How to write a fugue development

Thus, one can emulate fugue composition by following a few basic procedures, and then using the fugues of Bach as supreme if somewhat intimidating! Here is a straightfoward process for composing a fugue. To begin, we will write and you will write a three voice fugue with two repeating countersubjects. This fugue was created today for this page, by way of example.

How to write a fugue development

It not only has scores, but books on music and music theory in PDF form. The idea of fugue is pretty straightforward: You introduce each voice with imitative entries of the subject, usually at the tonic level and transposed to the dominant level subject and answerand each voice continues fairly freely after exposing its subject entry.

The initial exposure of the subject in all the voices is called the exposition. You may need to make tonal adjustments to the answer to keep it from modulating away from the tonic too quickly.

The continuation of a voice after the subject may involve a countersubject that is played consistently against a subsequent entry of the subject in a different voice.

That is to say, one voice exposes the subject, then continues with the countersubject as the next voice comes in with the subject. These episodes usually serve one of two functions: Note that the bare minimum fugue involves an exposition, subsequent entries of the subject, and episodes between these.

Everything else is optional, whether countersubjects, invertible counterpoint, stretti overlapping subject entries; the singular is strettoor multiple different subjects double or triple fugues, etc. Sometimes, for stretto fugues i. The biggest problems I usually see are problems of handling the composite rhythm of the voices when played together: Your voices are freely expanding melodies, so you do want some rhythmic differentiation within them and between them.

If one voice is using straight quavers, for instance, arrange that the other voices are using longer and more irregular rhythmic values.

This is where your counterpoint studies come into their own: This is no less important in a fugue than in a sonata. Are you finding specific problems when you try to write a fugue?

When to bring a voice in with the subject?

A Crash-Course In Writing Fugues - Advice and Techniques

Most of the time, when a voice drops out, it does so on a cadential melodic note, usually the tonic or dominant of the current key.

When it comes back in, it usually does so with a subject entry, and, of course, the entry is going to come in when the harmony and beat can support its incipit or opening motif. Subject entries usually stand out when they are at the top or bottom of the texture. For alto or tenor entries that need to stand out, it is usually a good idea either to drop out the voices above or below that might obscure the entry, or to hold them fairly static so that the melodic changes in the internal voice are noticeable.

Thanks for the info. Yes I have three specific problems: Googling these gave me some useful info and I saw a mild improvement, though not enough to formulate even a solid 16 measures of fugue. When i did this and made some slight adjustments, i immediately heard something more fugue like in my composing.

I assume there are many such small rules and was hoping for a book that would have many compiled in one spot so I could try them out perhaps those you mentioned will help.

how to write a fugue development

I must look at them. He deals with a deliberately limited form of fugue scholastic fugue just so that the novice can get a handle on effective techniques. For instance, he forbids subjects that modulate to other keys than the tonic or dominant so that the beginner can get a handle on dealing with tonal answers.

Is it possible to write fugues with further-ranging subjects? Certainly, but it pays to start with the basics. It covers the ideas mentioned in earlier posts quite clearly and in more detail. The following are points I have picked up re: That is, between the 4 voices, all 8 points are marked.

If one voice is silent or sustained, another voice will be "filling in the blanks".Writing the development section is probably the hardest.

Where the construction of the exposition has a bunch of clear alternatives, and is to some extent a mechanical process, the development section needs creativity. Only members of a group can post to group discussions, so Join What process do you employ to write a Fugue.

Anatomy of a Fugue A simple step guide to writing an amazing fugue 7 February This is all thanks to our almost resident musicologist William Godfree.
composition - How to Write A Fugue - Music: Practice & Theory Stack Exchange I thought it might be interesting to see whether I could provide a simplified, illustrated guide to the art of fugue writing as I understand it. There may be pedagogues here who know more about this subject than I do, and I welcome their input.

Are you finding specific problems when you try to write a fugue? When to bring a voice in with the subject? Most of the time, when a voice drops out, it does so on a cadential melodic note, usually the tonic or dominant of the current key. A fugue is a piece of music of contrapuntal texture which is predominantly based on one theme called the subject.

It’s important to note that a fugue isn’t really a form, it . Mar 02,  · If you are interested in hiring me to write music for you, contact me at [email protected] If you are interested in music composition Skype lessons, contact me at the above email for details.

Jul 17,  · A Crash-Course In Writing Fugues Sign in to follow this. illustrated guide to the art of fugue writing as I understand it. of which I'm happy with 2.

how to write a fugue development

I am now going to try to incorporate a fugue into the development of a symphonic movement I'm writing. I 5/5(2). A fugue begins with the exposition of its subject in one of the voices alone in the tonic key.

After the statement of the subject, a second voice enters and states the subject with the subject transposed to another key (usually the dominant or subdominant), which is known as the answer.

To make the music run smoothly, it may also have to be altered slightly.

How To Write A Fugue