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Theme. 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.
BWV 884 – Prelude and Fugue in G major; BWV 885 – Prelude and Fugue in G minor; BWV 886 – Prelude and Fugue in A-flat major; BWV 887 – Prelude and Fugue in G-sharp minor; BWV 888 – Prelude and Fugue in A major; BWV 889 – Prelude and Fugue in A minor; BWV 890 – Prelude and Fugue in B-flat major; BWV 891 – Prelude and Fugue in B ...
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)
Bach's G minor fugue is "insistent and pathetic". [ citation needed ] The subject also appears in his funeral cantata Gottes Zeit ist die allerbeste Zeit (God's time is the very best time). [ 1 ] The subject of the fugue employs a minor 6th leap in the first measure, then resolves it with a more conventional stepwise motion.
Bach's autograph of the 4th Fugue of Book 1 Bach's autograph of Fugue No. 17 in A ♭ major from the second part of Das Wohltemperirte Clavier. Each set contains 24 pairs of prelude and fugue. The first pair is in C major, the second in C minor, the third in C ♯ major, the fourth in C ♯ minor, and so on.
The fugue subject in the ritornello is "hidden" in the main fugue subject ("soggetto cavato dalle note del tema"): its constituent notes—A, F, E, D, C, B, A, G ♯, A, B—can be picked out in each of the corresponding crotchet and minim groups of triplets in the main subject. Other departures from BWV 894/2 include a number of virtuosic ...
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 of Fugue. As first four notes of the third and last subject of the final unfinished fugue of The Art of Fugue: [8] B–A–C–H opening the third and last subject of the unfinished fugue of The Art of Fugue