Search results
Results From The WOW.Com Content Network
The six-part fugue in the "Ricercar a 6" from The Musical Offering, in the hand of Johann Sebastian BachIn classical music, a fugue (/ f juː ɡ /, from Latin fuga, meaning "flight" or "escape" [1]) is a contrapuntal, polyphonic compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches ...
Form refers to its structural aspects, the way its individual sections are constructed and how they relate to each other, such as binary form, rondo or sonata form. Compositional techniques involve specific methods of composition, such as canon , fugue or twelve-tone technique .
A prelude and fugue is a musical form generally consisting of two movements in the same key for solo keyboard. In classical music , the combination of prelude and fugue is one with a long history. Many composers have written works of this kind.
Fantasia and Fugue; Music written in all major or minor keys; Prelude and fugue; Toccata and Fugue; A. ... Fugue in G minor, BWV 1000; G. Geographical Fugue; Grosse Fuge;
Musical form unfolds over time through the expansion and development of these ideas. In tonal harmony, form is articulated primarily through cadences, phrases, and periods. [2] "Form refers to the larger shape of the composition. Form in music is the result of the interaction of the four structural elements," of sound, harmony, melody, and ...
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 Grosse Fuge (German: Große Fuge, also known in English as the Great Fugue or Grand Fugue), Op. 133, is a single-movement composition for string quartet by Ludwig van Beethoven. An immense double fugue, it was universally condemned by contemporary music critics.
During the Middle Ages, Renaissance, and Baroque—that is, through the early 18th century—any kind of imitative musical counterpoints were called fugues, with the strict imitation now known as canon qualified as fuga ligata, meaning "fettered fugue".