Documente Academic
Documente Profesional
Documente Cultură
STUDIES IN FUGUE
BY
C. H.
MA.
KITSON
OXFORD
UNIVERSITY PRESS
LONDON AMEN HOUSE, E.C. 4 EDINBURGH GLASGOW LEIPZIG COPENHAGEN NEW YORK TORONTO
:
HUMPHREY MILFORD
PUBLISHER TO THE UNIVERSITY
Impression of 1928
First edition,
1909
PREFACE
The
seem
principles of fugal construction have been so ably
it
and
would
was
little
else to be said
upon the
and
subject.
seem
illustration,
but also
some few
This book
is
It is
pre-
Cherubini, Higgs and Prout, and that he has read at any rate a
fair
number of
J. S.
difficulties,
among
others
is
is
technically correct,
and yet
it
at
the
crude harmony.
Further,
may be found
still
when
other
harmony becomes
more ungainly,
effect
awkward.
The
chapter on Countersubject
Double Counterpoint,
substructure.
(b)
in
harmonic
It is tolerably
The
The
chapter on
may be
The maintenance
PREFACE
Students generally have no notion
how
needed
in the writing
It is
used
in a
coherent,
orderly fashion,
the
result
is
still
unsatisfactory,
owing
to a disregard
is
of the question of
Harmonic
Patterns.
chapter
In
fact the
is to
raise students'
to that
woven
texture.
to
The
principles of thematic
upon the fugal form, and the time has come when
which
in the
it
is
main
It is
not implied
fugue.
The
command
of the form in
a limited time
makes
for
The
designed to
who
The book
in
showing the student the lines upon which technical device may
be raised to the level of
artistic
its
work.
A fugue
never succeeds
in spite of
it.
workmanship, but
PREFACE
In fact a fugue
dull.
may be
at the
intolerably
I
What
It
the result of a
may be said that what differentiates the artist from workman is something intangible at the same time, all the
;
It is
quite
wrong
to
suppose
rather
intellect
than emotion,
Emotion without
evil.
intellect is
much
commoner
The masterpieces
is
of art have
the one
am
&
Bell.
My
proof-sheets.
C.
H. KITSON,
CONTENTS
CHAP.
I.
PAGE
in its
The Countersubject
ASPECTS
II.
Harmonic Patterns
Episodes and Thematic Development
.
21
III.
33
IV.
Examination
Fugues,
with
Introductory and
48
Explanatory Notes
(a)
{b)
May, 1903
Nov., 1904
....
.49
53
(c)
...
65
(d)
68
75
V.
Independent Accompaniments
Index of Examples
......
103
CHAPTER
THE COUNTERSUBJECT
It has not been the purpose in writing this book either to
furnish a treatise on
Fugue or
is in
to attempt
completeness
in the
In
on Fugue, merely touching on some points which seem to call for comment. Under these conditions it is unnecessary to trace the history of the fugal form, or to state, even in the briefest fashion, the main features of its construction. It will be convenient at the outset to consider a few points, which seem to cause students some difficulty. i. It may be taken as a general rule that, though incidental modulations to keys other than the Tonic and Dominant are
quite
common
in the
it is
usual for
It is
Dominant
key.
is
in the
key of the Subdominant, or in which it begins in the Tonic and ends in the Subdominant key. Such cases, however, are rare. 2. If the first two notes of the Subject be Tonic and Dominant, or Dominant and Tonic, and they imply two distinct harmonies, it is by no means necessary that they should be harmonized respectively by Tonic and Dominant chords. But if a Subject begin with a passage distinctly implying as its harmonic substructure the Tonic or Dominant chord, it will usually have as its response an answer which implies as its harmonic substructure the Dominant or Tonic chord. 3. The added parts in the Exposition may introduce modulations which are not actually expressed in the Subject. This may often impart vigour and relief to the harmony. If a Subject
STUDIES IN FUGUE
in the
it
would be
Fugue the
replies
to the
antecedent
it.
may
below
antecedent
5.
There
to
in
were
in
major.
in
may be introduced. Suppose the Fugue The first group of middle entries might
still
commence
A
E
be in
A minor,
seemed
or in
group of middle entries might say there are no fixed laws regulating the order of the keys of the antecedents, nor the
effective;
in
or the
first
commence
major.
That
is to
The
student
may
ments from a perusal of modern fugues. For examination purposes, however, it may be well to have some definite plan.
The
following
is
recommended
as a safe procedure.
Final section.
B.
Fugue
in
Minor Key.
Final Section.
It is
Exposition Episode First Group of middle entries with the relative major as the central key Episode Second Group of middle entries with the Subdominant minor as centre Episode
now
in
some
detail.
The Countersubject.
The Countersubject must be written in Double Counterpoint with the Subject, so that it may accompany it whenever it is felt
THE COUNTERSUBJECT
desirable, either in the original position, or in the inversion.
9
In
in
examination fugues,
it
will not
Answer
it
should be employed
against
either.
The
illustration of
its
various combinations
answer
of
The
secret of
good Double Counterpoint lies in the provision that each part should form a good bass to the other, and that each should possess melodic interest and individuality. There are then two
aspects of the case.
(a)
is
made
to write a
must be obtained.
But
inadequate as a means
Two
The harmonic
as
an upper
is
as a bass.
The converse
not true.
2. The implied roots that form the foundation of the model need not be necessarily implied in the inversion. One or two illustrations will make this clear. The opening bars of the Fugue Subject set for the B.Mus. Oxon., May, 1901, might be appropriately harmonized thus:
IO
STUDIES IN FUGUE
the parts are inverted, the
:
When
be implied
quite satisfactory
It will
management
and in this connexion it may be stated that the implied harmony chosen may suit the Subject both as an upper part and as a bass, and yet the factors of these harmonies chosen as its accompaniment may form an unsatisfactory bass.
of the
fifth
Therefore,
quitted as
in selecting
fifth
any note
the root,
in the
it
Subject or Counter-
subject as the
if it
of
were the bass. one notable exception to this procedure. Some passages are merely examples of broken harmony, and are to be criticized from this standpoint. The following is not a case
There
is
=B
5=8=
m^m ===
fI
&p
It is
BP-
H:
fourth and
fifth
is
in
quite good,
SSJES g
aS
THE COUNTERSUBJECT
or not, provided, (a) it is not essential, the other as being essential.
(b) it
ii
H M
Thus
the following
1
is
correct
I
Double Counterpoint.
1
EEe
:J:
J=J=J=
i-
=F
IN -L^r H
There
is
r
this
:
=*:
:*=p:
r
At At
()
G is an (b) A may
f^^
in
fifth
!
311
G
as
anticipation,
The
i.
two cases.
of the
On
the
weak
accent,
if
J
On
if
1__
T
Good.
2.
if
T
Bad.
^^
and
(except the
Bach.
I i=S
J- -I
Good.
&
__^U^
jg-
PP
jm^HHi
?sl
Bad.
::&3^
12
It
is
STUDIES IN FUGUE
quite possible
all
consideration of
satisfactory effect.
to write a Countersubject with due these points, and yet produce a most unThe following is a case in point :
its
open
to criticism,
effect is not
The fact is, the Subject is over-harmonized, that is to But this is a result, and say, too many chord changes are used. writing is a want of such not a cause. The ultimate reason for
good.
method
in
The
following points
may prove
useful
Firstly,
accent
is
find the time value of the accents whether each of the duration of a quaver, crotchet, or minim, and
so forth.
Now
it
is
may
bear a separate
harmony.
Thus
in the following
Maestoso.
i*
it
gsz:
of the accents
is
?z
m
hymn
S.
will
be
felt
to be quite natural to
a separate chord.
The march
:
tune fashion.
Or, consider the following
J.
Bach.
is
really
).
Here
is felt
in the
use of
a separate
harmony
THE COUNTERSUBJECT
J.
13
S.
Bach.
Two
(a)
(b)
2d
the
harmony with
the centres.
Bach.
^e=^
Here the
and
it
&c.
first
more
in the succeed-
ing bars
J. S.
Bach.
fflE3==3t fc
ijEEEflp
I
--*=-
&c.
The time signature is really . It may be taken as a general principle, that when the accents move slowly, the shifting of the harmonies with them will not
produce any bad effect. Thus in such a subject as the following :
the
i4
STUDIES IN FUGUE
return to the original subject under consideration
:
To
Here
the accents
move
quickly.
It is
already
known
that
it
is
crowd many chord changes into a brief time duration. In such a case as the above it will generally be found that the changes of harmony arrange themselves into more or less
inartistic to
uniform groups.
one harmony.
may
discussion of
it
must be reserved
(b)
The inherent
qualities of the
Counter subject.
It
is
technically correct as an
must
in addition
is
Character
example of Double Counterpoint. It possess character and individuality. imparted by the presentation of and insistence
upon some
dividuality.
definite idea,
melodic, or both.
which may be merely rhythmic, or Character does not necessarily imply inobtained by contrasting the
The
latter quality is
THE COUNTERSUBJECT
One
of the simplest
is
*5
to
Countersubject
movement.
C.S.
ig_,
J.
c_:
ZC
,
^
S.
Bach.
A.
When
subject
manner.
J. S.
Bach.
J. S.
BACH.
i^^^E#=^fe|
A ns.
;;]
_ggaig;
i
I |
NffM " -
The
character.
i6
c.s.
STUDIES IN FUGUE
J. S.
Bach.
m
figure, the
a==c
:itS*
An*.
^
Even when
Ans
*=:
the Subject itself presents no sequential features,
Countersubject
may do
so.
From
classes.
may be
Class A.
tion
to
The
the
notes of the
Class B.
formula
tions to
The
the
notes of the
rela-
bear various
each
roots in each
repetition.
i.
f =^
ip=
2.
^=g
S
"1
repetition,
Yf-
more chords.
.:.
rrrne gE=E^gp3
-rrfTir fCCfrifei
B
3.
TtW"'THC
g-^^TLl
"? W=-n
pz^^g^m wimmm^
THE COUNTERSUBJECT
It will
1.
17
The
by the
reiteration of a
It is
harmonic
basis.
easy to see that the following bass would allow of the repetition of a melodic formula of two bars length.
- ^Jtz^_^_zq:_z-
--^3 4f
\\
C.F.
@^=g
But
it
1-^
is
f3
_j-
hi
^
C.F.
2.
3EE*
S:
XJ-H
need not be exact.
^
The
repetition of a formula
r c Here the rhythm is quite sufficient to maintain the formula. In writing a Countersubject, the student should aim at the
i
3==**= >
uS^-J^
r
incisive figure,
^=*--
S
i
insistence
upon some
it.
a section of
The
(a)
C.S. Vivace
II09
W&el
i8
(b)
STUDIES IN FUGUE
In which these features are not apparent in the Subject.
D.Mus. Oxon., Nov.,
C.S.
1903.
p^NSm
-sr
This technique may be practised in the following ways : part to a plain C.F. (1) The adding of a sequential florid which is sequential melodically and harmonically.
(2)
The adding
is
which
C.F.
(3)
The
which
is
:*=*=
i^
i=^3=S
s
C.F.
^~
(4)
The same,
is florid.
C.F
THE COUNTERSUBJECT
(5)
The
is
which
<i
S^-=
'
* * W
J~a
J-=l
-ni
U
-&
<&w=
-pIV
p=e^=
L
=^
vv=
IE
(6)
The
any C.F.
The
some of these
(a)
(*)__
(*)
:p"3=
iil
*=
(r)
.*.
(cy
-5=-*-
HI
gf^
8^
=:
:=
:=*:
itP=
* a^
:"_*-
=*:
At
(a)
the reiteration
of the formula
is
is
is
The
At
(c)
another figure
the sequence
is
reiterated
principle.
At
(d)
20
( e)
STUDIES IN FUGUE W
<*)
(e)
?==
:*=i:
3*=^
(/)
(/)_
^=p=ff-
:*=:==*===::
^
is
CO
*=S=g:
I
=EeH
At
(e)
in inverse
movement
with
to
(/) Illustrates
deviations.
the
reiteration
of a
formula
minor
inWM|Hj
CHAPTER
II
HARMONIC PATTERNS
is imparted to a Subject by the upon some definite idea. It was also pointed out that this idea might be merely rhythmic, or melodic, or both. Now, suppose accompanying parts were to be added to the following
insistence
fragment
y-r^---F
^S=
1 :p-
*=-:i=tar*
1
r-
:*=
The
first
thing to do
:
is
to
picture in one's
mind the
plain
harmonic outline
m
(a)
<*)
:-=
No
consideration
is
Fugue
it
in particular,
but to the
be at once
felt
harmony
at * in (a) is
entirely so.
this.
An
naturally
demands as
22
is
STUDIES IN FUGUE
a form in harmony, as well as in melody.
:
Consider another
case
rt^=ia--: m^mM
t^m^m
:^=
(a)
(*)
^m^^^m
(a)
it
may be
thus transcribed
a)
(a
+ B(b)
(b)
A(a + a) + B
The arrangement of chords, so depends upon
:
= Ai = A2
{a)
(b)
The
various ways forming larger patterns, exactly as in the construction of melody. It is unnecessary here to discuss the many varieties Of pattern
that
The harmonic pattern set over these accents. These patterns may themselves be combined in
It
may
be useful to point
to
examples of
Bach,
{a) One chord every three accents (one chord a bar, English Suite No. Ill, Prelude.
(b)
g).
One chord
1,
Prelude, No.
in
%).
Bach,
(c) Two chords every four accents (two chords a bar, Bach, Prelude, No. 9, in E major (ibid.).
).
(d) Four chords every four accents (four chords a bar, Bach, Prelude, No. 19, in major (ibid.).
J).
unimiflMmnnwmwi
HARMONIC PATTERNS
Of
artistic variety is desirable.
23
The
1.
2.
Harmonic decoration.
Increase or relaxation of emotional tension.
will
3.
now be
quoted.
The
(Bach) are framed on the pattern of one chord a bar, the next
three bars contain the Cadence, and the pattern
b
-
varied thus
I^Sn
32
33
:*
Harmonic Decoration. The next twelve bars revert to the 45, we have not only a new pattern, may be termed harmonic decoration.
2.
original pattern.
In bar
t?
Si
m
m
Pattern.
24
STUDIES IN FUGUE
I
It will at once be asked why the combinations at (a) are not regarded as chord changes and as they are not indicated as
:
chord changes,
the
same way.
why the combinations at (b) are not treated in As a matter of fact these two cases point to the
difference
What
gjfeMl
m
Suppose
it
to
It
Now
would be said that G and E were passing notes. add a third decorating part
:
HARMONIC PATTERNS
It
25
it
Cf was
could also
C $,
G, had produced
happens at (a), we have a change of chord, but not of centre. But (b) will not stand this test
:
(b) is
D minor,
:
tion at
to
not
felt to
be the
of this chord
the note
is felt
be merely a melodic ornamentation. But again, some one will say could not the pattern be regarded
:
as being
m
If
it
rr=rr
were
so, the score
^P
**=
id)
2TX
D when
it
m
(d)
is
given
Another case is interesting as showing how to deduce centres. The harmonic pattern of the Twenty-Second Fugue of the Forty-Eight (in Bfr minor) is clearly that of two centres a bar.
26
STUDIES IN FUGUE
different, but, except for special effect,
:
m
1
ri
w
1
L^T
1
1
rj ;
-P
*~ Fw -'
-S1
PtH
1
^W=^-
*
1
A
1
j
L
1
:-
feF
i*
*
z
:C(=2=
J
fe
^8
If
it
^i
(/)
it
s d
tg:
is
were a centre,
would give
which
(<0
ig =te2
Jfts
is
impossible harmony.
is
fep
J.
S.
Bach.
S.
Matthew Passion.
35Ej
&:
$-b
3-.
HH
Centres.
*rT~~F=
mmm
HARMONIC PATTERNS
O) Suffix Decoration,
in
27
S*
gS
&3
&&
-%
=i
23
=
&c.
_^z==j;=q^ =j==^_|' -J
1=]=
C^
Centres.
;e=
f b
*86
m^
2
",'1
(7) Internal Decoration, in which the decorating chord stands between the same or a different position of the same centre.
Schumann.
Fugue No.
on
'
Bach.'
=3=
"
IP
.Hjl
^ ^-f
4*-
^=2
Centres.
J5t=:
(a)
(b)
No
4.
im
^=
FF
!*
-<gj-r-
_*___
^H
(c)
Internal decoration.
ffff
WW m
mi>
**>*** **(
&* *
>*
28
STUDIES IN FUGUE
The whole
of this sketch
is built,
when
In fugal writing, harmonic decoration should only be used absolutely necessary, else it is liable to produce the effect of
over-harmonization.
The statement
method
3.
in
One
is to
Beethoven's
example of
this device.
minor, op. 31, no. 2, affords a good Beginning at bar 21 in the first move:
3^1=15S=3:
t+J
9s=
:^r
q:
^m
#E
i=S0~-
-B*=-
lEEE^.
*6-
That
is,
we have
(1)
the
same chord
for
(2) (3)
This
may be termed
more
when we wish
:
H
two groups of one bar.
will
be
The Bridge
passage of
we lengthen
ti^
108155
HARMONIC PATTERNS
Grieg.
29
Ase's Tod.
Saint-Saens.
Le Rouet d Omphale}
1
IE
i-i
.1
1
iT
'
1 F
rTI-L M i
This procedure
a movement.
It
is
remains
to
indicate
the
in fugue.
harmonic decoration and harmonic condensahave been written for this volume, and they will be pointed out in the notes on them. It may be well, however, to show how the harmonic pattern of a fugue Subject should influence its general harmonic The Episodes should be framed from the melodic structure. material of the Subject and Countersubject, but due attention should also be paid to the harmonic pattern of such material. It would be quite incongruous to follow an Exposition which had the harmonic pattern of one chord a bar, by an Episode that had the pattern of four chords a bar or no pattern at all.
Illustrations of
By
permission of
MM. Durand
et Fils.
STUDIES IN FUGUE
Consider the following Subject
:
J. S.
Bach.
Harmonic
outline.
rfe
:zj=g-pr^z^P:
*=*^=i=F ^f-m-m-m
^^^^
:
=P=
The first two bars exhibit an
Let the figures
i,
we
&c, denote
2 2
2 2
I
Here then
istic
is
feature of the
Fugue
and we
shall find
it
largely used in
the Episodes.
;h=-
rjhfc-
p1
EE-r- =P=ffr -p
2
- p
2
: =P-fc
-*- H1-
<?= P_L.
-ff-
HARMONIC PATTERNS
?=*=* ==r*:
-<=*=_-.
3i
^m =m 122
rV:t=t:
6 ff6
S^=!
=ta
=3*
-fs
>ff
?---es=s^-=:
pfeftSEi^pz^^^E^^
M^rE=^F~B
mwmmmmm^
b5
is
The
following Subject
:
harmonizations
Bach.
tr
5==g=r-
:gt=*z==gt=
*ggr*-
is
:^=rg^=q: 3=ta
w^^
:fi*-
tr
:ff*
S;==='c
Si
-m^~^m- Jtac
^^
=^ZJ T^ir^
2
-Jt=M=fi=
ff=pc=
from C.S.
tr
1^=^^=*===
g^E^gE^r^T^^^EE^^^gEEl
Later on, the same bar
pattern
1, 2,
is
3.
32
STUDIES IN FUGUE
In the
III2J
that
is,
I I
12|
I I
I I
I
II
I I
I
bars of another.
The Episodes
Bars 12-15
;
II
I
I
I22|
1
I I
II
I
I22|
Bars 21-25
1 1
22
:
1 1 1 1
122
1 1 1 1
,
In n
'
I
1
Bars 29-32
1 1 1
1 1 1
2J
1 1 1 1
I
1 1 1 1
I
bars 33-35, the emotional tension making the duration of each chord shorter,
in
Then
is
increased by
Sufficient has
been said
to
principles under-
and
variation.
It is
probably more
a matter of instinct than of intellectual calculation. But experience shows that students are often feeling after this sort of thing, and miss the mark just because the instinct requires some
guidance.
cases.
It is
hoped
may prove
useful in such
gBHUBBBBin &m
CHAPTER
III
down
it
as to the
possible
in
Fugue.
But
to
is
principles,
and
illustrate
It is essential that
Not only must it grow out of the preceding must lead naturally to the succeeding period. There must be no rough stitches, and hardly the semblance of The essential character of a fugue is that it is one a seam. continuous whole, unbroken in effect by any divisions into
interpolation.
context, but
it
sections.
to
One
is
an interpolation. For this purpose certain methods of thematic development may be employed. It will be shown how these methods not only successfully hide the seams of a fugue, but also impart to the
hide the fact that technically
is
material organic
unity
moreover,
they
serve
as
effective
means
and of working up
a climax.
I.
Melodic Condensations.
(a)
formula.
least
A i represent a melodic formula, which consists of at two rhythmic ideas (a + b) t one of which is more active than the other, for example
Let
:
_-^
j;
i
1109
34
STUDIES IN FUGUE
In this illustration
(a) is
the
more
active idea.
The converse
will
be exemplified
later.
Next,
A i,
is
repeated at
some other
pitch
call this
A2
A2
--m=-r
r_j_^f=t^
v.
S
e. g.
(a)
and
+ a.
The whole
ziz^|zr^^^=ipz|al=i
m
it is
will
be found
he frames them on the basis of roots rising or falling a fourth or fifth. In the above we have a basis on which numberless formulae may be invented, forming a means of modulation from the tonic to its relative minor.
that in the large majority of cases,
It
would have been very monotonous to have repeated A 1 Generally, only one repetition of a con3.
is
densation
last one.
desirable
in
episodical
work,
unless
it
is
the
sapapac*
zr.y,;i.~.~>ipa
CONSTRUCTION OF EPISODES
The
student will recall the following as familiar examples
J.
:
35
S.
Bach.
Ai
Aa
ff^^=ff=bs=
^f=^=^
m^m
bse h=
^N^M^g^^^^^g^g^j
Note, at x, harmonic condensation.
This
will
be commented
Requiem.
upon
shortly.
Brahms.
Ai
A2
/7
4-
4+
/) *
If the
more
movement, the
further limit.
g^E
--?=<*--
f
s
W
r
4 a
is
Aj
EES.= :t=t:
C 2
s^^illlllP
-i ii
iW to
\
mm wmWiM HH Hh mm mim^^
to
36
STUDIES IN FUGUE
In the development, in either case, the more active idea is it is desired to increase the emotional tension, the
:
utilized if
=gEEg^ *This
principle, then,
ing an Episode.
Now
and that one wished to utilize the above Episode as a means of approaching an entry in A minor. The following might be the procedure
:
P^^ll
Basis.
~tt=w-
=5W5
But it would be a fair criticism of this to say that the Episode stood out too plainly as a separate section, and that the harmony
of bars 4 and 5 was redundant.
CONSTRUCTION OF EPISODES
These
faults
37
re-
spectively.
(i)
By making
By
{x)
the
A i.
arranging the development of the Episode, so that the but during its course, it,
^i
s.
3t
-Jt^z
*^3f
=M
s^=
in
r r :23*
m
1:
*=2j!
mm
I
This principle of thematic development is a prominent feature Beethoven's work, and is to be seen in almost every modern score. There is an extended example in Parry's 'The love that casteth out fear' (vocal score, p. 83, letter T, to p. 86, letter W). There is also an example of its use in Fugue in Schumann's Second Fugue on the name of Bach, bars 63-67. If the last entry of the Subject or Answer occur in the highest part, it is often possible to utilize the last section of it as an A 1, or as a part of an A 1, in the succeeding Episode. This applies also to any material that accompanies in the highest part an entry in a lower part. It is of course possible for any other
parts to adopt this method, but
it
is
when
of this procedure
for the
Organ
in
:
may be quoted
38
STUDIES IN FUGUE
Dr. Gray.
End
of
3*:
1-r
to bar 4.
But the
of
it,
A1
of an Episode, the
A 2.
F
major, while the Episodical
At
Again, the opening of the Subject will often combine with another portion of the Subject or Countersubject.
it
will
be seen that x
:
will
combine mthy.
E minor
this
would be
The
A
process
is
now
perfectly obvious.
CONSTRUCTION OF EPISODES
39
vide,
(b)
diminished at regular intervals, provided the shortest notes used are a constant feature of The principle of diminution is of the accompanying parts.
is
Tschaikowsky's
exciting effect
:
Pathe'tique
produces
very
loco
is
made
in order
This procedure is adopted in the Fugue in E major, Third B.Mus. Oxon., Nov., 1904, bars 19-22 (pp. 66, 67).
(c)
When
it
the
first
is
in the highest
part,
is
development.
40
STUDIES IN FUGUE
Suppose the following
to
be the Subject
jjI
figfei
E^^zi=Eiz.-=^^
^^-^-J-jj
S^^S
:
An
E minor
Moderate
fl=i
-Jt=K=e=*--
^a^^^uhj^
p
-**-(-
^^F^i
m
J$-*-l.
f=
-^*
m
1
1
x=x=x.
*~
MEE^EfE^E
i=*= toS=r=E=tcz=zzz=z=t
S. in
Q3EHF=
3
minor.
&c.
If the student examine modern fugues (viz. examples by Schumann, Beethoven, Brahms, Rheinberger, &c), he will see
CONSTRUCTION OF EPISODES
how some methods
matured
fugal construction,
in his treatment of
4i
3m
and turned to excellent account. of the method may be useful. illustration Another
Episode from
Ai
flat to
minor.
3=t
*fcqc
SIS
gffrh
-
g==E=g
^-f-^g
=B
:=*
A2
i^S=3
3=E
S^i
h~
j I
P3:
iAi
rfer:
r=3
:=*
jt
3S
G minor.
S. in
S^EES
fc=
^^
3=:!=]:
rSMH?#nsig
'
J
42
STUDIES IN FUGUE
^K=mi
m^=
Sgsi^
the
^=*^=2^= M
^Z==m
#-
3^
may sometimes
serve as
:
#-4t
FJEE3EE
Episode to
&c.
A minor.
Aif
S. in
minor.
Ans
hez**?:
^-ririM
Points of this
much
in
to its intrinsic
minor.
which hide the seams of a fugue, add worth (see Dr. Gray, Fantasia and Fugue Fugue, bars 23 and 24).
sort,
:
Compare
the following
m^
Episode
to
>
* ?=<*-?
r*= r
rr-i
minor.
-Ej p
CONSTRUCTION OF EPISODES
It is
43
be used invariably.
maintained
if
The
effect
of continuity
is
quite well
full
close
II.
Harmonic Condensations.
(a)
In duple time.
the
When
chords
forming
at
the harmonic
substructure of
a melodic formula
move
in the
development after the repetition of each This method is appropriate when the melodic formula is homogeneous and fairly active. An example from Beethoven was quoted in Chapter II, p. 28. There is also a good example in the Organ Fugue in D minor by Dr. Gray (quoted above), in the Episode preceding the Final section. Passages of this kind are often founded upon a
condensation.
scalic bass.
may be shortened
;e=
ni
m
fairly
florid C.S.,
Such a Subject would be effectively accompanied by a moving for the most part in quavers.
44
STUDIES IN FUGUE
The
following might serve as the basis of an Episode leading
to
A minor,
and
illustrating
harmonic condensation.
-^y
w =rr
=^-rwL EEjES
=--
^tnafczrzs
B=E=
A i.
its
3-4
5-6
its
repetition
A 2.
repetition.
first
condensation and
7 second
At bar
diminution
5,
:
the melodic
formula
Ai
in
~m
*_=rp:
z=tz:ffzt=t
=*^3S=
but
its
t
:
CONSTRUCTION OF EPISODES
The
bass might be decorated in the following fashion
45
t= ^-g:
:s=n
gj_ *
Es=
m
C
*:
:p-t:
l^
tSB
(6)
In triple time.
this device is utilized in triple time, there is obtained
When
in the course of
3c=3= rpizrqz *
d;
:ls
The
q=zffzt=t=t
Basis o nl3
r
.
:*=g:
mm
=^ g-T
:
A2
:=*:
3=3==3=&
mi
JPZ-
:t=
E
-
l#= =p e-m * M
S.
r
-J
"f'
-ff
&c.
m.
_^l
-1
it
1
^)
Hfeg
p__
t*
.3
=3-7
(2
-F
1-
=1
H
'
'-
^^^^^R^^HiH
mm&
WjBbB
46
STUDIES IN FUGUE
In these examples the material of the Episodes from a thematic point of view has not been considered ; but it would be quite easy to construct Countersubjects from which the above material might be considered as having been deduced.
Two
(a)
at
the
in
the
Prelude of Parry's
War and
Peace,
(b)
In
Wood's
in
PARRY.
<s
' 3 S^^t--W
J
f
ft^ffi.
--*
1
f^-J-f
^^^
f-i
1
^pj
Bfr
fl
-J
-! 4-
=4H-4-i- n
_j
4 \
'i
Basis.
pc
=f^
=3
-.g.
l=s
(a)
CONSTRUCTION OF EPISODES
47
m h-ii^-^
P^s3==^=
Wood.
h*Kz:
=fc
r:-^
z
*
II
&
=J==&
*
J*
|a
:3=3q
I
-L
rfczzh
-**
frni
3==sfc
== P=
^i:
lOS
!Sl
^^^ -2E
*fe*-gj:
CHAPTER
It has been said that the student
ation fugue
is
IV
EXAMINATION FUGUES
who
is
writing an examin-
in detail different
ditions.
Firstly, the
from those that obtain under normal conFugue has to be completed within a certain
Its
definite time,
restricted.
all
length
is
therefore
It is
of course true
good fugal writing cannot be attained without a critical study of existing classics. But the student would be ill advised to take the first fugue of the Forty Eight as a model for examination work. Its imitation would afford him no opportunity of showing his command of some of the main features of fugal construction. This Fugue contains no Episodes but it is an
:
It is
Fugue
is
a very
who
examination fugue would lay himself open to the criticism that he had not shown his command over one of the most characterfeatures of the form. Neither is the second fugue of the Forty Eight a good model for examination work, for it contains no stretto. Most examination fugues are specially designed,
istic
may employ
this device.
Other fugues
are obviously far too long to serve as models for the purpose in view.
that
in this
in the classics.
book do not pretend to vie with those They are merely an attempt
six
EXAMINATION FUGUES
to
illustrate the
49
at
purpose in view (a) Each exposition has a regular Countersubject. This (b) There are no examples of Counterexposition. feature, from the point of view of key distribution, is somewhat redundant. The additional interest of stretto may be illustrated
this
:
With
illustrates
itself,
some new
its
Counter-
Response, or their variations in the way of inversion, diminution, augmentation or cancrizans motion. In order to increase the (d) The stretti are cumulative. emotional tension, and to avoid any effect of anti-climax, each
stretto is at a
device.
There
combinations.
all
The
the latent
possibilities of combination,
interest,
is
and culminating
In
harmonic scheme, a fugue may be said to be Ternary in form. Melodically, it is one continuous whole, gradually increasing in interest and complexity. The episodes in the examples that
are offered are constructed so as to preserve this feature.
No two fugues can be worked on exactly the same lines, nor would any two men work the same subject in the same way. The following examples have not been written as stereotyped models, but as guides as to what in the main is expected from an examinee, and as indications of the lines upon which he may
develop his
own
individuality.
1901.
Bars 12-15.
The last bar of the Subject forms the (a) section of an A 1. The Subject enters in D minor at the beginning of the melodic
condensation of A.
1
109
STUDIES IN FUGUE
Episode
II.
Bars 23-25.
The
last
A1
of
(a
b).
two bars of the Subject form the complete formula The Subject enters in B flat major at the repetition
(a).
Episode
III.
Bars 32-35.
Here melodic and harmonic condensations are combined. As the Subject enters in bar 36, the formula proposed by the
Violin in bar 35
is
maintained.
Final Section.
course quite legitimate, so long as the effect of general allegiance In the second Fugue in D minor to the Tonic is maintained.
of Bach's Eight Small Preludes and
last
Fugues
for the
is in
dominant minor.
Third B.Mus. Oxon., May, 1901.
in 9
m
c.s.
jTf:
jt >.
EXAMINATION FUGUES
M.
M.
51
B 6Sf
cto
r -^
=fcs:
^S^^^^^S]
1st Stretto.
^==P^=p:
18
:
=P==i*:
=*
19
:^-J
^q?zp:
=*:
lEESE
tz
*==
ttHT
Ai.
..J-
g
+
~6
^ri -|^sJ
-*
(g
1
p^s
n*
r t^~ f^
20
f-r-\
^
ym
2l
>-
tr
-1
22
^25
mmm
^^p_Xl^E4-F-Jf
+
==& rfc
&-)--
=!
-i
A2
gvp
^i#---j!P-(!=*-^^
3
'
-(
+
p-^-q
a Episode II.
=f=f:
_ff_P__^T_ -P^^r 24
25
-pT^]
5=^=2=
D2
ItoI
STUDIES IN FUGUE
52
pus
-*%
S. in
1^5
26
:*zz?_=3:
g^qrz^rg--,
mm
28
2nd Stretto.
^ ^
R=-.zE^e-t=d-tz=zzzz=iz:
BU ma.
g=
->j bw= w
w^
^^
-i
27
<
Ai
-*3^IVP29
:=*
+
J5:
b
^
m
"I
W^fr-
S-m30
31
m~T~r~W-
Pzz=rbp: ^^C=p!^z|5r?E=is=p=+L-=z:
&2.
._#
(C
1
^=^=mp-
z=p
J
Episode
Ufi h
-f-jp
U*
i
1 J8?58
+
-
J
+
III.
+
1* -
ff
32
:
>7
_J
-pd
P
P_#p=
E^Eg
=p=3C
*L
EIF5^^
EXAMINATION FUGUES
53
:
ISt-K
it]
P~
-p
p
44
-0
1
P
45
T~F"- 'i
46
=rze^
* tai
:
c=
-P
-P
frr^r
p^^-p
^ _ ^pjF f- p-
-s
^>
^^
'
:fci=5j:
47
n^-^rr-g49
i-
^
5^
48
3
The
following Subjects
may be worked
in a similar fashion.
i^t-m^ I s5
p-
hbseeepe* ^^^
1903.
p-pip:
&c
Harmonic Pattern.
The harmonic
chords in a bar.
It is
is that
of two
Bar
6,
sometimes judicious to use harmonic decoration viz. Bars 8, 12, &c, internal decoration. suffix decoration.
:
Wmm
54
STUDIES IN FUGUE
B minor
made
till
(bar 15).
after the entry
:
it
must not
new key
Episode
will
III.
be ruined.
Bars 29-32.
The principle of melodic condensation is here applied, the development continuing while the Subject enters in D major.
Cancrizans movement.
ployed device will be seen
for Pianoforte in
An
in bars 36-40.
may
1
H-iMf-n
P^~^-
&~i
^^-
SSig=
--mi=ff=
_j
:35^=
^
32E5
3=e--
*=*.
^rp:
c.s.
E*i
ypr-
14=
:|5=p:
EXAMINATION FUGUES
>.
S. in
55
minor.
-jfitx-w-* r
Episode
=1
S.jn_Gmajor.
II.
5~~~~
fL
ft
H-H-fl
**
^^
21
w
^_*__t
ij
v *>J^r
zJ^rJZJszf f
23
22
!w_J(_^
^
J_
j.
i^ - r
n
gt]i
p
c.s.
Ff*r J
i=g m s jr -4^-
^5f -p^
_
s.
-=
3-jj_tizj=
j j *
W It*
ss-Jf-
#P
> -ti
24
>
.
=5
25
"26
3 3
-.
Episode
III.
mn
56
STUDIES IN FUGUE
Final Section.
^s^Fge^^^saggg^sb^^d
m^i
:
*=&^^=f^i=Ep=&=
33 33
S.
'
j^^^^j^a^^^^^^^gs
cancrizans.'
:=)=
*-
zgzMi
m
37
E^EESE^^Ei
34
35
^i^^^i^^^a
36
gpj^a ==
r//.
46
48
49
50
EXAMINATION FUGUES
The
following Subject
57
:
may be worked on
:p=t
similar lines
iriE4isiiPP
ill
w~e-
M*=^
J^SsiHe
1904.
for Violin, Viola,
and Violoncello on
The Answer.
The
decision as to which
is
the best
Answer
judgement, for
be
felt
harmony of
the
first
three
major.
No one
would
feel the
harmony
be
is
that of not
more
the
Tonic harmony in the Subject has dominant harmony in Answer as its response. Applying this general principle, Answer would be
:
the
58
STUDIES IN FUGUE
There are two possible objections
to this
Answer
(i)
The
beginning
dominant.
But
It
refers
to
harmonies.
Sfefc 5=E3E*
The
following
in
accordance with
general principles
5M& zs-:
We may therefore
reject the
f=fc =*=*=3=
1
Answer
on two grounds
(a)
general principle of answering the leap from dominant the commencement of a Subject by the leap from tonic to dominant is not here relevant.
to tonic at
{b)
The
Its
application
causes an
harmonic pattern.
(2)
The
when
dominant harmony
point
cause the introduction of a debatable the Subject or Answer is the lowest part.
59
EXAMINATION FUGUES
:e=t
m=fn :(=:
six -four ?
May
the bass
commence on a
:
Suppose the above were the Answer used, this consideration may be evaded in two ways (a) The Viola might be taken momentarily below the 'Cello.
ittffjtAj
=r~
:pc=p:
l^^^tzzfc,: m
The
following
is
an example of
this
procedure
J. S.
Bach.
&E
^
SI3E
(b)
&c.
:==!-
-fr
=1-
=1-
fr
q-
At the
crucial point,
A m P3~:
It
:=
3
m
6
may be argued
spirit.
if
is
present in the
mony by
which has
School.
tonic
its
in this
way, Polyphonic
,=gl=3g^EE
mg
~
&c.
:i!=3==q;
C-i
6o
It is
STUDIES IN FUGUE
somewhat hazardous
to attempt to give
any
definite rules
Answer.
and dominant notes by dominant and tonic notes but he harmonizes both the latter with tonic harmony, and does not modulate to the dominant key until the end of the Answer.
in the following,
tonic
J. S.
Bach.
I
i ggHI=f
This
is
is
?=:z\=^=:jr=M-~
w^>-
last
note of the
Subject.
tonic
harmony
J. S.
Bach.
feEe^gF^EpB
St
T~rT~
while later on he answers tonic by dominant ing E flat as a suspension.
&c.
harmony by
treat-
When
device;
follows:
bass,
in
the
EXAMINATION FUGUES
',
61
"
j_5_i^
T-J
J :p==5S=z
.*
J5
#
_-j_
^EJ
6
entered with a six-four here would have been clumsy in and the previous context leads naturally to the chord of Bi?.
in the following, the entry
But
effect,
because
it
resolves into a
in
Bach.
#v
^zip
p-1 2
-J
"4* "+=skr
=*-*-
"I
=*==
of
&
m r=
In Fugue
XV
Book
II of the Forty-eight,
Bach answers:
r=t
by
p=s
m~
i !
i^r- -? fr^
3
i
*-i
A as
When
note would have been equally satisfactory. the Subject occurs in the bass, it is treated as follows
first
62
STUDIES IN FUGUE
Organ.
Fugue.
This six-four
is
facts
upon which
to
base a decision.
The
bass
may
be good. (2) Tonic and dominant note,s at the commencement of the Subject need not necessarily represent dominant and tonic
harmony
in the
Answer.
is
The
following
an
E
&iEB:
fwf
/iii
:i
ft*
:e=w-
3=t
=
the Subject should be reproduced in need hardly be pointed out that any C. S. which necessarily implied the following harmony would be disastrous
the C. S.
It
:
BpSpi3r
1 1
Ms
-i
3 1-
s
I
SE
EXAMINATION FUGUES
result
:
63
?*=
33E=^=
r r
-
-m
m-
illustration,
we
write a C. S. that
is
invertible
not only at the fifteenth, but also at the tenth and twelfth.
this, five
In
may
(4) at iOth.
bfc
--C=m
c.s.
rs^3*&=t
Ans.
:VL$mzi??.
/ 2pgl
3=11
^
*fc
B
:
*ffl^
#.
irrffr-fa^^lfH
owing
to the introduction of
a stretto.
Episode
This
is
I.
Bars 7-9.
64
STUDIES IN FUGUE
The formula
utilized in the Violin part is
Subject enters in
73
J73
(a)
7Tr3
(*)
j"7^
.djl.rij
(a)
(a)
S. enters.
Episode
Bars
in
II.
Bars
15, 16 contain a
16,
formula a
-f-
b (bar
15),
which
is
repeated
in
its (b)
section, the
Answer
we have
reply, practically
an entry in
F$ minor harmonized
as
if in
the
key of A.
Episode
III.
Bars 19-22.
is
The
Violin formula
Part of S.
forming a formula a
b.
In bar 21, b
is repeated, and in bar 22 it is repeated four times by diminution, the Subject meanwhile entering by inversion. During the combination of the Subject by inversion, and per
arsin
et thesin,
c + b
EXAMINATION FUGUES
Third Mu9.B. Oxon., Nov. 1904.
63
JL
Violin. Z5E??jE
Viola.
ffi&Zd^^tt&t^33 ss^be
'Cello
fcS
WCodetta.
C.S.
i^i^^ffi^H^^^g^i
A.
'
*rrr
:
HS
A
-3-T-
fe7^?1^=zf^^g-^^^E^
E!Ep^^p^^^^
33E
:fe-
m^^
^=3=3&
C.S.
=
.^
ggsFg^^^^^p S^ Plii^^p
Episode
a=P
^^g^^J^EE^#^=^gg^
^P^gpgp
1
C.S. at iotfi.-
g
:
W?
l
r
ft
iJEJ^^r^E^J -^=1:=*
109
S^
.1
1
^
66
STUDIES IN FUGUE
jammmmmmmamaaaam^
EXAMINATION FUGUES
JLflffm
8 r-f=JJ3=3^^_* -r -*-*=
^^^
26
i|l
S. (3rd Stretto). 25
fe -
*==z=r:
ii r_*F3-<-
-flfl-
*-j-*^TtsLSS =-^H
frMA r^Z*-
f p
ra/7.
1 J..
* H t-J-
^_
-^r*--
=5t
:5=T
SS
28
l^iSi
The
=Se13^E^
=1
following Subject
may be
E2
68
STUDIES IN FUGUE
D.Mus. Oxon., 1903.
The
Bar
Bar Bar
Countersubject
is
condensation.
5. 6.
7.
A (a + b). A 2 (a +
1
b).
\A 1
{a
a).
19.
This
is
A A2
1
(a
(a
+ +
b).
b).
Bar
21. 22.
iAi(^).
I
(b).
Bar
When
A1
is
repeated,
condensation.
thus stated
A1
[a
b)
A2
(a
b)
+
.
\
.
b.
.
(EndofAns.)
Episode
Subject as
II.
it
S
Bar
28.
This
will
is
originally designed to
do so (bar
5).
Episode
It
III.
Bar
37.
was found
Coti moto.
m
l||j
^taaammmammmmmmmmmmmmm^ammm^^.
EXAMINATION FUGUES
c.s.
m
1
I
a)
(a
b)
A2
(a
-tt~?ZJ*i
*^=
l^=i=P=P:
rrrr ^EB^gwa:
Ut^==q^e^
g*=
=?-^^^=ii
^ip^i
P
% I
f^e&====$l
-^nt-*-?
=S=*zg=i
8
s
^
3==^:
i=s=*
&J
d
=q
*-
^^^jj B=^^ M
:*=i=^z^
!*=Pzp=;
=q=
:=**:
y-pP>"-fi4
l3^
^ZZZZTZZZtl*:
3?*^
=;
sl|jb:^=y
7o
STUDIES IN FUGUE
r
Pe^#e_^
A
i
*-*=
(a
fF^nt^-s t
r.
*)
Episode
[_^r-4-
s-p- -(=rzr=i= F r
^~
1
A2
(a
-J.]
=1
r-r^q
?
17
18
^^^?^-^?-^
J. gj -1
i*L*i
Pi
,
Jt3t
=P=P:
:-P=
^rtrtzzs. -
m
^^^3
lb
=i-
*E*Ei:
r-=P:
r.
r
<=m^
fa=i=t=l -*-*
H=i
S^PS
JE-^-tX
S. (1st Stretto).
#fe
C.S.
=*=?
~-*=m :*=Jz
z*-?-*
&-V
EXAMINATION FUGUES
7i
II.
P^ii
2=-^
f:^V
Episode
-"P-*
J=t
I=IP Ai
:*=(
-^#
H
u
*
Aj
^ ^Si^EEE
s.
^ig
I^SES
=t=tJi
30
31
i^
29
HiSiiglfii
J&k
*SfeEE^^
abfe *
:fe}i
S. (3rd Stretto).
P - ^=S:
rp
:f?=P
^g^iggj t^
rS=*=*zg:
34
-J
1
-I
WH
1
--Mzzjz
^=:**-
32
S. (2nd Stretto).
1^
1-
SlpS
72
STUDIES IN FUGUE
Episode
III.
pump
I
EE
l=t
^3plp
^^^^E=
35
!=SzzJz=:
36
s
i
=3r=* 3^^=^=^
-*-
Final Section
Ezzn
Jt
g-f
r J
|=||==|ig|
=* E^SE^EE^
39
:fc
='
l
40
38
^gT^
T:
-=*=-
-m^m\
43
E=frE
i::z:iz
p
ZiULiL
H^H^^^Hl
EXAMINATION FUGUES
73
S.
^J,
by inv
SB
<*----
S.
by
I
inv.
pt
:xzz=z(t
^gggggi^i
bfai
^^
Its:
g^r-S>
^=-^=^^-J^
:^=T
pi
47
&e
g^y
^S5
48
:pc
49
^=t
n=
i?
1S^
^r i^^s^
i
rr ^^ r r
52
5i
3=&
74
STUDIES IN FUGUE
^L-^*-
S=5z
m
a
H
1-
-rS*=1-
m=5^
*
53
Se
F=g
*-\-
V
54
P=\
55
3c=^:
The
following Subject
may be worked on
similar lines
ife=aa~j=|
^^i
3=3:
CHAPTER V
INDEPENDENT ACCOMPANIMENTS
It
is
instrumental fugue.
in style,
will naturally
unnecessary here to treat of vocal as distinct from There is obviously a great differentiation In actual practice, a vocal fugue but not in method.
be accompanied by instruments, if only for the sake of maintaining the pitch and supporting the voices. In the 'Gratias agimus* of Bach's B minor Mass, the orchestra mainly
doubles the voice parts.
five-part
fugal structure.
it
first and second Violins, form the integral factors of the The Continuo forms an eighth real part, though
Thus the
all
full
bodies, but as
in
which
the
Fugue from the Cantata Es ist nichts gesundes an meinem Leben* (quoted in full in Prout's Fugal Analysis) Bach again in many instances makes his instrumental parts real,
In the Double
the orchestral bass alone duplicating the vocal bass.
But the
upper parts, instead of partaking in the fugal structure, as in the Credo of the B minor Mass, adopt independent figures. Thus the following formula of accompaniment is used for the first
forty bars:
There are
in this fugue
examples
of
76
STUDIES IN FUGUE
The course
of the de-
velopment of the technique of independent accompaniment and of orchestration has not, from various causes, been influenced
by Bach's methods
The
I.
may
None
The
orchestral
It
enhances
by colour and decoration. Some of the examples that follow are not taken from actual
its effect
'
The love
Of
1^
Of
old
m^^^mmm
hath
=&z=z
of
the
God
laid
the foun-da
tions
3?=
Of
old
mm
the foun-
hath
God
laid
ii
01
old
tBLhath
8ves,
is not the bass of the whole may be unison or octave by any of the upper orchestral parts either momentarily, or for any period. Further the taking of the unison by similar motion, or the running into the unison,
2.
Any
doubled
at the
which would be inadmissible between two voices, or two instruments of the same family, may occur between the voices and the orchestra, or between different families of the orchestra
INDEPENDENT ACCOMPANIMENTS
(strings,
itself correct
77
fully in
wood-wind and brass) so long as each group forms in harmony. This matter will be considered more paragraph 8.
Mendelssohn.
42nd Psalm.
r
1-
.
i
J==n
Chorus.
U
jsL
n
m
J. ^
h & J _
is
j^-
r
|
Orch.
J^*a %
:^i
*?:
te
H
n
souls.'
3.
-&=wl
Chorus.
A
*=*
- g=C
=s J-3
=t
Orch.
*y*i n*
^=q
4.
When
one may be a bass to the other, but this procedure is rare. It will thus be obvious that under these conditions, no upper orchestral part may ever form octaves with the vocal bass, nor may any upper vocal part form octaves with the orchestral bass. In the above quotation from Mendelssohn, the basses coincide.
In the following they are similar in outline.
78
STUDIES IN FUGUE
Mendelssohn.
6"/.
Paw/.
Li
<__
I
b *r
m~-
~A:
fcp:
?^-^-z^m^
-
A
>*
mm r
p^eeeB
When, however,
in
u
1
\
m r T
broad outline, that which is not the real bass by an upper part in another group.
Brahms.
J
may
be doubled
Requiem.
'
Worthy
art Thou.'
1r
1-
Chorus.
l
I
| |
Orch.
v>
:l
tz
BBHBB8B9BBB
'~mii&lZZ2tt
INDEPENDENT ACCOMPANIMENTS
5.
79
it
When
is
present,
may
may be regarded
it
if
such part
be allotted
may
contra basso.
Harwood.
Inclina Domine.
Tu
De
Mendelssohn.
St.
Paul.
1
the
Gen
tiles.
te=l=l
E*
Celli
r3
-&-
4^:.
f.P
it
and Fag.
6.
When
is
may be
it
may
be doubled
at the
unison only.
ibid.
Chorus.
1-J
-i
Orch.
Sh^irz-
BRSSB
8o
7.
STUDIES IN FUGUE
When
the vocal bass
is
above it need not be considered as the bass the orchestra may Mendelssohn. 42nd Psalm. supply it.
It will
be naturally asked,
if
is
it
not the
if
real bass,
may
it
might,
In view of the following, the reply must be in the affirmative, though it may be said that such procedures should not be The vocal score forms a distinct unnecessarily employed. group in itself, and is heard as a separate whole.
Bach.
--w^m-
B minor Mass.
I^gZ
Credo.
--r=^^- 1
CONTINUO.
Parry.
The
f=5?
Chorus.
r-1
3=<sL
^
m
4
sfcm-zs_-
rrr
Orch.
'%.
=z==
INDEPENDENT ACCOMPANIMENTS
8.
81
Thus
far
we have considered
when
it
is
present in each
when
it is
in general the
and the strings, makes itself felt as a distinct section of For the present purpose we treat the orchestra as one group and the chorus as the other. A very simple experiment will make the guiding principle perfectly clear. Firstly, ask two sopranos to sing the following
brass,
the whole.
:(=?
The
ing
effect is bad.
is
by the follow-
:
Voice.
P
fit
*S
JiTJ-^
Piano.
Wi=
secret of the matter will be found to lie in the proviso that each group, the chorus and accompaniment, should separately form correct harmony; thus progressions which would be inif used between the voice and the orchestra. The following are illustrations the letters a, a ; b, b, &c, indicate the points to be observed
;
:
The
109
"
82
,
STUDIES IN FUGUE
Parry.
WarandPeau.
world's
*^
calm
en
er
gies
{Q} *>
..
*
:
*
'
-*
'
toil
shall
still
all
..
Si
f L
still
ft
*-^-h * r r~ =
1
all
fret
ful
toil
at
length
and
g
L
If
b^'"~~
^~^_
-r
shall
T^=zdE
still
__
L_[_
all
....
-
(I
fret
ful
toil
s^
...
1-
still
i
i-
*
|_
p
-
1~
toil.
Thou
shalt
all
fret
ful
A
j
1
i
^j
I
i'
"i
&c.
v
\
m
==rr=pr rpr-
(S>
n
-
b^
l7=r
flg-
PARRY.
fret
ful
toil
at
length
rqrrzrr
zZ.
Peace
thou
mmm
shalt
still
fl^
Peace
thou
shalt
i
still
=3
Peace
thou
shalt
still
INDEPENDENT ACCOMPANIMENTS
Parry.
83
Ibid.
z=r
Be
strong
-dL
Slay
*s~S=
[--'
^CM]
i^-'F ^P"^
Jpzzzr. 1
mm
^p?
Stanford.
'
2^z*=i^_*l
God
is
our Hope.'
Chorus.
Orch.
Brahms.
t
Requiem.
^nrrjL
Hosts
:Bl
Lord
J%
=B=fc
:g
fe
""
84
STUDIES IN FUGUE
Vaugham Williams.
*
Toward
the
Unknown
Region.*
Nor
touch
of
hu
'
man
hand.
:*=:*
=*==*
-*
1
J,
r
M
It
=3=T:==*:
h-J Jg
when both
The
ever good.
Much
experience
is
be made in
this sphere.
Stanford.
Wellington.
*=
life
-=*:
^PP^
oer
3=:
fiiiifel=i
l^i=I=ii^=!
3 hzr;:
^SF
g^-fl
INDEPENDENT ACCOMPANIMENTS
Mendelssohn.
Si. Paul.
85
mm
EigE35g
^=
!
=3=
'.
ir_g_r ^t
rczg:
'
'"t
H8
Si
Parry.
fe
That
di
U
er
dream.
!=E
-I*
pc
t=1=
-ff:
1=^
-#
p: 1
*
,
=3E
But procedure of
be regularly adopted.
The maintenance
its
of a formula
may
be
use.
will
86
STUDIES IN FUGUE
Harwood.
'
As by
m-
fc3=
Sa
:3=ta:
mm
--
^j^-Wjj T
'^"
U ^-
r
Brahms.
Requiem.
fort
lem jg m-
may
be adopted.
T^rf
al
^
-
Davies.
1
Everyman.
you
ft*
iq=ip:
most a
-al
most a
.
go
1
-
r
you
*
fort
i=9^
al
-
most a - go
you
fort
m
5t
F^
the
g!^=i=S
day
pass - eth
g=g=a
com
-
)OU
fort
-*-
5 y
!l
s^S^#f5#Jf
Walford Davies. Everyman.
rrn
B b=r-
JJ-J^si
Go
*A
2*
"3^
BE
When
cally
BBBBBBB
INDEPENDENT ACCOMPANIMENTS
one group
is
87
no danger of any
effect.
Walford Davies.
Lift
up your
hearts.'
Ibid.
But when both groups are employing unessential notes freely, much care in workmanship and experience of effect are necessary. Some formulae of accompaniment have little harmonic influence for instance the actual notes that are used in the following are
of quite secondary importance.
Elgar.
Gerontius.
And
?t
m
pi
:
1
ous
ch eat
-> :
31*
#
life S3*
> T
~-5=W
ig^j^^lli m. W T.
88
STUDIES IN FUGUE
may justify what might
The modern tendency is towards freedom of polyphony, and composers are inclined to continue and to combine their formulae without much regard for harmonic considerations. There must always be a difference of opinion as to how far such a method is
justifiable
:
satisfied
fifty
The
student
is
recommended
to read as
own
wide course of reading leaves him dissatisfied with contemporary technique, he will at all events be able to give an account of the faith that is in him, and he will not belong to that sufficiently large class which founds its condemnation of modern works on a broad base of ignorance. The principles underlying the consistent use of definite formulae have already been discussed in an earlier chapter. In
the main,
it is
accompaniment.
Occasion-
paniment may influence the choice of procedure in the voices, but in general it may be said that the actual fugue is conceived first, then the accompaniment. At the same time, it would be unwise to write the actual fugue without some previous knowledge of the possibilities and limitations of an independent
accompaniment.
together.
The
practised
hand
will
{a)
Formulae obviously divide into two classes. Those that are essentially harmonic
in
texture,
and
generally
demand
(b) Those that are mainly melodic in their essential features, and do not demand any definite harmonic pattern. In the following, we have the harmonic pattern of one chord a bar, the crotchet rest on the third beat of the bar being
ornamental.
that
this
the polyphonic texture of the fugue shall be based on particular harmonic substructure.
amanaamDmMmm
INDEPENDENT ACCOMPANIMENTS
Mendelssohn.
St. Paul.
'
89
the Lord's.'
mi
-mm-
^=tiOr=
se--
r-
fe
ft*.
Si
ft^.-(=?-_
18
im
fe=|
:sfc==
^g:
E
It will
p
be at once
felt
is
incorrect
p
*r
:^
.k=t
^=r
:gJ-
i=p:
:i:
~ 1^ S
sional change of chord
demand an occaon the third crotchet, the orchestral formula must be varied accordingly by the addition of a new chord
If the exigencies of the polyphonic texture
at this point.
It
There are of course many variants of this particular formula. may be useful to quote some of them, with the harmonic basis
they pre-suppose.
MMMNMHHM
mtUKMnWiMttlmmmmminlM
90
Formula.
STUDIES
IN
FUGUE
fl
E^^iP^p^Ipi
It is also possible to regard the chord change as taking place on the third beat of the bar in the second of the above examples, or on the fourth beat in the last example, but the harmonic bases
Formulae of this nature are appropriate as accompaniments to fugue Subjects of a bold nature, or as a relief from more intricate
texture in the course of a fugue.
The following passages may be studied Wood. On Time. Triumphing over death \ Mendelssohn. Lobgesang. 'Ye nations offer
: *
to the
Lord*.
St. Paul.
'
For
all
the Gentiles.'
Harwood. Inclina Domine. Triple Fugue. Brahms. Requiem. Worthy art Thou '. Although it may be heresy to say so, the following passage from Mendelssohn's Lobgesang is most unsatisfactory in effect.
'
mmp^m^%
fifeds ^-.
uz~il
The accompaniment implies one chord a bar and no more, hence the mental jars at (1) (2) and (3).
INDEPENDENT ACCOMPANIMENTS
:
9i
It must be conceded that the accompaniment ought to have been arranged thus
fe
M
-S
m
^=p:
4
-fc-t-t
f
in
^=p:
qrz
Indeed at the end of this Chorus, this procedure is adopted an almost identical passage. It will be seen that the following formula demands a harmonic basis of at most two chords a bar. Bach. B minor Mass.
Ex
-
pec
p
Ex
I
si
~^-
Ex
pec
pec
to
ra n
p^i
=F#
JfcE
^P
^
,
Ex
pec
sE
Q
:p=t
cr^
They
^
:
Arpeggio figures also obviously demand harmonic limitation. naturally lead up to a climax, and are best adapted to the Final Section of a Fugue, for example
$ *E1
lics^
M.
:: ..-T.MfllUlia'fflllW
HHHHHHBB^^HH
92
STUDIES IN FUGUE
=*=ff:
?^=
=F
1
H
=t
-
Bi
335^333^
' *
&c.
rii
1?F-It
U.
3j
J-J-
rifc
demand any
harmonic pattern.
Bach.
B minor Mass.
Confiteor.
INDEPENDENT ACCOMPANIMENTS
Brahms.
Trrft
93
art Thou.'
Requiem.
'
Worthy
w*=-f-
--=t-
<s>~ tz: - F 1
~^~
s
-1
&c.
fjt
-- f
^
i
5~
Brahms.
Requiem.
'
souls.
It is unnecessary to maintain an independent accompaniment throughout the course of a fugue. Sometimes the introduction of independent material is deferred until the later sections of the
fugue.
would be natural to relax the tension up another. This would afford an opportunity of letting the orchestra either merely double the voices, use a simpler formula, or stop altogether. For every fresh move there must be some intelligible reason. It would be quite ludicrous to use successively various formulae merely for the sake of ringing the changes. There must be continuity and unity in the accompaniment, as well as in the vocal parts. The Fugue 'Worthy art Thou* in Brahms's Requiem exhibits
repose.
it
before
commencing
to build
is
not a trace
The fugue
exhibits the
'
But
'
in
the
is
same work
maintained
which
to
throughout
made
grow
in interest in
such a way that not the slightest monotony is felt. In forming independent accompaniments that are mainly melodic in their characteristics, it is often possible to develop
^BaaHHWBBH^BMI
94
WMWBWBPMMMMBI
HH
STUDIES IN FUGUE
m
!se^3e^e
S.
-J
-MzrZ-
*==z
^=it *=5t
by dim.
J
!feE3^E3EES :*)--*
-=Xr
:Hr
ji^E=S
part of S. by inv.
see^
^ e^e
J=Z i *Tt
"ir
Q
musical value, they are merely
show
till
possibilities.
be deferred
is repeated every bar. In such a case care should be taken that this device is preceded by a section which makes it the melodic condensation of a larger
formula,
in
is
further condensed.
Vocal parts
INDEPENDENT ACCOMPANIMENTS
:S=:j:
95
i
i
zjzz*z
:*=:
^=i
IN
i
|b==^p3=p^g
=^rp=r *5FE*Ee Mz > 3atz3
fr*:
sfe K
&c.
(5:
Or
if it
be
felt
is
A may
be thus revised
have purposely left both the vocal and orchestral score incomplete to show the method of working up such a section. This is a case in which the orchestral structure takes precedence.
In conclusion, some general remarks upon the independent accompaniment as a whole may be useful. Apart from technical considerations, three main difficulties present themselves to
We
a student
who
to a vocal fugue.
96
It
is
STUDIES IN FUGUE
quite
obvious that
that is
accompaniment
Counterpoint
in that of
is
much more
an ordinary chorus.
taken for
which have to be repeated over and he has the intelligence to choose words which give scope for variety and contrast, and readily suggest appropriate treatment, as for example the first stanza
his libretto a few platitudes
over again.
It is
assumed
that
of Gray's
The Progress
of Poesy, or Collins's
The
Passions.
But a moment's thought will show that the conditions under which a fugue is written are very different. It is essential that the words chosen should give expression to some idea or statement that is characteristic and pregnant, that can be dwelt upon at some length without producing an artificial effect. Some students attempt to write fugues upon words as inappropriate as the old Incipit Lamentatio Ieremiae Prophetae.' Assuming then that the Fugue is a movement in which the interest is ever increasing, and the effect cumulative, and that any relaxation
'
in tension is
still
more
exciting period,
and further that it is in aim a means of impressing upon the mind some important idea or sequence of ideas, it will be obvious
that
the
is
texture
this
Perhaps the most important point that can be emphasized is and simple. It is very common to find students commencing with an independent accompaniment of meandering quavers, giving a superficial
that the beginning should be fairly quiet
of animation. When the Celli, Violas and Violins have had their turn at this, the student is at a loss to know what to do next. He cannot lapse into crotchet movement, for that would be anti-climatic in effect, so he launches forth with
effect
all
semi-quavers for a few bars, but he soon finds this too exhausting, and returns again to the meaningless succession of quavers. This introduction of semiquavers is no less grotesque than would
INDEPENDENT ACCOMPANIMENTS
affording relief.
97
be the interpolation of a tree in a sea-scape, with the idea of It would be quite effective to begin with plain
accompany the
middle entry with some new feature. After the relaxation of It would be tension the orchestra might develop this feature. a good plan to let the orchestra be silent occasionally. Suppose for example the first group of middle entries were
:pz
j
r
i=^i *r
ft' r
it is
3=
make
;
movement
follows
:
later,
could be developed as
--=&!
0=J^=^
i*i--d^=^gEE2
in
due course
this
would become
:-
m
and
finally lead
up
to
Kl
1
109
98
STUDIES IN FUGUE
This leads naturally
to
meandering florid accompaniment should be Nothing is easier to write, nothing is more empty in effect. If a florid accompaniment appear to be appropriate, it should consist of the statement and development of some definite pattern. For example
carefully avoided.
:
fe^^^p
s
*=tt=T-
= 3r=q=p:
-*-m-
E
&c.
i2=*==j--:^
Bad.
nrrrrrxtjj^^^
lit^r
Good.
^~-
irzzwz
feature
This may be developed in the ordinary fashion, and a new added to the final condensation
:
l=3i==isE
Sometimes the subject
paniment.
sS==e=ii=^
itself will
?M==i=
Till
worlds
shall
:b^
and
faith
fade
shall
greet
the
dawn
of
last
ing
day.
Mmmmmmmmmrmit mum
'
INDEPENDENT ACCOMPANIMENTS
For use towards the end of the Fugue :
99
It
be noted that both these are capable of development. would be most unwise to use a formula that was not capable
is
Some
students
no pattern at all. The former procedure is monotonous, the latter unintelligible. The student should bear in mind three points i. Begin with the least florid features. 2. The orchestra need not always be independent, and need not always be playing. 3. Original formulae should be capable of development. Even a plain detached chord formula may suggest a develop:
ment.
m
'A
1
_
1
-j
r_p
p-F
j
F ~
iw-s-F r Si:
1
1
! ^
J.
Mi
i^f-^
^e^Lpjkfesgi 3^-d
L!=^==-^ CZZ2
J l-j_[
Bill
'
vnttMMM\w^mm\fm/tKB^KS^^^BIKI^^^^Ml^^^^^^^^^^^^^KKK^
IOO
It
STUDIES IN FUGUE
may
be useful to write a Subject and Countersubject, and
ife
Yet
C.S.
shall
he mount,
PBE
m^. :^=^ii^^^^^e5^
-e
:,*
&=.
and take
his
dis
tant
way
I
beyond
the
Be-neath the
Good how
far
but
far
^=s=5^m
li
-
inits
of
vul
gar
fate
^3=1=3=
bove
(#)
the Great,
far
bove the
Great
Exposition.
~7rM
&
i ^
-^Epdrir
-J-*
&c.
ferr =*-=
I
4~ J-
Constant feature
{b)
^i 1=^
^
-
Episodes leading to relative minor. Short phrases in accompaniment (derived from contrapuntal treatment of C. S. in the voices.
S.)
against
I
-^-1
r>
1
r
t&i
J^t
"
-Th
entries
.in -l"}
minor,
may
be accompanied as in the
Exposition.
The* next
episode
may be accompanied
with
"r
INDEPENDENT ACCOMPANIMENTS
(c)
IOI
When we
:
Subdominant,
the orchestra
it is
&=F
2=J
f
which
will
-*
-*-
-3
develop thus
:*=*:
3^ EgS^E
&C.
(d)
This
will bring
we can
>
Hg
I
Siirl
=*-
:=i
&c.
wm
d=<=2=
UdA^-A
^
:
JU.
The accompaniment
will
develop as follows
b*Ke
minor alterations may be necessary, in fitting but no serious difficulty will be encountered.
BIHiHBmESHiKS^sn^ IIP
"'iHiiiffWfii'ffwiaBBHBBlBHBWWBHMBBBBBHMB
I02
(e)
STUDIES IN FUGUE
This, together with stretti at half a bar's distance, will lead
to the climax,
:
up
when
the voices
may break
into a
harmonic
style
WYet
I
shall
I
he
c>
mount
P=.^
E&
It
is
hoped
them an insight
into
INDEX OF EXAMPLES
The
various extracts from copyright works are indicated as follows
:
The copyright
of Messrs.
a
b
&
Haertel
.
Durand
Novello
Peters
et Fils
d
e
&
Co.
f
.
g
h
PAGES
.
Bach.
Bach-Gesellschaft.
Vol.
,,
IV.
VI.
26
92
So, 91,
12, 13
.
C minor
II
Book
2.
minor E t? major E[? minor. G J minor. A major B I? major B{? minor. G major
.
31,32
35, 60, 61
.
60
16 59
30,31 13,26
.
61
XV.
Organ Fugue
in
15,59
15
15
C major, No ,, XXXVIII. G major, No XLV. (i) Prelude, Third English Suite Beethoven. Pianoforte Sonata in D minor, Op.
Vol.
16 61
23,24
31,
Brahms,
Elgar.
e
Requiem
....
.
No. 2
28
Dream
of Gerontius
87
~n i
e
*
'
I
INDEX OF EXAMPLES
wutm
104
PAGES
Gray,
Grieg.
e Fantasia
and Fugue
in
minor
for
Organ
38
/ Ase's Tod
(Peer Gynt)
in
29 62
C \ minor
86
79
Inclina
Domine
Mendelssohn.
Lobgesang
Ps.
St.
90
89
XLII.
Paul
Parry,
e e
'
The
Saint-Saens.
Schumann.
Bach,' No.
Nachtstiicke
Stanford,
77,80
78, 79, 85,
76,80
46 82, 83, 85
;
Omphale
2.
29 27
27 27
for
4.
in
minor
Organ Op.
103.
62
84
83
'
Tschaikowsky.
Symphony
c
'
in
minor, No. 6
the
39
region
'
Vaughan-Williams.
Toward
Walford
WOOD,
Davies.
e
e
Everyman
l
....
'
unknown
84 86
87 47
Lift
up your hearts
.
c Ballad of
Dundee.
PRINTED IN ENGLAND AT THE UNIVERSITY PRESS OXFORD BY JOHN JOHNSON PRINTER TO THE UNIVERSITY
iMniiiiiiBiiB
inMMW
HHMMMMMWH
IHiHlH^B^H
DATE DUE
>iiiitt*lfHZt*tft* f.J,
197 00401
IK
a ku m
,u ^y^y i
'****""**"'"*>.*
**
tUtfiirTrr^
'r.t%Zr'
""
'