Quote:
|
Study Bach, it'll help IMMENSELY.
|
No greater advice than that.
You also have to know what you are looking for in Bach too.
Here is what to look for.
The Fugue
Based on Hugo Norden's Foundation Studies on Fugue
I
The Subject
A fugue consists of the statement and development of a single subject
(the main idea).
It usually is stated at the beginning of the fugue by a single voice.
The subject usually has following three characteristics:
’ it is usually brief, but represents a complete musical idea;
’ it is easy recognizable in contrapuntal texture;
’ it is easy to manipulate (harmonic, melodic, and contrapuntal) and to
exploit.
The opening of a subject ('head' of the subject or 'La tΓͺte du sujet')
should be strong and easy to recognize.
II
The Answer
In the simplest case, the answer is the subject (dux) transposed to the
dominant key (5th higher or 4th lower).
If a subject in the major key contains a leading tone, the answer
(comes) requires an accidental for its leading tone.
If a subject is in the minor key, the answer requires accidentals for
both the II and VII notes of the dominant key.
If the subject contains additional accidentals, these too must be
reflected in the answer.
An answer that is a literal transposition (every note is transposed
exactly a perfect 5th up or a perfect 4th down) of the subject to the
dominant key is identified as a REAL answer.
When notes in the subject are in the dominant key and are answered in
the tonic key in contrast to the rest of the subject, the resulting
answer is said to be TONAL.
Subjects That Require a Real Answer
Those subjects will begin and end on the I or III notes, and
they will not contain a leap from the I or III notes to the V or VII
notes at or near the beginning.
Subjects That Require a Tonal Answer
Group I
’ Subjects of this kind will begin with one or more notes in the
dominant key and complete the subject in the tonic key. The parts that
are in the dominant key will be answered in the tonic key, and vice
versa.
Group II
’ Subjects of this kind start in the tonic key and end in the dominant
key, while their answers do exactly the opposite.
Group III
’ Subjects of this kind start in the dominant key, have a middle section
in the tonic key, and end in the dominant key.
Group IV
’ The subject contains a leap from the I or II to the V or VII notes at
or near the beginning, or ’ The entire subject is answered in its
subdominant key. Subjects answered this way usually begin on V or VII
notes.
Modulating Effects to the Dominant Key
In order for a subject to end on V or VII, a modulation from the tonic
key (either the opening or the middle section of the subject) has to
take place. Following thematic devices serve this purpose:
’ The modulation takes place at an ascending major 2nd from accented to
unaccented notes
’ It takes place between repeated notes from accented to unaccented
notes
’ In a conspicuous leap, usually (but not necessarily) from unaccented
to accented notes
’ After a tied or dotted note or rest, provided it does not damage a
suspension
’ In a descending minor 2nd, often from accented to unaccented notes
III
The Countersubject
Countersubject means countermelody, counterpoint (punctus contra
punctum). In a fugue it is the counterpoint to the subject appearing
simultaneously with the comes.
The countersubject must be so constructed that it will function equally
well both above and below the subject and the answer (invertible
counterpoint).
Process for Composing a Countersubject
1) All of the subject is in the tonic key:
Those subjects require a real answer (literal transposition). But, these
in turn subdivide into two classes of contrapuntal construction:
’ those without tied notes, and
’ those with tied notes
Subjects without tied notes:
’ the longer note, whether in the subject or in the countersubject, will
serve as Cantus Firmus; the part with faster notes will act as
counterpoint
’ when the countersubject is transposed to its dominant key, it
automatically provides the countersubject for the answer
Subjects with tied notes:
’ the suspensions and retardations in the subject should be treated
first
’ then all the suspension opportunities against the subject should be
treated
’ finally, the remainder of the countersubject should be composed and
the suspensions embellished if desired
2) Most of the subject is in the tonic key:
Set up a three-stave Double Counterpoint format with the subject on the
top line, and on the bottom line the answer transposed to its
subdominant key.
Fill in the countersubject on the middle line so that it will produce
correct counterpoint
against both subject and answer.
Copy out the countersubject in Double Counterpoint against both subject
and answer (transposed back to its original key). The countersubject,
too, must be transposed to match the key of the answer.
Although the countersubject is the same melodically for both subject and
answer, its contrapuntal operation is different.
If the subject begins on a dominant note, the countersubject should
begin before the subject in order to make a suitable approach to the
limited contrapuntual resources that are available in Double
Counterpoint at the 9th (The answer transposed to its subdominant key
and the subject form a 9th in Double Counterpoint format, in between
which the countersubject must be added).
3) Most of the subject is in the dominant key:
Set up a three-stave Double Counterpoint format with the subject on the
bottom line, and the answer transposed to its dominant on the top-line.
The dominant portion of the subject thus will relate in Double
Counterpoint at the 8th ve while the notes in the tonic key relate at
the 9th.
Fill in the countersubject on the middle line so that it will provide
suitable counterpoint against both subject and answer.
Copy out the countersubject in Double Counterpoint against both subject
and answer (both countersubject and answer transposed to its original
key).
IV
The Stretto
Stretto is the contrapuntal device wherein the subject or answer is
played against itself canonically, or when the subject and answer are
made to overlap.
It is most necessary in a stretto formation that all entries of the
subject or answer be stated with all intervals being used literally. The
themes can be modified intervallically or used only partially.
1) Literal Stretto:
The subject is treated canonically, the answer does not appear.
It can be structured as a canon at the 8ve, in Double Counterpoint at
the 15th. This process will automatically produce one canon at the 8ve
above, and another canon at the 8ve below.
2) Stretto by contrary motion:
This kind of a stretto can be constructed by exact intervallic imitation
in contrary motion (an ascending minor 2nd can just be imitated by a
descending minor 2nd) or by inexact imitation (an ascending minor 2nd
can be imitated either by a descending minor 2nd or a descending major
2nd).
3) Retrograde Stretto:
The subject or answer is played backwards against itself (Crab Canon or
Cancrizans Motion).
Three reasons why this kind of stretto is impractical:
’ it cannot be recognized audibly,
’ many rhythms become disjointed and ineffective when heard backwards,
and
’ it is likely to set up awkward harmonic situations.
4) Stretto by Augmentation:
The subject is played against the subject in augmentation (the note
values are doubled, tripled, etc.).
5) Stretto by Diminution:
The subject is played against the subject in diminution (smaller note
values).
6) Stretto in Contrary Motion and Retrograde:
This kind of stretto entails a crab canon in contrary motion.
7) Stretto in Contrary Motion and Augmentation:
This kind of stretto entails an augmentation in contrary motion.
8) Stretto in Contrary Motion and Diminution.
9) Stretto in Retrograde and Augmentation.
10) Stretto in Retrograde and Diminution.
11) Stretto in Contrary Motion, Retrograde, and Augmentation.
12) Stretto in Contrary Motion, Retrograde, and Diminution.
Solving the Stretto Problem
Constructing Strettos to a given subject, as in a fugue examination, and
Constructing an original subject to yield pre-planned stretto
combinations.
1) Constructing strettos to a given subject:
Fit the beginning of the subject against the end of the subject in as
many ways as possible.
2) Composing a subject with pre-established stretto requirements:
Formulate the problem (for example compose a subject of type real in the
key of D-major, 2/4 rhythm, 3 measures long, to yield a stretto at the
8ve above after 1 measure).
Set up the canon problem so that the first and last notes will conform
to the terminal specifications stated before.
Complete the canon.
V
The Codetta and Episode
The terms codetta and episode both refer to connecting passages that are
generally composed of free material that may be either similar to or
different from motives in the subject or countersubject. The codetta is
used to lead to a new entrance of the subject or answer in the
exposition, while the episode is designed to link entries of the subject
or answer after the exposition is completed.
Codetta
The first codetta appears at the end of the initial statement of the
subject when there is a time lag between the end of the subject and the
beginning of the answer.
The codetta between the second and third entries is usually longer and
more substantive than the one between the first and second entries.
In a four-voice fugue there can also be a codetta between the third and
fourth entries.
Episode
The episode differs from the codetta chiefly in its location in the
fugue, which is after the exposition (all voices have come in with the
subject and answer for the first time).
Process for the Writing of an Episode
The harmonies at the two ends of the episode must be clearly defined
(those two ends are the ending of one subject and the beginning of the
other subject). Decide on a contrapuntal or harmonic device to direct
the contrapuntal texture from the beginning to the end of the episode
(for example a canon in contrary motion derived from the opening motive
of the countersubject). Connect the episode artistically at both ends so
that there are no 'seams' or 'rough edges'.
VI
The Pedal-Point and Cadenza
Pedal-Point:
The purpose of a pedal-point is to reestablish the tonality of the
composition after it has become clouded by the numerous modulations and
digressions along the way within the middle entries of the subject and
answer and in the connecting episodes.
Cadenza:
The purpose of the cadenza is to halt the contrapuntal flow of the
fugue, and to bring the composition to a satisfactory close.
The cadenza is generally made up of new material that does not appear in
the subject (other than the episode and the pedal-point)
VII
The Exposition
The opening section of the fugue wherein each voice is brought in
singly, alternating between subject and answer.
Following is one example of a possible exposition in a four-part fugue:
S subjectcountersubject
A answercountersubject free part
T subjectcountersubject free part free part
Banswer
The Process of Writing an Exposition
Write the correct answer to a subject and compose a suitable
countersubject.
Decide on an entrance arrangement, and write in the subject, answer, and
countersubject where desired.
Complete the exposition by supplying the necessary codetta and free
parts.
VIII
Harmony
The fugal harmony must be considered on three levels:
’ the key scheme of the composition as a whole
’ the underlying chordal structure
’ the vertical relationship between the several voices
In order to see the underlying chordal structure, it is necessary to
remove all embellishing materials.
Jeremy