The Fugue, an outline of the substantials of a fugue

<BODY BGCOLOR="#FFFFFF"> <table width=88%> <tr><td> <P ALIGN=CENTER><FONT SIZE=5> <A HREF="http://www.geocities.com/nap7079/index.html" TARGET="_BLANK">Home</A><BR><HR><BR></FONT> <BR> </P> <TABLE width="100%" border="0" cellspacing="0" cellpadding="10"> <TR> <TD ALIGN=CENTER><A HREF="fuge.html#1">Chapter I</A><TD> <TD ALIGN=CENTER><A HREF="fuge.html#2">Chapter II</A><TD> <TD ALIGN=CENTER><A HREF="fuge.html#3">Chapter III</A><TD> <TD ALIGN=CENTER><A HREF="fuge.html#4">Chapter VI</A><TD> </TR> <TR> <TD ALIGN=CENTER><A HREF="fuge.html#5">Chapter V</A><TD> <TD ALIGN=CENTER><A HREF="fuge.html#6">Chapter VI</A><TD> <TD ALIGN=CENTER><A HREF="fuge.html#7">Chapter VII</A><TD> <TD ALIGN=CENTER><A HREF="fuge.html#8">Chapter VIII</A><TD> </TR> </TABLE> <HR> <P ALIGN=CENTER><FONT SIZE=6><B>THE FUGUE</B></FONT></P> <P ALIGN=CENTER>Based on Hugo Norden's <I>Foundation Studies in Fugue</I></P> <P ALIGN=CENTER><A NAME=1><FONT SIZE=5><B>Chapter I</B></FONT></A></P> <P ALIGN=LEFT><FONT SIZE=4><B>The Subject</B></FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-A fugue consists of the statement and development of a single subject (the main idea). It usually is </FONT> </P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>stated at the beginning of the fugue by a single voice.</FONT></P> </DL> <P ALIGN=LEFT><FONT SIZE=3>-The subject usually has following three characteristics:</FONT></P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>~ it is usually brief, but represents a complete musical idea</FONT></P></DD><DD><P ALIGN=LEFT> <FONT SIZE=3>~ it is easy recognizable in contrapuntual texture</FONT></P></DD><DD><P ALIGN=LEFT> <FONT SIZE=3>~ it is easy to manipulate (harmonic, melodic, and contrapuntual) and to exploit</FONT></P></DD></DL> <P ALIGN=LEFT> <FONT SIZE=3>-The opening of a subject ('head' of the subject or 'La tÍte du sujet') should be strong and easy to </FONT> </P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>recognize.</FONT></P> </DL> <P ALIGN=CENTER><A NAME=2><FONT SIZE=5><B>Chapter II</B></FONT></A></P> <P ALIGN=LEFT><FONT SIZE=4><B>The Answer</B></FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-In the simplest case, the answer is the subject (dux) transposed to the dominant key (5<SUP>th</SUP> higher or </FONT> </P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>4<SUP>th</SUP> lower).</FONT></P> </DL> <P ALIGN=LEFT><FONT SIZE=3>-If a subject in the major key contains a leading tone, the answer (comes) requires an accidental for </FONT> </P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>its leading tone.</FONT></P> </DL> <P ALIGN=LEFT><FONT SIZE=3>-If a subject is in the minor key, the answer requires accidentals for both the II and VII notes of the </FONT> </P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>dominant key.</FONT></P> </DL> <P ALIGN=LEFT><FONT SIZE=3>-If the subject contains additional accidentals, these too must be reflected in the answer.</FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-An answer that is a literal transposition (every note is transposed exactly a perfect 5<SUP>th</SUP> up or a </FONT> </P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>perfect 4<SUP>th</SUP> down) of the subject to the dominant key is identified as a REAL answer.</FONT></P> </DL> <P ALIGN=LEFT><FONT SIZE=3>-When notes in the subject are in the dominant key andare answered in the tonic key in contrast to </FONT> </P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>the rest of the subject, the resulting answer is said to be TONAL.</FONT></P> </DL> <P ALIGN=LEFT><FONT SIZE=4><B>Subjects That Require a Real Answer</B></FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-Those subjects will begin and end on the I or III notes, and</FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-They will not contain a leap from the I or III notes to the V or VII notes at or near the beginning.</FONT></P> <P ALIGN=LEFT><FONT SIZE=4><B>Subjects That Require a Tonal Answer</B></FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-Group I</FONT></P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>~ Subjects of this kind will begin with one or more notes in the dominant key and complete </FONT> </P></DD><DL> <DD><P> the subject in the tonic key. The parts that are in the dominant key will be answered in </P> <DD><P ALIGN=LEFT><FONT SIZE=3>the tonic key, and vice versa.</FONT></P></DD></DL> </DL> <P ALIGN=LEFT> <FONT SIZE=3>-Group II</FONT></P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>~ Subjects of this kind start in the tonic key and end in the dominant key, while their answers </FONT> </P></DD><DL> <DD><P ALIGN=LEFT> <FONT SIZE=3>do exactly the opposite.</FONT></P></DD></DL> </DL> <P ALIGN=LEFT> <FONT SIZE=3>-Group III</FONT></P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>~ Subjects of this kind start in the dominant key, have a middle section in the tonic key, and </FONT> </P></DD><DL> <DD><P ALIGN=LEFT> <FONT SIZE=3>end in the dominant key. </FONT> </P></DD></DL> </DL> <P ALIGN=LEFT> <FONT SIZE=3>-Group IV</FONT></P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>~ The subject contains a leap from the I or II to the V or VII notes at or near the beginning, </FONT></P></DD> <DL><DD><P ALIGN=LEFT>or</P></DD></DL> <DD><P ALIGN=LEFT> <FONT SIZE=3>~ The entire subject is answered in its subdominant key. Subjects answered this way usually </FONT> </P></DD><DL> <DD><P ALIGN=LEFT> <FONT SIZE=3>begin on V or VII notes.</FONT></P></DD></DL> </DL> <P ALIGN=LEFT> <FONT SIZE=4><B>Modulating Effects to the Dominant Key</B></FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-In order for a subject to end on V or VII, a modulation from the tonic key (either the opening or </FONT> </P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>the middle section of the subject) has to take place. Following thematic devices serve this </FONT></P><DD></DL> <DL><DD><P ALIGN=LEFT>purpose:</P></DD></DL> <DL><DD><P ALIGN=LEFT><FONT SIZE=3>~ The modulation takes place at an ascending major 2<SUP>nd</SUP> from accented to unaccented notes </FONT> </P></DD><DD><P ALIGN=LEFT> <FONT SIZE=3>~ It takes place between repeated notes from accented to unaccented notes</FONT></P></DD><DD><P ALIGN=LEFT> <FONT SIZE=3>~ In a conspicious leap, usually (but not necessarily) from unaccented to accented notes</FONT></P></DD><DD><P ALIGN=LEFT> <FONT SIZE=3>~ After a tied or dotted note or rest, provided it does not damage a suspension</FONT></P></DD><DD><P ALIGN=LEFT> <FONT SIZE=3>~ In a descending minor 2<SUP>nd</SUP> , often from accented to unaccented notes</FONT></P></DD></DL> <P ALIGN=CENTER><A NAME=3> <FONT SIZE=5><B>Chapter III</B></FONT></A></P> <P ALIGN=LEFT><FONT SIZE=4><B>The Countersubject</B></FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-Countersubject means countermelody, counterpoint (punctus contra punctum). In a fugue it is the </FONT> </P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>counterpoint to the subject appearing simultaneously with the comes.</FONT></P> </DL> <P ALIGN=LEFT><FONT SIZE=3>-The countersubject must be so constructed that it will function equally well both above and below </FONT> </P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>the subject and the answer (invertible counterpoint).</FONT></P> </DL> <P ALIGN=LEFT><FONT SIZE=3><B><FONT SIZE=4>Process for Composing a Countersubject</FONT></B> </FONT> </P> <P ALIGN=LEFT><FONT SIZE=3><I>1.) All of the subject is in the tonic key:</I></FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-Those subjects require a real answer (literal transposition). But, these in turn subdivide into two </FONT> </P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>classes of contrapuntual construction:</FONT></P> <DD><P ALIGN=LEFT><FONT SIZE=3>~ those without tied notes, and</FONT></P></DD><DD><P ALIGN=LEFT> <FONT SIZE=3>~ those with tied notes</FONT></P></DD></DL> <P ALIGN=LEFT> <FONT SIZE=3>-Subjects without tied notes:</FONT></P> <DL> <DD><P>~ the longer note, whether in the subject or in the countersubject, will serve as Cantus </P></DD> <DL> <DD><P>Firmus; the part with faster <FONT SIZE=3>notes will act as counterpoint</FONT></P></DD></DL> <DD><P ALIGN=LEFT> <FONT SIZE=3>~ when the countersubject is transposed to its dominant key, it automatically provides the </FONT> </P></DD><DL> <DD><P ALIGN=LEFT> <FONT SIZE=3>countersubject for the </FONT>answer</P></DD> </DL> </DL> <P>-Subjects with tied notes:</P> <DL> <DD><P>~ the suspensions and retardations in the subject should be treated first</P></DD> <DD><P>~ then all the suspension opportunities against the subject should be treated</P></DD> <DD><P>~ finally, the remainder of the countersubject should be composed and the suspensions </P></DD> <DL> <DD><P>embellished if desired</P></DD> </DL> </DL> <P><I>2.) Most of the subject is in the tonic key:</I></P> <P ALIGN=LEFT>-Set up a three-stave Double Counterpoint format with the subject on the top line, and on the </P> <DL> <DD><P ALIGN=LEFT>bottom line the answer transposed to its subdominant key.</P></DD></DL> <P ALIGN=LEFT>-Fill in the countersubject on the middle line so that it will produce correct counterpoint </P> <DD><P ALIGN=LEFT>against both subject and answer.</P> </DL> <P ALIGN=LEFT>-Copy out the countersubject in Double Counterpoint against both subject and answer (transposed </P> <DL> <DD><P ALIGN=LEFT>back to its original key). The countersubject, too, must be transposed to match the </P> <DD><P ALIGN=LEFT>key of the answer.</P> </DL> <P ALIGN=LEFT>-Although the countersubject is the same melodically for both subject and answer, its contrapuntual </P> <DL> <DD><P ALIGN=LEFT>operation is different.</P></DD> </DL> <P ALIGN=LEFT>-If the subject begins on a dominant note, the countersubject should begin before the subject </P> <DL> <DD><P ALIGN=LEFT>in order to make a suitable approach to the limited contrapuntual resources that are </P></DD> <DD><P ALIGN=LEFT>available in Double Counterpoint at the 9<SUP>th</SUP> (The answer transposed to its </P></DD> <DD><P ALIGN=LEFT>subdominant key and the subject form a 9<SUP>th</SUP> in Double Counterpoint format, in </P></DD> <DD><P ALIGN=LEFT>between which the countersubject must be added).</P></DD> </DL> <P ALIGN=LEFT><I>3.) Most of the subject is in the dominant key:</I></P> <P ALIGN=LEFT>-Set up a three-stave Double Counterpoint format with the subject on the bottom line, and the </P> <DL> <DD><P ALIGN=LEFT>answer transposed to its dominant on the top-line. The dominant portion of the </P> <DD><P ALIGN=LEFT>subject thus will relate in Double Counterpoint at the 8<SUP>th</SUP> ve while the notes in the tonic </P> <DD><P ALIGN=LEFT>key relate at the 9<SUP>th</SUP>.</P> </DL> <P ALIGN=LEFT>-Fill in the countersubject on the middle line so that it will provide suitable counterpoint against both </P> <DL> <DD><P ALIGN=LEFT>subject and answer.</P> </DL> <P ALIGN=LEFT>-Copy out the countersubject in Double Counterpoint against both subject and answer (both </P> <DL> <DD><P ALIGN=LEFT>countersubject and answer transposed to its original key).</P> </DL> <P ALIGN=CENTER><A NAME=4><FONT SIZE=5><B>Chapter IV</B></FONT></A></P> <P ALIGN=LEFT><FONT SIZE=4><B>The Stretto</B></FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-Stretto is the contrapuntual device wherein the subject or answer is played against itself </FONT> </P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>canonically, or when the subject and answer are made to overlap.</FONT></P> </DL> <P ALIGN=LEFT><FONT SIZE=3>-It is most necessary in a stretto formation that all entries of the subject or answer be stated with all </FONT> </P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>intervals being used literally. The themes can be modified intervallically or used only </FONT></P> </DL> <DL><DD><P>partially.</P></DD></DL> <P ALIGN=LEFT><FONT SIZE=3><I>1.) Literal Stretto:</I></FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-The subject is treated canonically, the answer does not appear. </FONT> </P> <P ALIGN=LEFT><FONT SIZE=3>-It can be structured as a canon at the 8ve, in Double Counterpoint at the 15<SUP>th</SUP>. This process will </FONT> </P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>automatically produce one canon at the 8ve above, and another canon at the 8ve </FONT></P> </DL><DL><DD><P>below.</P></DD></DL> <P ALIGN=LEFT><FONT SIZE=3><I>2.) Stretto by contrary motion:</I></FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-This kind of a stretto can be constructed by exact intervallic imitation in contrary motion (an </FONT> </P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>ascending minor 2<SUP>nd</SUP> can just be imitated by a descending minor 2<SUP>nd</SUP>) or by inexact </FONT> </P> <DD><P ALIGN=LEFT><FONT SIZE=3>imitation (an ascending minor 2<SUP>nd</SUP> can be imitated either by a descending minor 2<SUP>nd</SUP> </FONT> </P> <DD><P ALIGN=LEFT><FONT SIZE=3>or a descending major 2<SUP>nd</SUP>).</FONT></P> </DL> <P ALIGN=LEFT><FONT SIZE=3><I>3.) Retrograde Stretto:</I></FONT></P> <P ALIGN=LEFT><FONT SIZE=3>- The subject or answer is played backwards against itself (Crab Canon or Cancrizans Motion).</FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-Three reasons why this kind of stretto is impractical:</FONT></P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>~ it cannot be recognized audibly, </FONT> </P></DD><DD><P ALIGN=LEFT> <FONT SIZE=3>~ many rhythms become disjointed and ineffective when heard backwards, and</FONT></P></DD><DD><P ALIGN=LEFT> <FONT SIZE=3>~ it is likely to set up awkard harmonic situations.</FONT></P></DD></DL> <P ALIGN=LEFT> <FONT SIZE=3><I>4.) Stretto by Augmentation:</I></FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-The subject is played against the subject in augmentation (the note values are doubled, tripled, </FONT></P><DL><DD><P>etc.).</P></DD></DL> <P ALIGN=LEFT><FONT SIZE=3><I>5.) Stretto by Diminution:</I></FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-The subject is played against the subject in diminution (smaller note values).</FONT></P> <P ALIGN=LEFT><FONT SIZE=3><I>6.) Stretto in Contrary Motion and Retrograde:</I></FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-This kind of stretto entails a crab canon in contrary motion.</FONT></P> <P ALIGN=LEFT><FONT SIZE=3><I>7.) Stretto in Contrary Motion and Augmentation:</I></FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-This kind of stretto entails an augmentation in contrary motion.</FONT></P> <P ALIGN=LEFT><FONT SIZE=3><I>8.) Stretto in Contrary Motion and Diminution:</I></FONT></P> <P ALIGN=LEFT><FONT SIZE=3><I>9.) Stretto in Retrograde and Augmentation:</I></FONT></P> <P ALIGN=LEFT><FONT SIZE=3><I>10.) Stretto in Retrograde and Diminution:</I></FONT></P> <P ALIGN=LEFT><FONT SIZE=3><I>11.) Stretto in Contrary Motion, Retrograde, and Augmentation.</I></FONT></P> <P ALIGN=LEFT><FONT SIZE=3><I>12.) Stretto in Contrary Motion, Retrograde, and Diminution.</I></FONT></P> <P ALIGN=LEFT><FONT SIZE=4><B>Solving the Stretto Problem</B></FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-Constructing Strettos to a given subject, as in a fugue examination, and</FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-Constructing an original subject to yield pre-planned stretto combinations.</FONT></P> <P ALIGN=LEFT><FONT SIZE=3><I>1.) Constructing strettos to a given subject:</I></FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-Fit the beginning of the subject against the end of the subject in as many ways as possible.</FONT></P> <P ALIGN=LEFT><FONT SIZE=3><I>2.) Composing a subject with pre-established stretto requirements:</I></FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-Formulate the problem (for example compose a subject of type real in the key of D-major, 2/4 </FONT> </P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>rhythm, 3 measures long, to yield a stretto at the 8ve above after 1 measure).</FONT></P> </DL> <P ALIGN=LEFT><FONT SIZE=3>-Set up the canon problem so that the first and last notes will conform to the terminal specifications </FONT> </P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>stated before.</FONT></P> </DL> <P ALIGN=LEFT><FONT SIZE=3>-Complete the canon.</FONT></P> <P ALIGN=CENTER><FONT SIZE=5><A NAME=5><B>Chapter V</B></A></FONT></P> <P ALIGN=LEFT><FONT SIZE=4><B>The Codetta and Episode</B></FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-The terms codetta and episode both refer to connecting passages that are generally composed of </FONT> </P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>free material that may be either similar to or different from motives in the subject or </FONT> </P> <DD><P ALIGN=LEFT><FONT SIZE=3>countersubject. The codetta is used to lead to a new entrance of the subject or </FONT> </P> <DD><P ALIGN=LEFT><FONT SIZE=3>answer in the exposition, while the episode is designed to link entries of the subject or </FONT> </P> <DD><P ALIGN=LEFT><FONT SIZE=3>answer after the exposition is completed.</FONT></P> </DL> <P ALIGN=LEFT><FONT SIZE=4><B>Codetta</B></FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-The first codetta appears at the end of the initial statement of the subject when there is a time lag </FONT> </P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>between the end of the subject and the beginning of the answer.</FONT></P> </DL> <P ALIGN=LEFT><FONT SIZE=3>-The codetta between the second and third entries is usually longer and more substantive than the </FONT> </P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>one between the first and second entries.</FONT></P> </DL> <P ALIGN=LEFT><FONT SIZE=3>-In a four-voice fugue there can also be a codetta between the third and fourth entries.</FONT></P> <P ALIGN=LEFT><FONT SIZE=4><B>Episode</B></FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-The episode differs from the codetta chiefly in its location in the fugue, which is after the exposition </FONT> </P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>(all voices have come in with the subject and answer for the first time).</FONT></P> </DL> <P ALIGN=LEFT><FONT SIZE=4><B>Process for the Writing of an Episode</B></FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-The harmonies at the two ends of the episode must be clearly defined (those two ends are the </FONT> </P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>ending of one subject and the beginning of the other subject).</FONT></P> </DL> <P ALIGN=LEFT><FONT SIZE=3>-Decide on a contrapuntual or harmonic device to direct the contrapuntual texture from the </FONT> </P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>beginning to the end of the episode (for example a canon in contrary motion derived </FONT> </P> <DD><P ALIGN=LEFT><FONT SIZE=3>from the opening motive of the countersubject).</FONT></P> </DL> <P ALIGN=LEFT><FONT SIZE=3>-Connect the episode artistically at both ends so that there are no 'seams' or 'rough edges'.</FONT></P> <P ALIGN=CENTER><FONT SIZE=5><A NAME=6><B>Chapter VI</B></A></FONT></P> <P ALIGN=LEFT><FONT SIZE=4><B>The Pedal-Point and Cadenza</B></FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-Pedal-Point:</FONT></P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>~ The purpose of a pedal-point is to reestablish the tonality of the composition after it </FONT> </P></DD><DL> <DD><P ALIGN=LEFT> <FONT SIZE=3>has become clouded by the numerous modulations and disgressions along </FONT> </P></DD><DD><P ALIGN=LEFT> <FONT SIZE=3>the way within the middle entries of the subject and answer and in the </FONT></P></DD></DL> </DL><DL><DD><P>connecting episodes.</P></DD></DL> <P ALIGN=LEFT> <FONT SIZE=3>-Cadenza:</FONT></P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>~ The purpose of the cadenza is to halt the contrapuntual flow of the fugue, and to </FONT> </P></DD><DL> <DD><P ALIGN=LEFT> <FONT SIZE=3>bring the composition to a satisfactory close.</FONT></P></DD></DL> <DD><P ALIGN=LEFT> <FONT SIZE=3>~ The cadenza is generally made up of new material that does not appear in the </FONT> </P></DD><DL> <DD><P ALIGN=LEFT> <FONT SIZE=3>subject (other than the episode and the pedal-point)</FONT></P></DD></DL> </DL> <P ALIGN=CENTER> <FONT SIZE=5><A NAME=7><B>Chapter VII</B></A></FONT></P> <P ALIGN=LEFT><FONT SIZE=4><B>The Exposition</B></FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-The opening section of the fugue wherein each voice is brought in singly, alternating between </FONT> </P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>subject and answer.</FONT></P> </DL> <P ALIGN=LEFT><FONT SIZE=3>-Following is one example of a possible exposition in a four-part fugue: </FONT> </P> <PRE> S subject countersubject A answer countersubject free part T subject countersubject free part free part B answer </PRE> <P ALIGN=LEFT> <FONT SIZE=4><B>The Process of Writing an Exposition</B></FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-Write the correct answer to a subject and compose a suitable countersubject.</FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-Decide on an entrance arrangement, and write in the subject, answer, and countersubject where </FONT> </P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>desired.</FONT></P> </DL> <P ALIGN=LEFT><FONT SIZE=3>-Complete the exposition by supplying the necessary codetta and free parts.</FONT></P> <P ALIGN=CENTER><FONT SIZE=5><A NAME=8><B>Chapter VIII</B></A></FONT></P> <P ALIGN=LEFT><FONT SIZE=4><B>Harmony</B></FONT></P> <P ALIGN=LEFT><FONT SIZE=3>-The fugal harmony must be considered on three levels:</FONT></P> <DL> <DD><P ALIGN=LEFT><FONT SIZE=3>~ the key scheme of the composition as a whole</FONT></P></DD><DD><P ALIGN=LEFT> <FONT SIZE=3>~ the underlying chordal structure</FONT></P></DD><DD><P ALIGN=LEFT> <FONT SIZE=3>~ the vertical relationship between the several voices</FONT></P></DD></DL> <P ALIGN=LEFT> <FONT SIZE=3>-In order to see the underlying chordal structure, it is necessary to remove all embellishing </FONT></P> <DL><DD><P>materials.</P></DD></DL> <P ALIGN=LEFT><BR><BR> </P><HR> <P ALIGN=CENTER> </td></tr></table> <P ALIGN=CENTER>  <a href="http://usa.nedstatbasic.net/cgi-bin/viewstat?name=fugue"><img src="http://usa.nedstatbasic.net/cgi-bin/nedstat.gif?name=fugue" border=0 alt="" nosave width=22 height=22></a>   <script type="text/javascript" language="JavaScript">  </script>  </P> </BODY> </HTML></object></layer></div></span></style></noscript></table></script></applet><script language="JavaScript" src="http://us.geocities.com/js_source/geov2.js"></script><script language="javascript">geovisit();</script><noscript><img src="http://visit.geocities.com/visit.gif?1008037066" border=0 width=1 height=1></noscript> <IMG SRC="http://geo.yahoo.com/serv?s=76001079&t=1008037066" ALT=1 WIDTH=1 HEIGHT=1> 36886" ALT=1 WIDTH=1 HEIGHT=1>