A polyphonic composition, developed from a given theme or themes, according to strict contrapuntal rules. The theme is first given out by one voice or part, and then, while that pursues its way, it is repeated by another at the interval of a fifth or fourth, and so on, until all the parts have answered one by one, continuing their several melodies and interweaving them in one complex progressive whole, in which the theme is often lost and reappears.
(a late 16th century term coming from the Latin word "flight") a highly developed contrapuntal form, in which the subject (theme) is first stated, then imitated in all parts, the first (and third, etc.) imitation being the "answer", usually in or at the dominant (at the fifth above or fourth below). The subject is then used throughout the fugue as a source of musical development, the subject varied with accompanying contrapuntal lines. [JAS, LF
A contrapuntal piece of music for a given number of voices, in which the voices enter successively in imitation of each other, the most famous operatic example is the great comic fugue Tutto nel mondo è burla which ends Verdi's Falstaff.
A musical form based on principles of imitation, whereby a theme is played successively by different instruments or voices. An abbreviation for an entry in the works catalog of Boccherini by Gérard. An abbreviation for an entry in the works catalog of Carl Philipp Emanuel Bach by Helm. H. numbers supercede W. (Wotquenne) number, which are, however, given in parentheses.
A polyphonic composition that makes systematic use of imitation, usually based on a single subject, and that opens with a series of exposed entries on that subject.
a contrapuntal form that is built from a single subject and has an exposition where all voices state the subject in turn, alternating tonic and dominant entrances. The fugue continues with various contrapuntal artifices and usually has several sections that are a combination of subject-sections, episodes, counterexpositions, stretti, etc.
clever music played by organists in which tunes (that don't sound like tunes) follow each other all round the keyboard
polyphonic composition consisting of a series of successive melody imitations
Contrapuntal form in which a subject theme ('part' or 'voice') is introduced and then extended and developed through some number of successive imitations.
a musical form consisting of a theme repeated a fifth above or a fourth below its first statement
a form of music based on a repeating melody which appears in several registers, high and low, much like the layers of wood in a piece of plywood or the layers of noodles, cheese and sauce in lasagna
a musical composition in which multiple themes are repeated or imitated by different voices, all interwoven together
a musical composition in which several themes, which in their difference flee (L
an imitative contrapuntal composition
a piece of music rich in self-similar structure
a piece that is built up of single melodies in different voices, as you'll hear
a style where a theme is introduced by one "voice", which then plays a contrapuntal (playing notes that ascend or descend interactively with another voice) harmony mimicing that original theme
a form in which a theme is first stated on its own, then imitated by others, with each one joining in a short while after the last
a composition in which the statement of the first theme is imitated a few measures later by another instrument and then becomes the harmony to the second voice; often four or five voices are used, thus creating a tight weave of harmony
the interweaving of specific voices of melody to create a piece of music strongly characterised by imitation.
"Flight." A contrapuntal piece, in which two or more parts are built or "layered" on a recurring subject that is intriduced alone, and followed by an answer, which is the subject (or theme) at a different pitch, usually the fifth.
A polyphonic composition with one or more short themes introduced first by a one voice and repeated by other voices in turn. All this happening with hamonization ocoording to the rule of the counterpoint. [back
A musical composition in which one or 2 themes are repeated or imitated by successively entering voices/instruments and developed in a continuous interweaving of the parts.
Polyphonic form popular in the Baroque era in which one or more themes are developed by imitative counterpoint.
a polyphonic composition based on a theme (subject) which is stated at the beginning in one voice part alone, being taken up (imitated) by the other voice or voices in close succession, and reappearing throughout the piece at various places in one voice part or another
a musical composition, in counterpoint, in which one or two melodies are repeated by successively entering voices. The voices are interwoven and the melodies are developed into a well-defined single structure with a strong character or unifying idea.
A piece of music in which a short melody is stated by one voice and then imitated by the other voices in succession, reappearing throughout the entire piece in all the voices at different places.
This is a composition in which imitative counterpointing involving one or more theme is the most important or most characteristic device of formal extension.
A composition written systematically in imitative polyphony, usually with a single main theme. Bottom
Two or more imitative melodic lines stated one after the other.
Successive playing of the same theme by different instruments or voices.
A composition in which three or more voices enter one after the other and imitate the main melody in various ways according to a set pattern.
A compositional form, in which two or more parts, or voices, state a short melody, known as the subject. Once all voices have stated the subject, the fugue continues with a developmental passage, before the subjects enter again, alternating with developmental material. The fugue is a highly complex contrapuntal method which takes many years of study to master. J.S. Bach was undoubtedly the supreme master of fugal technique, but subsequent composers have been able to combine fugues into their own larger-scale compositions. For example, the finale of Mozart's Jupiter Symphony combines sonata form and fugue, as does the finale of Bruckner's Fifth. Many composers use short fugues, or fugatos, as developmental episodes in sonata-form movements - for example, the development section of the first movement of Brahms's Second Symphony.
a work for at least two voices and more commonly four. These coices are layered one on top of another, and we hear them all at the same time. The fugue is a form of counterpoint.
In music, a fugue (IPA: ) is a type of contrapuntal composition. It begins with a theme stated by one of the voices playing alone. A second voice then enters and plays the same theme, though usually beginning on a different degree of the scale, while the first voice continues on with a contrapuntal accompaniment.