How to write a Fugue - Music-Web Forums

MaestroX

A Fugue is a "movement of continuity" and normally all grows out of the one original germ, the "subject," possibly with te aid of its ally and couterpart the "countersubject." A fugue, at least according to academic theory, has three main divisions, the Exposition (or Enunciation), the Middle (or Modulating Section) and the Final Section (The use of the term "Recapitulation" for the Final Section is not desirable; this term should be reserved for sonata form and its derivatives). Despute the three divisions, a fugue should not be thought of as in ternary form, since the middle section is not an episode in the ternary sense. In fact, fugue is not a form at all, in the usual sense of the term, since its ground plan is infinitely variable. This can easily be proved by comparing and two or three of Bach's "48". Fugue is a texture, a style rather than a form.

The Subject is a single melody which, if properly constructed, is capable of use and development in a variety of ways. It may or may not contain modulations. If it does, the most probable is to the dominant. Oter incidental modulations may occur but are of not particular importance.

The Answer is, essentially, the subject transposed up a perfect 5th or down a perfect 4th into the dominant key. If the transposition is exact throughout, the answer is called "real". But there are circumstances which require that the transposition shall not be exact (one or more intervals changed). In this case the answer is "tonal".

The Countersubject is the melody which the first voice to enter sings/plays against the second when it comes in with the answer. If the countersubject is used consistently against each successive entry of a subject or nswer at least throughtout the Exposistion it is called "Regular". If not it is "not regular". (A countersubject is never known as "irregular"). In the case of a subject requiring a tonal answer, the countersubject will also need modification according to wether it is accompanying subject or answer.

The Exposistion is bassically confined to tonic and dominant keys only (any other incidental modulations are immaterial) and usually consists of entries of subject and answer alternatley. It begins with the statement of the subject in a single voice. This is followed by the answer in another voice, in the dominant, the intial voice meanwhile continuing with the countersubject, The another voice enters with the subject, second voice continuing with the countersubject and so on until all voices have entered with either subject or answer. The number of voices may vary from two to as many as eight (or even more); three or four are the most usual.

The Middle Section consists of enteries of subject and answer in keys oter than the tonic, separated by episodes (A definition of a fugal episode is: "Episodes serve as modulating links between entries of subject and answer to give a relief from continual reiteration of the subject). An episode in a fugue differs from one in a ternay or rondo form in that stritly speaking it is not constrasted with the matter on either side of it. It is generally based on some figure taken from subject or countersubject, o possibly the codetta and is most often built up by imitative treatment of such a figure. Frequently one or more of the voices will have rests so as to give relief from uniterrupted writing for the full uninterrupted writing for the full number of parts.

The Final Section begins (again according to academic tradition) where the subject or answer returns in the tonic key. This final section will contain at least one entry of the sibkect in the tonic (even Bach does not vary this) and will usually end with a coda of which the length may vary from a few notes to a few bars. It is not easy to give any definite ruleas as to "spotting" the beginning of a coda, much depends on the "feel" of the music; but it is generally safe enough to take it as starting from the end of thelast complete entry of subject answer.

During the Middle and Final sections, various "fugal devices" may appear. (Bach of course used them at times in the exposistion). They are:

Stretto,
Augmentation of the subject,
Diminution of the subject.
Inverse movement,

Stretto occurs when entries of subject and answer overlap each other, the seoncd beginning befor the first is finished.

A close stretto is one in which the overlapping is considerable.

A stretto Maestrable or "Maesterly Stretto" is one which all the voice take part, each having the subject or answer complete and unmodified.

Augmentation of the subject means statement of it in notes of greater value, usually double.

Diminution of the subject means statement of it in notes of smaller value, usually half.

Inverse movement means statement of the subject upside-down, upward intervalls become downwards ones and vice cersa. This is somtimes called "Inversion" but "Inverse Movement" is a perferable term since it avoids any possible confusio with inversion of subject and countersubject.

This does not cover all aspects of fugue, but provides an elementary understanding. I hope this hopes this helps.

Boneman · 20-12-2006, 10:22 PM

Thanks. I have a small question....Is this a copy paste job or a written out thing?

stevel · 21-12-2006, 06:21 PM

Originally Posted by Boneman

Thanks. I have a small question....Is this a copy paste job or a written out thing?

Do you mean the Fugue, or Maestro's post?

You did ask how to write a Fugue in the other, now closed thread, but I'll give you some free advice:

1. Take up the offer on finding a composition teacher or pursue that avenue yourself if you are interested in composition. An instructor can save you loads of time since you can kind of "steal" their knowledge and experience.

2. If you're interested in writing a Fugue, the thing to do is start listening to many of them, and it's especially helpful if you can follow along with the scores. Bach's Fugues from the two books of the Well Tempered Clavier are consider the "standard" by which all other fugures are judged by, but Bach's "Art of the Fugue" is also worth investigating. Bach also wrote many other fugues, as did many other composers - Beethoven's Grosse Fuge, the Kyrie from Mozart's Requiem mass, etc.

3. If you try to write a Fugue, you might try to walk before you run. I dare say that Fugue is considered by most to be the "hardest" of all forms of music to write (that is, if you want to adhere to the Bach model, you could certainly simplify it if you want). Many composers have written Fugato, Fughetta, Caccia, Ricercare, or other Fugal works or sections of works. These are often not "full blown" fugues but are scaled down versions of them. When I took a Tonal Counterpoint course, the Final project after one semester of study was not to write a Fugue, but only the Exposition of a Fugue!

4. Don't expect to write a Fugue, or anything for that matter, by reading about it, but I do think reading about something and tinkering with the concepts can a good experiment. That said, here's a Fugue:

3 Sections, Expostion, Middle Section, Close (Recapitulation, etc.)

In The Exposition, you present your Subject in each voice. In the middle section, you usually modulate to a new key, and present the Subjects again, usually in motivic fashion, or in modulatory bits. In the final section, you return to the home key and present your Subject again.

The subject enters in the home key, by itself usually. Once the Subject is complete, the Answer comes in. The Answer is basically the Subject transposed to enter on scale degree 5. If it is an exact transposition we say it's a real answer, but if if it adjusts intervals to keep it in the original key we say it's tonal.

When the Anwser enters, the original part continues in counterpoint with the Answer. If this music is also "important" (i.e. to be used for motive later) we call it a Countersubject.

Usually the two play a couple of measures before the third entry. In other words, the 3 or four parts don't just enter 1 2 3 4 , they enter more like 1 2 time 3 4, etc. Entries are always T-D-T-D in alternation (though modern composers like Bartok made his entries in the Fugue in Music for Strings Percussion and Celeste enter by perfect 5ths each time).

Once all voices have entered, and statments of the Subjects/Answers are complete, the Exposition is done.

Usually what happens next is the music continues contrpuntally, modulates to some related key, and then motives from the Subject and Countersubject (if any) are used in a "development" manner. It should be noted here that often the subject will appera inverted, in augmentation or diminution or even in retrograde in this section. Basically this section is a chance for the composer to "play with" the material.

The final section has a return of the subjects in the original key. Usually they enter similarly to the Exposition though it's rarely an exact repeat. Frequently, the subject is written so the next entries come in "too soon" and make an overlap (that is, originally, the answer waited until the subject finished to enter, but now, the answer enters before the subject is complete). This is called Stretto. Many fugues have a Stretto but not all do - it's actually probably a 50/50 thing.

So basically the point of the final section is to re-establish the home key, and to remind us of what the original subject was after hearing it all chopped up/upside down, etc. in the previous section.

Usually there's a big final flourish on the Dominant (the Dominant Pedal) to lead us to the final cadence.

Now this is a lot to digest isn't it! Maybe what you can do is take this synopsis (which is a little more general than waht Maestro posted) and listen to a few fugues and see if you can hear these things and start to make sens of the form with your ears. Then you can start trying to take waht you've heard and put your own spin on it.

Have fun,
Steve

Boneman · 21-12-2006, 11:56 PM

This is where I come un-stuck. Having no formal training in composition all my work is just using melodies etc that have arrived, this deep stuff seems to be academic and not inspirational. I just write what arrives. Obviously you guys are into composition in a deep and meaningful way, analysing as you go. I just want to write what I feel at the time.

stevel · 22-12-2006, 05:13 AM

Originally Posted by Boneman

This is where I come un-stuck. Having no formal training in composition all my work is just using melodies etc that have arrived, this deep stuff seems to be academic and not inspirational. I just write what arrives. Obviously you guys are into composition in a deep and meaningful way, analysing as you go. I just want to write what I feel at the time.

I think you have to be careful about assumptions like this though. While some of us may be able to analyze as we go, or are more knowledgeable about certain forms or styles, it doesn't mean we don't do the same thing. I think it just means we might be better able to put into a semi-standardized form of communication to discuss what we do and how we do it.

To be honest with you, many people find Fugues to be "academic" and don't like them for that reason. I like films. I like Hitchcock movies. On one level, you can sit and watch the film. On another level, you can look at the camer angles and types of shots he used. Seeing these, and understanding how they support the narrative, lead to a much deeper understanding of the movie. So this "academic" perspective makes us like it this much more. THe same is true of music. And I think those people who understand music at a much deeper level have this insidious desire to bring others into that fold. There are already too few of us out there, and we long for others who appreciate music in the same way we do. Your average listener might like Beethoven's 5th. But just think how much more they'd like (or appreciate) it if they understood how the main motive works in all four movements (and as a T-Bone player, you should know this!).

I see this a lot. A lot of people think we're being snobbish, or elitist, or we're trying to force out values upon them. That's not the case at all. Most of us just "get" music in a way that the general public don't. And we're trying to find other people who desire to "get" music and lead them on the path to nirvana.

So I think you should be writing what you feel at the time. Anything else is being untrue to yourself. But what about you is unstuck? Do you want to learn more, or are you happy writing what you feel at the time. Do you feel there's room for improvement, exploration or experimentation? Do you feel that academic training will somehow "ruin" the "naturalness" of what you currently do? Or do you feel that training will help you channel your thoughts into a cohesive work?

You were asking about how to write a Fugue. Why?

Best,
Steve

Boneman · 22-12-2006, 08:43 AM

Hi Steve,

I would like to learn to write a fugue, even in a small way because I really like them. What I really need is some kind of basic instruction into their form, shape (whatever) and take it from there.

martinzufall · 22-12-2006, 09:38 AM

MaestroX and stevel covered it pretty well. I would suggest (if composing your own fugues is what you want) to start working with melodic ideas in two-voice style using the contrapuntal devices stated in MaestroX's post (like a Bach invention). Then try to add a third voice. Once you feel comfortable with three voices (most fugues have 3-5 voices) in a "freer" format then you can try the fugal style, which is much more strict.

MaestroX · 22-12-2006, 11:34 AM

Originally Posted by Boneman

Thanks. I have a small question....Is this a copy paste job or a written out thing?

Nope I wrote this out using a book as a guide to the structure, but I wanted to add in more of what i've picked up on the way when talking to people and how they handle the fugue form. Real life advice always beats text books hands down.

Boneman · 22-12-2006, 02:56 PM

Originally Posted by MaestroX

The Subject is a single melody which, if properly constructed, is capable of use and development in a variety of ways. It may or may not contain modulations. If it does, the most probable is to the dominant. Oter incidental modulations may occur but are of not particular importance.

My first question is in the creation of a properly constructed melody. What are the limits/rules to this?

MaestroX · 23-12-2006, 12:42 PM

Here are a few characteristics to take into consideration.

Unbroken lines with long phrases and well-spaced cadences
Fast harmonic rhythm
]Series of first inversion chords, series of suspensions, seventh chords on any degree of the scale, Phrygian cadence, hemiola, circle-of-fifths, sequence, tierce de Picardie, lack of dynamic markings and performance directions, only rarely distant modulations (usually to one degree flat or sharp)

As with melodies most important things are avoiding augmented intervals (thought some can be used), using some of the points above (fast harmonic rhythm, unbroken lines)

These are only if your trying to write a strict baroque piece, and they are only a guide as the list of things is very long!

I think the most important thing here is to listen, study scores and play the music. Get some Bach two part inventions and try play them on the piano. If they are too difficult (i'm not sure if you're a piano player) try any of the pieces from Anna Magdalena's Notebooks.

Hope this helps

20-12-2006, 10:22 PM	#2
Boneman Music Virtuoso Join Date: Nov 2006 Location: Hampshire, England Posts: 805	Thanks. I have a small question....Is this a copy paste job or a written out thing?
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21-12-2006, 11:56 PM	#4
Boneman Music Virtuoso Join Date: Nov 2006 Location: Hampshire, England Posts: 805	This is where I come un-stuck. Having no formal training in composition all my work is just using melodies etc that have arrived, this deep stuff seems to be academic and not inspirational. I just write what arrives. Obviously you guys are into composition in a deep and meaningful way, analysing as you go. I just want to write what I feel at the time.
	If music be the food of love, I need to go on a diet! My Music Store www.andoverlightorchestra.co.uk
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22-12-2006, 08:43 AM	#6
Boneman Music Virtuoso Join Date: Nov 2006 Location: Hampshire, England Posts: 805	Hi Steve, I would like to learn to write a fugue, even in a small way because I really like them. What I really need is some kind of basic instruction into their form, shape (whatever) and take it from there.
	If music be the food of love, I need to go on a diet! My Music Store www.andoverlightorchestra.co.uk
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22-12-2006, 09:38 AM	#7
martinzufall Music Lover Join Date: Oct 2006 Location: Germany...currently Posts: 44	MaestroX and stevel covered it pretty well. I would suggest (if composing your own fugues is what you want) to start working with melodic ideas in two-voice style using the contrapuntal devices stated in MaestroX's post (like a Bach invention). Then try to add a third voice. Once you feel comfortable with three voices (most fugues have 3-5 voices) in a "freer" format then you can try the fugal style, which is much more strict.

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23-12-2006, 12:42 PM	#10
MaestroX Administrator Join Date: Jul 2006 Location: England Posts: 1,836	Here are a few characteristics to take into consideration. Unbroken lines with long phrases and well-spaced cadences Fast harmonic rhythm ]Series of first inversion chords, series of suspensions, seventh chords on any degree of the scale, Phrygian cadence, hemiola, circle-of-fifths, sequence, tierce de Picardie, lack of dynamic markings and performance directions, only rarely distant modulations (usually to one degree flat or sharp) As with melodies most important things are avoiding augmented intervals (thought some can be used), using some of the points above (fast harmonic rhythm, unbroken lines) These are only if your trying to write a strict baroque piece, and they are only a guide as the list of things is very long! I think the most important thing here is to listen, study scores and play the music. Get some Bach two part inventions and try play them on the piano. If they are too difficult (i'm not sure if you're a piano player) try any of the pieces from Anna Magdalena's Notebooks. Hope this helps
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