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bach fugue in c minor analysis

Music Theory for the 21st-Century Classroom, Harmonic Progression and Harmonic Function, How to Identify Perfect, Major, and Minor Intervals, How to Write Perfect, Major, and Minor Intervals, Roman Numerals of Diatonic Seventh Chords, Shorter Progressions from the Circle of Fifths, Adding Non-Chord Tones to a Chord Progression, Irregular Resolutions of Secondary Chords, Secondary Diminished Chords in Major and Minor, The Deceptive Cadence with ♭\(\left.\text{VI}\right.\), Lead-Sheet Analysis of Augmented Sixth Chords, Distingushing Between Chromatic Harmonies, How to Recognize a Key After a Modulation, The Fully Diminished Seventh as Pivot Chord, Distinguishing between Rounded Binary and Ternary, Standard Forms in a Multimovement Classical Piece, Voice Leading Root Position Triads in Four Parts, Voice Leading the \(\left.\text{V}^{7}\right.\) to \(\left.\text{I}\right.\) Progression, The Special Resolution of vii\(\left.\text{}^{\circ}{}^{7}\right.\) (and vii\(\left.\text{}^ø{}^{7}\right.\)), How to Determine Chord-Scale Relationships. An analysis of J.S Bach's Prelude and Fugue No.2 in C minor, BWV 871 from the Well Tempered Clavier Book 2. Subjects, answers, and countersubjects can be fragmented into head motives and tail motives in episodes in fugues. A fugue is a contrapuntal composition whose form features sections called expositions and episodes, A fugue exposition is a section that contains at least one full statement of the subject of the fugue. \newcommand{\gt}{>} Fugue no.2 in C minor - analysis - Free download as PDF File (.pdf), Text File (.txt) or read online for free. Bach’s Well-Tempered Clavier. In the answer in measure 3, the third note descends a perfect fifth to the fourth note. “Countersubject 1” is in the alto voice in measure 3 and in the soprano voice in measure 7. Below are the second exposition, the second episode, the third exposition, and the third episode. Sometimes this statement of the answer has intervals altered in order to start in the tonic before modulating to the dominant. It is important to note that a answer is considered equivalent to a subject because the intervallic alterations are so minute. A countersubject is counterpoint that consistently accompanies each occurrence of the subject. The passacaglia is in 4 time, which is typical of the form. \). Prelude and Fugue in C Minor, BWV 847, is a keyboard composition written by Johann Sebastian Bach. An analysis of J.S Bach's Prelude and Fugue No.2 in C minor, BWV 847, from the Well Tempered Clavier Book 1. \( Published by teoria.com. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. The Fantasia and Fugue in C minor, BWV 537 is a piece for the organ written by Johann Sebastian Bach.It was composed during the composer's period of residence in Weimar. First Exposition of Fugue 2 in C minor from WellTempered Clavier, Book I (BWV 847) The bridge, if it occurs, is a brief modulatory passage that only happens within the first exposition, usually to connect the answer to the subsequent subject statement. A detailed guide that analyzes the structural, harmonic and thematic frame of the Prelude and the Fugue. Below is the first episode, which contains motivic fragmentation of the subject and countersubject 1. In homework and on the test, you will be asked to analyze a fugue with regard to expositions (including the bridge, if it occurs), episodes, subjects, answers, countersubjects, and motivic fragmentation. A countersubject is counterpoint that consistently accompanies each occurrence of the subject. Within the bridge (bar 5 in the example above), we see motivic fragmentation of the subject (“subject head”). We will now turn to analysis of fugue. Analysis of Bach's Fugue BWV 847 in C minor (WTC I) José Rodríguez Alvira ©2011 José Rodríguez Alvira. Motives from the subject will be used throughout the fugue:.

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