See also:

• FUGUE (Lat. fuga, flight)

FUGUE (See also:

• LAT

Lat. fuga, See also:

• FLIGHT

flight)  , in See also:

• MUSIC

music, the mutual "pursuit" of voices or parts . It was, up to the end of the 16th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, if not later, the name applied to two See also:

• ART

art-forms . (A) Fuga ligata was the exact See also:

• REPRODUCTION

reproduction by one or more voices of the statement of a leading See also:

• PART

part . The reproducing See also:

• VOICE (Fr. voix, from Lat. vox)

voice (comes) was seldom if ever written out, for all See also:

• DIFFERENCES, CALCULUS OF (Theory of Finite Differences)

differences between it and the See also:

• DUX (Czech Duchcov)

dux were rigidly systematic; e.g. it was an exact See also:

• INVERSION (Lat. invertere, to turn about)

inversion, or exactly twice as slow, or to be sung backwards, &c . &c . Hence, a See also:

• RULE

rule or See also:

• CANON

canon was given, often in enigmatic See also:

• FORM (Lat. forma)

form, by which the comes was deduced from the dux: and so the See also:

• TERM

term canon became the appropriate name for the form itself, and is still retained . (B) A See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition in which the canonic See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style was cultivated without canonic restriction was, in the 16th century, called fuga ricercata or simply a ricercare, a term which is still used by See also:

• BACH, JOHANN SEBASTIAN (1685–1750)
• BACH, KARL PHILIPP EMANUEL (1714-1788)

Bach as a See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title for the fugues in Das musikalische Opfer . The whole conception of See also:

• FUGUE (Lat. fuga, flight)

fugue, rightly understood, is one of the most important in music, and the reasons why some contrapuntal compositions are called fugues, while others are not, are so trivial, technically as well as aesthetically, that we have II preferred to treat the subject separately under the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general heading of CONTRAPUNTAL FORMS, reserving only technical terms for See also:

• DEFINITION (Lat. definitio, from de-finire, to set limits to, describe)

definition here . (i.) If in the beginning or " exposition " the material with which the opening voice accompanies the See also:

• ANSWER (derived from and, against, and the same root as swear)

answer is faithfully reproduced as the See also:

• ACCOMPANIMENT (i.e. that which " accompanies ")

accompaniment to subsequent entries of the subject, it is called a countersubject (see See also:

• COUNTERPOINT (Lat. contrapunctus, " point counter point," " note against note ")

COUNTERPOINT, under sub-heading See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

Double Counterpoint) . Obviously the See also:

• PROCESS

process may be carried further, the first countersubject going on to a second when the subject enters in the third part and so on . The term is also applied to new subjects appearing later in the fugue in See also:

• COMBINATION (Lat. combinare, to combine)

combination (immediate or destined) with the See also:

• ORIGINAL

original subject . See also:

• CHERUBINI, MARIA LUIGI CARLO ZENOBIO SALVATORE (1760-1842)

Cherubini, holding the See also:

• DOCTRINE

doctrine that a fugue cannot have more than one subject, insists on applying the term to the less prominent of the subjects of what are commonly called double fugues, i.e. fugues which begin with two parts and two subjects simultaneously, and so also with triple and quadruple fugues .

(ii.) Episodes are passages separating the entries of the subject.' Episodes are usually See also:

• DEVELOPED

developed from the material of the subject and countersubjects; they are very rarely See also:

• INDEPENDENT

independent, but then conspicuously so . (iii.) Stretto, the overlapping of subject and answer, is a resource the possibilities of which may be exemplified by the setting of the words omnes generationes in Bach's Magnificat (see BACH) . (iv.) The distinction between real and tonal fugue, which is still sometimes treated as a thing of See also:

• GREAT

great See also:

• HISTORICAL

historical and technical importance, is really a See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere detail resulting from the fact that a violent oscillation between the keys of tonic and dominant is no part of the See also:

• FUNCTION

function of a fugal exposition, so that the answer is (especially in its first notes and in points that tend to shift the See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

key) not so much a transposition of the subject to the key of the dominant as an See also:

• ADAPTATION (from Lat. adaptare. to fit to)

adaptation of it from the tonic part to the dominant part of the See also:

• SCALE
• SCALE (1) A

scale, or See also:

• VICE

vice versa; in See also:

• SHORT, FRANCIS JOB (1857– )

short, the answer is as far as possible on the dominant, not in the dominant . The modifications this principle produces in the answer (which have been happily described as resembling " fore-shortening ") are the only distinctive marks of tonal fugue; and the See also:

• TEXT (Lat. textum, woven fabric, from texere, to weave)

text-books are See also:

• HALF

half filled with the See also:

• ATTEMPT (Lat. adtemptare, attentare, to try)

attempt to reduce them from matters of See also:

• EAR (common Teut.; O.E. are, Ger. Ohr, Du. oor, akin to Lat. auris, Gr. ovs)

ear to rules of thumb, which rules, however, have the merit (unusual in those of the See also:

• ACADEMIC

academic fugue) of being founded on observation of the practice of great masters . But the same principle as often as not produces answers that are exact trans-positions of the subject; and so the only See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of real fugue (i.e. fugue with an exact answer) that could rightly be contrasted with tonal fugue would be that in which the answer ought to be tonal but is not . It must be admitted that tonal answers are rare in the modal music of the 16th century, though their melodic principles are of yet earlier date; still, though tonal fugue does not become usual until well on in the 17th century, the See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea that it is a See also:

• SEPARATE

separate See also:

• SPECIES

species is manifestly absurd, unless the term simply means " fugue in See also:

• MODERN

modern tonality or key," whatever the answer may be . The term " answer " is usually reserved for those entries of the subject that are placed in what may be called the " complementary " position of the scale, whether they are " tonally " modified or not . Thus the See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order of entries in the exposition of the first fugue of the Wohltemp . Klay. is subject, answer, answer, subject; a departure from the usual rule according to which subject and answer are strictly alternate in the exposition . In conclusion we may remind the reader of the most accurate as well as the most vivid description ever given of the essentials of a fugue, in the famous lines in See also:

• PARADISE (Gr. lrap6BEwos)

Paradise Lost, See also:

• BOOK

book xi . " His volant See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch, See also:

• INSTINCT

Instinct through all proportions, See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

low and high, Fled and pursued transverse the resonant fugue." It is hard to realize that this description of See also:

• ORGAN

organ-music was written in no classical See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period of instrumental polyphony, but just half-way between the See also:

• DEATH

death of See also:

• FRESCOBALDI, GIROLAMO (1583-1644)

Frescobaldi and the See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth 'An See also:

• EPISODE

episode occurring during the exposition is sometimes called codetta, a distinction the uselessness of which at once appears on an See also:

• ANALYSIS (Gr. avci and Meta, to break up into parts)

analysis of Bach's and fugue in the Wohitemp . Klay .

(the term codetta is more correctly applied to notes filling in a See also:

• GAP

gap between subject and its first answer, but such a gap is rare in See also:

• GOOD, JOHN MASON (1764-1827)

good examples).of Bach . Every word is a definition, both retrospective and prophetic; and in " transverse " we see all that See also:

• SIR

Sir See also:

• FREDERICK
• FREDERICK (Mod. Ger. Friedrich; Ital. Federigo; Fr. Frederic and Federic; M.H.G. Friderich; O.H.G. Fridurih, " king or lord of peace," from O.H.G. fridu, A.S. frith, " peace," and rfh " rich," " a ruler," for derivation of which see HENRY)

Frederick See also:

• GORE
• GORE, CATHERINE GRACE FRANCES (1799-1861)
• GORE, CHARLES (1853– )

Gore See also:

• OUSELEY, SIR FREDERICK ARTHUR GORE (1825-1889)
• OUSELEY, SIR WILLIAM (1769—1842)

Ouseley expresses in his popular distinction between the " perpendicular " or homophonic style in which See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony is built up in chords, and the " See also:

• HORIZONTAL

horizontal " or polyphonic style in which it is See also:

• WOVEN

woven in threads of independent See also:

• MELODY (Gr. ,ueXw3ia, a choral song, from name, tune, and gi6i, song)

melody . (D . F .