the first cadence in mm. The Fugue is written in three parts and has 72 measures. This section is followed by the third Episode which brings back the Tonic key. When all the voices have entered this signals the end of the Exposition. In the context of a fugue it describes a situation where each voice enters before the previous voice has finished its subject. A Countersubject often appears in the Exposition (and also later in the fugue). Change ), Information, Analysis, Tips, Techniques, and Strategies for Learning the Music of World's Greatest Composer, A Guide to Learning the Music of Johann Sebastian Bach, Prelude and Fugue in C Major, BWV 846 from WTC I, Prelude and Fugue in D Minor, BWV 851 from WTC I, Prelude and Fugue in E Major, BWV 854 from WTC I, Prelude and Fugue in F Major, BWV 856 from WTC I, F (tonal answer, in the Dominant key; the first interval is changed), C (Tonic) beginning of the contra exposition. The episode is in the Dominant key. Establishment of D minor key in m. 8 marks the end of the first half of the Prelude. In m. 12, the long trill starts in the right hand. Change ), You are commenting using your Facebook account. Fugue begins right after the Prelude. In m. 54, in the Bass voice, the scale starting from G is going up. Its primary aim is to move the piece to an appropriate conclusion. Publication date [pref. on Facebook How should this trill be played? The pedal point starts in the Bass on the Dominant of the D minor. These annotations are based on several musicological sources as well as on our own analysis. Strettos, strong dissonances, minor keys, upward scales help to create the climax. 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. ): Measures 1-6 (p. 122) Measures 7-25 (p. 123) Measures 26-34 (p. 124) Commentary on Fugue 16 Analysis The upper voice reaches the g # ” and a ” where each voice enters before previous... Next subject entry is in the Exposition is followed by the composer to modulate different... And also answered fugue shows Bach ’ s Well-Tempered Clavier, Book II by... 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