fugue.html

Fugue

Composing a Subject

Starting pitches are typically the tonic note or the dominant note.

Ending pitches are either third, dominant, tonic, or 7th scale degrees.

The melody must establish the tonic key (usually contain either tonic triad, strong tonic-dominant relationship, scale degrees 5 thru 1 or 3-2-1) and have a 'good' melodic curve, usually with 1 climax note.

The subject must imply a logical harmonic progression with a V-I cadence. A good harmonic progression usually consists of the I-V-I, I-IV-V-I, or a circle progression (movement by ascending fourths). The I chord, IV-V-I, or V-I can be inserted anywhere within a circle progression. Therefore, the progression I-IV-I-vi-ii-I6/4-V-I is a good progression.

Some fugue subjects, as to strengthen their recognition, have a distinctive character. Many are constructed in 2 parts of contrasting material.

Example 1: JS Bach, Fugue XI in F major, WTC Book 1

Starting pitch: dominant

Ending pitch: third

Establishes tonic: dominant prolonged and embellished, LT stated, dominant-tonic filled in, ends on third. Climax notes: D (upper) and E (lower).

Harmonic progression implied: I - IV - I - IV - V - I

Subject has 2 parts: 1) eighth-notes circumscribing the dominant; 2) sixteenths.

Needs tonal answer to continue tonic harmony.

Example 2: JS Bach, Fugue V in D major, WTC Book 1

Starting pitch: tonic

Ending pitch: third

Establishes tonic: begins on tonic, moves away and bach through the third, ends on the third. Climax is B.

Harmonic progression implied: I - (IV) - I - V - I

Subject has two parts: 1) 32nd's; 2) dotted-eighth, sixteenth.

Real answer OK: no LT in subject & I6 - V6/4 - I harmony implied.

Ending pitches are either:

1) Third above tonic: answer above when starting pitch is tonic as not to imply 6/4 harmony when answer enters (examples above in FM and DM exemplify this).

2) Fifth: results in octave or unison when answer enters.

Example: Bach, WTC Book 1, Fugue VI in dm

3) Leading tone or 7th scale degree: provides dominant harmony. Answer can enter below and be a real answer.

Example: Bach, WTC Book 1, Fugue X in em

Fugues from WTC Book I:

Fugue

Starting pitch

Ending pitch

Answer

I in CM	tonic	third	above, real
II in cm	tonic	7th, (LT)	above, tonal
III in C#M	dominant	third	below, tonal
IV in c#m	tonic	tonic	above, real
V in DM	tonic	third	above, real
VI in dm	tonic	dominant	below, real
VII in EbM	dominant	third	below, tonal
VIII in d#m	tonic	tonic	above, tonal
IX in EM	tonic	dominant	above, real
X in em	tonic	7th (lowered)	below, real
XI in F	dominant	third	above, tonal
XII in fm	dominant	third	above, tonal
XIII in F#M	dominant	tonic	below, tonal
XIV in f#m	tonic	tonic	above, real
XV in GM	tonic	7th (LT)	below, real
XVI in gm	dominant	third	above, tonal
XVII in AbM	tonic	dominant	below, tonal
XVIII in g#m	tonic	7th (lowered)	above, tonal
XIX in AM	tonic	dominant	below, tonal
XX in am	tonic	tonic	above, real
XXI in Bb	dominant	third	below, tonal
XXII in bbm	tonic	third	below, tonal
XXIII in BM	tonic	tonic	above, tonal
XXIV in bm	dominant	dominant	below, tonal

Remember: tonal answers are designed to continue to establish the tonic key. Real answers either modulate to the dominant or imply a dominant harmony.

When composing a fugue you can use one of the above procedures (starting pitch, ending pitch, answer). Make sure a logical harmonic progression results.

Music Comp & Theory: Tom Nelly

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