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:
“Then, bringing me the joy we feel when wee see a work by our favorite painter which differs from any other that we know, or if we are led before a painting of which we have until then only seen a pencil sketch, if a musical piece heard only on the piano appears before us clothed in the colors of the orchestra, my grandfather called me the [hawthorn] hedge at Tansonville, saying, “You who are so fond of hawthorns, look at this pink thorn, isn’t it lovely?””
—Marcel Proust (1871–1922)
“The outline of the city became frantic in its effort to explain something that defied meaning. Power seemed to have outgrown its servitude and to have asserted its freedom. The cylinder had exploded, and thrown great masses of stone and steam against the sky.”
—Henry Brooks Adams (1838–1918)