I. General definition
The term joint (Italian for "fuga", English, queen "fugue.") Derives from the Latin word "fuga", which means escape, escape. The fugue is a type of independent contrapuntal technique, a closed form, as a generic principle of imitative implementation of a central musical idea (Soggetto, subject, subject) is based. This technology is set to the vocal polyphony of the 16th Century back, and has become the real medium of the joint instrumental music, particularly the keyboard music. In the literature stand out sentences that are not separated as a fugue for themselves, but often a higher-level work related as, fair, oratorio, sonata, variation cycle are integrated. The joint must have a form in terms of a carefully planned musical context, but no way be interpreted as a standardized, structured process.
II Compositional description
first The typesetting
The gap can be as single-issue, formally closed composition with fixed number of votes in imitative setting pattern, subject to certain rules with respect to individual course phases define. The fugue theme shapes the mood of the form and the principle of Einthemigkeit shall not be revoked in a fugue with several secondary thoughts.
As a general rule, imitating the topic, so unchanged in its structure, to conduct all votes. A special feature is the set of technical design of the opening form, exposure: The subject is presented by one after each vote, so that the music theory unfolds successively from unanimity beginning to reach the full number of votes. The ratio of rates to each other is constitutive of meaning: The first voice begins with the subject in the tonic key, the following voice onset, the so-called response mimics the topic, but it moved into the upper fifth or fourth below (dominant). The topic and the answer are referred to in the joint theory "Dux" and "Comes". The following operations the process is repeated: The third voice enters again as Dux in the tonic, the following as a Comes in the dominant. The bottom of the topic shift effect in major-minor tonal music, a harmonic voltage operation between tonic and dominant. If the interval Comes a true fifth transposition of the theme is, it is called a "real" answer. In the "tonal" answer to the Comes fit through slight modification of the head of the key topics at the Dux, before he goes into an exact fifth transposition. The Comes thus appears as a variant of the theme. This deviation from strict imitation is already in the vocal polyphony of the 16th Present century. The theorists have derived a doctrine as a response including "repercussio" is called "risposta" or "re-strike" can be designed.
Here's a little guide of the most important rules for the composition of a fugue follows: first
The most important rule is that to answer the subjects beginning with QT intervals fifths and vice versa.
second The form of the answer depends on the thematic structure: the theme applies to dominant is, in general a real answer.
third The subject should remain open and formal zäsurlos pass into a melodic line. In practice cuts or closure clauses are common in subjects that are often bypassed by passages.
4. The dissenting voice is often complementary invented the subject. If this is to vote against an accompanying voice also referred to as "counter-subject" or "Contrasoggetto" or 5 of "solid counterpoint," or "detained opposition."
The conciseness of the issue is particularly important. A theme is usually 2-4 bars.
6th The first implementation, the exposure of the subject, must be complete. This means that the exchange of Dux and Comes all the votes of taking the matter again.
7th The harmonic gap between the dominant area in Comes and Dux in the tonic is a short rückmodulierenden transition "Passage" or "codetta ', and balanced.
for the design of the future evolution of the joint no longer mandatory rules, as we have seen for the compositional structure and the harmonic system. As a means of increasing variety and is familiar with the various joint variation techniques: first
The extension of the tone duration, called the "Augmentation"
second The reduction of the durations, the "diminution
third The reversal in horizontal mirroring, the "inversion"
4th The use of the theme in its deteriorated form, the "cancer" (more rarely)
Another means of Increase is narrowing, "stretto" in which the subject approaches come off no longer, but in a shortened distance, are pushed together like a telescope and follow each other.
second The fugue as a form
The original principle of the fugue is a constant migration of the topic by the cast. The use of the mentioned compositional means provides the possibility for a certain structure. Initial results from the interaction of all thematic, textural and harmonic factors results in the individual form of a fugue. are the joint as defined shape and flow, it is not so.
third Types of joint
A distinction between "double, Triple or quadruple. "Contradiction subjects occur later in the course of the joint in their own exposures and not having the rank of a side issue. In the final phase of the topics will be heard together as the culmination of the composition.
In the "Gegenfuge" is the interval inversion of the theme from the beginning a constitutive element of the form. In the "Krebsfuge" the Dux of the subject by his declining form will be answered. In the "Umkehrungsfuge" the whole music theory from the middle of the play interval for interval vice versa, at the "Krebsfuge" is taking place in the same downward motion. The "Permutationsfuge" is based on the typesetting of invertible counterpoint. Assume a more coherent set of models, whose voices are interchangeable is a flow from unanimity to full polyphony unfolds. The counter-voices in this particular case, the function of counter-subject. The elaboration of the sentence is carried out by shifting the permuted set model.
The "canonical Fugue" or "fuga ligata" goes one step further than the Permutationsfuge. The canonical joints are usually designed in two parts over a free bass.
The "choral fugue" is based on their subject matter, which is derived from a chorale melody. The first chorale line shall be a subject of a separate joint, whereupon the full chorale as cantus firmus in broad connects note values and entwined with opposition.
III. History of the first joint
On the history
The term "fuga" is already in the 14th Century to be found and are also the same as performing area derived terms "caccia" and "chasse." The terms of a time-shifted course designed like melody lines. I now understand is a canon. Only after 1600, after an independent instrumental pieces with names like "Ricercar", "Canzona," "Fantasia," "Capriccio" have developed or "tiento", besides this occurs sporadically, the term "fuga" on a name for a musical form, so that no unique structural ideas were raised.
second The fugue in the 17th Century
Instrumental music preserves the compositional technique of the old imitation polyphony replaced, but by their formal models such as motets, madrigals and songs, to check their own design principles. The imitation process is replaced by the character of a planned and predictable process, which corresponds to the exposure of the prototype of the joint. The use
interval depends on the Pitch: The high treble voices imitate and tenor in the upper fifth, deep voices in the lower fifth. The transposition interval is rather determined by the order of the votes, as it follows a specific harmonic progression plan. Also typesetting art means such as inversion, stretto, augmentation and diminution were applied.
JP Sweenlinck has extended his fantasies by these techniques to great three-part forms: first
Implementation of the basic form of the second theme
Second section with magnification of the subject and counter-punctured small-unit motif
third Loud final section with reduction of the subject as an imitation material.
J. Titelouze led the fugal technique with his Werkt "Hymn de l'Eglise pour toucher sur l'orgue, avec le fugues et recherches sur le plain-chant "in the French organ music. N. De Grigny and J. Boyvin continued this tradition.
John Krieger works the joints in his graceful piano-exercise, consisting of different Ricercari, Preludes, Fugues from extensively. The highlight of this collection is to be a quadruple fugue, in which four subjects performed sequentially in four separate joints and in a fifth combined.
An exception are the organ fugues by D. Buxtehude. This is one movement but complex compositions, in which elaborate joint sections with elements of the Toccata and the variation are intertwined. Therefore they are called "Toccatenvariantenfugen." The importance of Buxtehude based on the quality of typesetting technology, a completely new type of voice leading, harmonization and pedal technique.
The polar opposite type of Buxtehude Pachelbel's Joh. His joints are well-founded function harmoniously, the fifth response is not observed, the shape is clearly evident and applied with a voltage gradient. J. Froberger and Pachelbel, as well as fellow John K. Fischer CF also include JS Bach's models. Fischer had already composed in 'Ariadne Musica "a cycle of preludes and fugues, in which only the five keys of C #, D # m, F #, G # m and Bm, of the 24 modern keys were missing. In the 17th
Century urges the fugal style a particularly Italy and France in non polyphonic forms in which, certain conventions have formed: If the Fugierung the Gigue in the suite, then for the middle part of the French overture and the second movement of the Sonata da chiesa fugal setting the way mandatory.
In the second half of the 17th Century, also takes on the vocal music by and by the characteristics of Instrumentalfuge as Quint response, single subject, Contrasoggetto, stretto and pedal point. With the involvement of obligatory instruments to choral music, the so-called "joint accompanied with polyphonic and core set of instrumental embellishment." Forms
third The fugue in the 18th Century
a. The gap in the work of JS Bach's
The joint is formed by the works of JS Bach to a type of great diversity. He is the great taxonomist, who developed their own joint-cosmos. The two series of works "The Well-Tempered Clavier" (1722) contains 24 preludes and fugues in all major and minor keys (BVW 846-869). Left in 1744 following a second part of Bach (BWV 870-893). Both works remained unpublished, but were told by copies so common that they were the epitome of the whole genre. In both works, the term horizon expands so that the Preludes as a change in colorful chordal intonations, Bicinia, trio sets, fantasies, or Concertoformen cantabile present Airs. The joints are expressive of their individual subject character pieces. There are motor, construction, reduced to a motive, impulse-driven, periodic, and dance toccatenhafte topic types to be found. The votes ranged from two to five, ranging from the structure of the continuous joint without interlude to clearly structured forms (eg, in two parts and five parts). There are gaps of up to 3 double subjects, with inversion, augmentation and diminution, stretto and with five times the simultaneous combination of theme and reverse, two double and a triple fugue fugues ... The imagination was the limit!
has the "Art of Fugue BWV 1080, Bach focuses on the essential and together the joints in a systematic order. The plant includes the elaboration of a theme with 14 variations, known as "Fugue". In addition, a processing Spiegelfuge No. 13 is as "Fuga a 2 clav "and" Fuga a 3 Soggetti "(the famous unfinished final fugue) and 4 as" Canon "designated pieces. In addition to these three compendia of the joint composition Bach has written more than a hundred other joints, such as organ fugues and choral fugues.
Bach's compositional thinking was so steeped in the joint, sat in their design principle in almost all Of his oeuvre reflected. Bach has set in his joint work standards, but the gap has not typed unifies. Its significance for the genus is that he has all options available to him exhausted and on the other hand has integrated the joint principle in all its available form types exemplary. Bach's experimentation has thus extended the possibilities of the appearance and the limits of expression of the joint area as a species.
b. The fugue in Bach's contemporaries
on important Fugisten in Bach's time are: John J. Fux, who wrote the important theoretical work on the joint "Gradus ad Parnassum and had composed exemplary vocal fugues, Handel, of the instrumental pieces "Six Fugues or Voluntarys", op 3 (London, 1735), had written, John Krieger, Johann Kuhnau, Johann Theile, Telemann and Johann G. Walther.
c. The gap after 1750
remained after Bach's death, the joint study and appreciation of his art on a small group of traditionalists in Berlin is limited. In the second third of the 18 Century, the joint of sonata, rondo and imagination pushed back. The Vokalfuge however, remained still an integral part of the church style. In the Protestant church music and choral Passion Kant Ante joints were more the exception than the rule. The Catholic rite preserved however, the fugal style. add sound to fugal The custom of the final words of the Gloria and the Credo of the Mass, solidified the topos of the fugue of the "Cum sancto spiritu" and the Fugue "Et vitam ventura." Critical exponents for the placement of the joint doctrine were Fux in Vienna and GB Martini in Bologna. Through their teachings remained the "stile antico" alive in the sacred music.
Between 1730 and 1800 was held in Vienna a rich production of instrumental joints. Well-known composers such as MG Monn, Fl. Gassmann and L. John G. Albrecht Berger also enriched this production. In his String Quartets Op 20, No 2, 5 and 6 suggests Haydn, the Problem of a better finale to be resolved by the end worked out joints. The 17-year-old Mozart in 1773 following his example with the Haydn quartets in F major, K. 168 and follow to D minor KV 173rd Ten years later, he devoted himself to intensive study of Bach's fugues. In the final sentences of the String Quartet in G major KV 387, the String Quintet in D major KV 593 E flat major, K. 614, the Piano Concerto in F major, K. 459 and especially in his Symphony in C major, K. 551, he gets very personal as a synthesis of fugal technique and motivic-thematic work and fugue and sonata. His major contribution to the history of the species of the Fugue, the "Fuga a due harpsichords," is in C minor KV 426 (1783).
4th The fugue in the 19th Century
also L. van Beethoven in mature working years deals again from scratch with the fugue as a compositional problem. He used his experience in the Fugatotechnik as a means of thematic processing. The result of this discussion is intended as a full joint in the final movements of some sonatas (op. 102.2, Op 106, Op 110) and found in the quartets of his late work, including the 106th of op Riesenfuge The "Grand Fugue / tantôt libre / tantôt recherchée" op 133, which was originally planned as a finale for the String Quartet Op 130, is of great importance. The "Grosse Fuge" deals still the research with the question of whether it was an oversized finale to the quartet, Op 130, or an independent Ensemblefuge. Beethoven tried to add up to one's compositional skills and to raise the issue of genre, in his view to a definitive solution.
A. Reicha tried the traditional edge form with his "Trente Six fugues pour le pianoforté, un nouveau système d'après composées" op 36 (Vienna 1803) to blow. He is conscious of style criteria such as polyphonic voice-leading, fifth in defense, real coherence and thematic focus attempts to terminate and four clock periods, Rosalie, parallel thirds, Alberti-bass and counterpoint with a to translate special issues in a modern musical language.
After Beethoven, the joint is a classic, no more vivid form of speech. It will also continue to maintain a compositional training. F. Mendelssohn Bartholdy's "Preludes and Fugues Op 35 for Piano, Op 37 for organ (1837), are understood as a commitment to the past. Schumann, too, has dealt with the contrapuntal study and publish the results in several works, such as Opus 56, 58, 60, 72, 1845th Also to mention his "6 Fugues on BACH for organ or pedal piano, op are 60th Even Liszt with a "Prelude and Fugue on BACH" for Organ (1855) demonstrated a reverence. Until the 20th Century written other artists such as A. Fr. Hess, M. Reger, F. Busoni, S. Karg-Elert, A. Honegger, A. Roussel, H. Eisler, E. Pepping, inter alia, joint with the musical cipher BACH. The complete works of Brahms and Bruckner, however, takes the joint as a unique form a subordinate place.
The joint is in the 19 Century to a symbol. You will be taken up to return to evoke the past and tradition as a means of characterization used in opera and symphonic poem, for the sacred or as a distortion. She also becomes the emphasis would be full representation in Richard Strauss' "Also Sprach Zarathustra" or derision in the "Mephisto-set" "Faust Symphony" by Liszt used. The exterior appearance of a joint implementation was of Verdi's "Macbeth" and in Wagner's "Meistersinger" is used to make the staged process successively occurring groups musically mature.
5th The fugue in the 20th
century comes to the turn of the century to a revival of the genus by M. Reger. His works include "The manes of JS Bach's" Organ Suite, Op 16, dedicated (1895) and "Fantasy and Fugue on BACH, Op 46 (1900) and other works. F. Busoni with his "Fantasia Contrappuntistica" (1910) the structure of Fantasia with a cathedral compared. The genus of the joint was maintained by I. Knorr, K. von Wolfurt, W. Von building designers, K. Hoeller and W. Walton. Also A. Honegger, P. Hindemith, Krenek E., KA Hartmann, W. Schumann, R. Vaughan-Williams and Benjamin Britten sympathized much with this genre. In general, the gap was in the works of composers who felt obliged to the tradition of greater importance.
Shostakovic has shown with his Opus 87 in the context of the fugue, the most diverse set of characters.
B. Bartok has treated in his "Music for Strings, Percussion and Celesta" (1937) the compositional problem of the joint to individual and original manner, by developing a Fächerfuge this: a theme that extends from the central note screwed up back and back, is exposed in the string orchestra, namely, so that each even-numbered subjects used in the upper fifth, will be answered every odd in the corresponding lower fourth. The joint order from the tonal center moves up and down fans out, from So. At the end of the twelve times the execution is the tonal opposite Es / Dis reached the dynamic high point, from where is started by reducing the back issues.
a special case in the history of the species is that of A. Berg called "seam" of the 2nd Scene of the 2nd Act of the opera "Wozzeck," which the more imitative sentence with three themes, the complex structure within a sentence carried out and combined together, is effective as a joint. In
compositions without tonal center and athematic structures loses its essence, the joint feature and its meaning. On the base material can be applied to the twelve-tone contrapuntal techniques such as inversion, retrograde, augmentation, and the compositional techniques of imitation and canon, but the implementation of a series of fugal quinttransponierten repetition would be a contradiction within the system. Therefore, the "Chaconne and Fugue on a twelve-tone series is op 35 (1955) are not described as Zwölftonfuge R. Heger.
In the last third of the 20 Century the fugue has only sentimental value as material for websites, but as a compositional problem of date.
IV On the theory of joint
first Terminology
"fuga" As the first written evidence of the term is the treatise "Speculum Musicae," which was written in 1330 by Jacobus of Liege (Leodiensis). "Fuga" is mentioned there as a kind of polyphonic music. J. Tinctoris, in his "terminorum musicae diffinitorium" (ca. 1472/73), a first definition as the successive sounding of two identical melodic voices. Ramos de Pareja is also in the "Musica practica (Bologna 1482), a similar Definition, the general called "fuga" describes as an imitation of any kind. Gioseffo Zarlino has differentiated the term in his "Istitutioni harmoniche" (1558). Imitation in the interval intervals of second, third, sixth and seventh he calls "imitation" and limits the term "fuga" in imitation at the octave, fifth and fourth. It must be preserved in the imitation half-and Ganztonabstände. Zarlino distinguishes between "fuga legata" as a strict canon and "fuga Sciolta" freer than imitation. He also leads the terms "guida" and "consistently" for a Dux and Comes. In the 16th
Century, the word "fuga" a set of technical issue, namely, canonical or imitative vocal leadership. Praetorius explains the term "fuga" as the German expression for "ricercare." In the Tabulaturbüchern B. Schmid (1607) and J. Wolz (1617) are called joints "canoni alla francese". As title addition is often "Ricercar" or "canzone" and sometimes the phrase "due con (con tre) Fugh." From the middle of the 17th Century is made in Germany and France, the term joint, or "fugue" for by instrumental pieces in fugal style. The term "fuga in alio sensu, which focuses not on the imitation, but to a series of short note values.
second Typesetting
The imitative form of opening, in particular the nature of the response of the fugue subject was, for centuries as the central problem of the joint theory. Quint A real answer would exceed the Oktavgrenze and therefore be against the rules. By answering the fifth as the initial interval by the complementary fourth (tonal response) remained Oktavraum preserved. This issue is discussed in the "Tractatus compositionis augmentatus" (ca. 1660) by Chr Bernard detail. The problem of the modal response was to level with authentic or plagal Mode solved. Towards the end of the 17th Century is slowly the major-minor tonality. In the "Traité de l'harmonie (Paris 1722) by Rameau, the terms" tonic "and" dominant "is introduced. Now shifted the theoretical foundation of the joint of the melody to the harmony, where theme and answer as a representative of tonic and dominant stand. has influenced another textbook that generations of composers, "Gradus ad parnassum" (Vienna 1725) by John J. Fux. The publication "Esemplare ossia Saggio fondamentale e pratico Tues Contrappunto" (Bologna 1774/75) by GB Martini has also exercised great influence. Another Textbook, which is based explicitly on the joint work of JS Bach, is determined by harmonic thinking and on the instrumental-oriented style, the "Treatise on the Fugue" (1753/54) of Fr W. Marpurg. He leads the definition of "periodic joint" and thus forms the starting point for all later theory. After this time the gap by five characteristic features is that: first
Leader, the topic as Dux
second Companion in answer
third Back stroke, the principle of theme and answer exchange
4th Against harmony as counterpoint to the theme
5th Between harmony in non-thematic parts.
third Shaping
theorists have tried repeatedly to determine the ideal shape of the joint. H. Riemann began with a three-part: The three stages include the topics of the joint statement in the tonic, the distance to other tonal areas and the return to the home key. Scientists have taken more and more distance from a rigid joint scheme and replaces the form considered by the various manifestations of the joint. In the 19th
Century is a numerous theoretical and didactic literature on the joint formed. Among the most important textbooks of the theory Weinlig, J. Chr. Lobe, EF Richter, H. Beller, and S. Jadassohn man in Germany, JF Fétis, L. Cherubini, A. Gédalge in France E. Prout and CH Kitson, and in England.
mid-20th Century caused contrapuntal works that are not aligned historically, including:
"The Polyphonic set" by E. Pepping, "Preliminary Exercises in Counterpoint" by A. Schoenberg, "Twentieth Century Counterpoint" by H. Searle and "Introduction to strict set "by B. Blacher.
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