Musical Outline
A fugue begins with the exposition and is written according to certain predefined rules; in later portions the composer has more freedom, though a logical key structure is usually followed. Further entries of the subject will occur throughout the fugue, repeating the accompanying material at the same time. The various entries may or may not be separated by episodes.
What follows is a chart displaying a fairly typical fugal outline, and an explanation of the processes involved in creating this structure.
| Exposition | 1st Middle-Entry | 2nd Middle-Entry | Final Entries in Tonic | |||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Tonic | Dom. | T | (D-) | Relative Maj/Min | Dom. of Rel. | Subdom. | T | T | ||||||
| Sop. | Subj. | CS1 | CS² | A | CS1 | CS² | S | CS1 | Free Counterpoint | C O D A |
||||
| Alto | Ans. | CS1 | CS² | S | CS1 | CS² | S | CS1 | ||||||
| Bass | S | CS1 | CS² | A | CS1 | CS² | S | |||||||
Read more about this topic: Fugue
Famous quotes containing the words musical and/or outline:
“Syncopations are no indication of light or trashy music, and to shy bricks at “hateful ragtime” no longer passes for musical culture.”
—Scott Joplin (1868–1917)
“One by one objects are defined—
It quickens: clarity, outline of leaf
But now the stark dignity of
entrance—Still, the profound change
has come upon them: rooted, they
grip down and begin to awaken”
—William Carlos Williams (1883–1963)