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BWV 860 – Prelude and Fugue in G major; BWV 861 – Prelude and Fugue in G minor; BWV 862 – Prelude and Fugue in A-flat major; BWV 863 – Prelude and Fugue in G-sharp minor; BWV 864 – Prelude and Fugue in A major; BWV 865 – Prelude and Fugue in A minor; BWV 866 – Prelude and Fugue in B-flat major; BWV 867 – Prelude and Fugue in B ...
The next measure begins on D, which leads to G minor for the second beat. Tonic (G minor) is then elaborated until mm. 17. There is another Neapolitan chord that leads to a diminished chord on the raised fourth scale degree, providing a leading tone to the D dominant seventh chord with a 4-3 suspension in the soprano.
Leopold Stokowski made a large number of transcriptions for full orchestra, including the Toccata and Fugue in D minor for organ, which appeared in the film Fantasia and the Little Fugue in G minor. Alexander Siloti made many piano transcriptions of Bach, most famously his Prelude in B minor based on Bach's Prelude in E minor, BWV 855a.
The C ♯ major prelude and fugue in book one was originally in C major – Bach added a key signature of seven sharps and adjusted some accidentals to convert it to the required key. In Bach's own time just one similar collection was published, by Johann Christian Schickhardt (1681–1762), whose Op. 30 L'alphabet de la musique (circa 1735 ...
The Prelude and Fugue in G-sharp minor, BWV 887, is the eighteenth prelude and fugue in the second volume of The Well-Tempered Clavier by Johann Sebastian Bach. It was written in 1738. It was written in 1738.
BWV 577 – Fugue in G major "à la Gigue" (spurious) BWV 578 – Fugue in G minor "Little" BWV 579 – Fugue on a theme by Arcangelo Corelli (from Op. 3, No. 4); in B Minor; BWV 580 – Fugue in D major (spurious) BWV 581 – Fugue in G major (not by Bach, composed by Gottfried August Homilius) BWV 581a – Fugue in G major (spurious)
The fugue's four-and-a-half measure subject in G minor is one of Bach's most recognizable tunes. The fugue is in four voices. During the episodes, Bach uses one of Arcangelo Corelli's most famous techniques: imitation between two voices on an eighth note upbeat figure that first leaps up a fourth and then falls back down one step at a time. [2]
Near the end of the Augmentation Canon of Bach's Canonic Variations on "Vom Himmel hoch da komm' ich her", BWV 769: [4] B–A–C–H (and its inversion) in the last bars of the Augmentation Canon of BWV 769. Near the end of Contrapunctus IV of The Art of Fugue: [7] B–A–C–H in the tenor part of the last bars of Contrapunctus IV of The Art ...