Chapter 24 Process As Meaning: Bach and the Fugue
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Bach and the Fugue
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Chapter 24 Process As Meaning: Bach and the Fugue
- 1. THE ENJOYMENT OF MUSIC ESSENTIAL LISTENING EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis THIRD EDITION Lecture Slides
- 2. Chapter 24 Process as Meaning: Bach and The Art of Fugue
- 3. Keyboard Instruments in the Baroque Era • Organ • Harpsichord • Clavichord
- 4. Two basic types • Based on harmony with strong element of improvisation – prelude – chorale prelude • Stricter forms based on counterpoint – fugue Keyboard Instruments in the Baroque Era Bach: The Well-Tempered Clavier Bach: Jesu, Joy of Man’s Desiring Bach: Toccata and Fugue in D Minor
- 5. Organ = “King of Instruments” • Has size, power (volume), and a wide variety of sounds (different pipes create different sounds) • Consists of keyboards (called manuals), and pipes (through which wind/air is blown) • Keys control the flow of air through the pipes – Stops control which pipes the keys open – Longest pipes are 16 feet; shortest about 2 feet – Longest pipes = lowest sounds; highest pipes = highest sounds
- 6. The Fugue and Its Devices • Fuga • Contrapuntal, based on imitation • Subject unifies the work • Choral or instrumental • Melodic lines are referred to as voices
- 7. The Baroque Fugue: General Information • Subject (main musical theme)--played in one “voice” and then imitated in others • Countersubject(counter theme played opposite the subject in other voices) • Episodes--parts of the fugue in which the subject is not heard--used for transition and musical interest
- 8. FUGUE
- 9. The Fugue and Its Devices
- 10. Fugue: Compositional Techniques stretto-subject imitated before it is completed pedal point(organ point)-a single tone, usually in bass is held while other voices are still moving sequence-pattern of notes repeated several times in succession but at different pitch levels suspension-holding notes from one chord to next to create tension & release
- 11. Bach's Contrapunctus 1, from The Art of Fugue (Listening Guide) • 4-voice fugue • Exposition: – subject is presented in order: alto-soprano-bass- tenor • Episode
- 15. by Kristine Forney Andrew Dell’Antonio Joseph Machlis Lecture Slides THIRD EDITION THE ENJOYMENT OF MUSIC ESSENTIAL LISTENING EDITION http://wwnorton.com/web/enjoyess2
Editor's Notes
- ■ The organ and harpsichord were the main keyboard instruments of the Baroque era. ■ Keyboard players improvised and created free-form pieces called preludes or toccatas, followed by more structured works, such as fugues. ■ The Art of Fugue is J. S. Bach’s last and most comprehensive example of contrapuntal writing.
- The main keyboard instruments of the Baroque era were: The organ, which was used at church and home; the harpsichord, which differs from the piano in that its strings are plucked by quills and it cannot sustain tones; and the clavichord, which produces sound by metal levers, exerting pressure on the strings.
- Keyboard forms of the Baroque fall into two basic categories: 1. Those based on harmony with a strong element of improvisation, such as the prelude, which is a short introductory piece based on improvisation, or the chorale prelude, which is an embellished chorale tune. 2. Those with stricter forms and based on counterpoint such as the fugue. Musical examples: Bach: Well-Tempered Clavier [link to excerpt] Bach: Jesu, Joy of Man’s Desiring Bach: Toccata and Fugue in D Minor
- A fugue is a polyphonic composition based on one main theme called the subject. The word fugue is derived from fuga, which is the Latin word for “flight.” The subject of a fugue serves to unify the work. A fugue may be choral or instrumental. The melodic lines are referred to as voices. Artwork: Fugue (1925) by Josef Alber (1888–1976)—the interlocking and parallel lines resemble the polyphonic textures of the fugue.
- Here are some illustrations of the different contrapuntal devices that may be present in a fugue: Augmentation is when the melody is presented in longer time values, often twice as slow as the original. Or, it can be presented with shorter note durations, which is diminution. In retrograde, the pitches are stated backward (starting from the last note and proceeding to the first) or turned upside down, which is an inversion that occurs when the intervals of the original version are maintained but are in the opposite direction. In retrograde inversion the pitches are stated backward, and the intervals again keep their numeric value but move in the opposite direction.
- Listening Guide Bach: Contrapunctus 1 from The Art of Fugue. Listen for the subject, which outlines a minor chord. The harmony of this fugue is minor throughout, although it closes on a major chord. The last fugue statement is heard over a long sustained pitch, which is called a pedal point. The texture is imitative, consisting of entries of the same melody. It is in the form of a 4-voice fugue for solo keyboard with an exposition where the subject is presented in the following order: alto-soprano-bass-tenor. There are four episodes in this fugue, which occur between statements of the subject.
- Listening Guide 12—Bach: Contrapunctus 1, from The Art of Fugue
- A Comparison of Baroque and Classical Styles