fugue

And what was played was a fugue- though Petya had not the least conception of what a fugue is.

In three minutes she was deep in a very difficult, very classical fugue in A, and over her face came a queer remote impersonal expression of complete absorption and anxious satisfaction.

The sense of mutual fitness that springs from the two deep notes fulfilling expectation just at the right moment between the notes of the silvery soprano, from the perfect accord of descending thirds and fifths, from the preconcerted loving chase of a fugue, is likely enough to supersede any immediate demand for less impassioned forms of agreement.

Above it, a portrait of Handel in a flowing wig beamed down at the spectator, with a knowing air of being up to the contents of the closet, and a musical air of intending to combine all its harmonies in one delicious fugue. No common closet with a vulgar door on hinges, openable all at once, and leaving nothing to be disclosed by degrees, this rare closet had a lock in mid-air, where two perpendicular slides met; the one falling down, and the other pushing up.

He lookd and saw a spacious Plaine, whereon Were Tents of various hue; by some were herds Of Cattel grazing: others, whence the sound Of Instruments that made melodious chime Was heard, of Harp and Organ; and who moovd Thir stops and chords was seen: his volant touch Instinct through all proportions low and high Fled and pursu'd transverse the resonant fugue. In other part stood one who at the Forge Labouring, two massie clods of Iron and Brass Had melted (whether found where casual fire Had wasted woods on Mountain or in Vale, Down to the veins of Earth, thence gliding hot To som Caves mouth, or whether washt by stream From underground) the liquid Ore he dreind Into fit moulds prepar'd; from which he formd First his own Tooles; then, what might else be wrought Fulfil or grav'n in mettle.

Learning a Bach fugue can be a daunting task for students; however, piano teachers can use the following approach to guide students systematically in learning his fugues with confidence and efficiency.

Trois fugues de Luigi Cherubini: mises en partition de piano.

"The fugues get progressively worse and they are terrifying her.

The final movement, beginning with a slow, austere introduction, bursts into a vivacious fugue. As the composer explains in the liner notes, "Some of Brahms' major works conclude with epic fugues, so I felt it was indeed appropriate in my 'Homage to Brahms' to end my trio with this festive, culminating fugue, bringing the work to a joyous conclusion."

The countersubject bears a remarkable reciprocal relationship to the subject, unlike other fugues.

Even though fugues for more than one theme do exist, they are more commonly monothematic, which means that there is usually one main theme, called the subject (S) that is taken up, by dint of modifications and mirroring, by other voices.

Vivaldi is not known particularly for his fugues, but his use of the form began in the early years of his activity and continued almost to the end.