Fugue / Ebenezer Prout.
| Author/creator | Prout, Ebenezer |
| Format | Book |
| Publication Info | London : Augener Ltd., [1891?] |
| Description | xi, 258 pages : music ; 23 cm. |
| Subjects |
| Series | Augener's edition ; no. 9185 Augener's edition ; no. 9185 ^A538636 |
| Contents | Introduction. The requisite preliminary knowledge ; Definition of the term fugue ; Double, triple, and accompanied fugues ; The difference between fugue and canon ; General description of a fugue ; The subject ; The answer: real and tonal answers ; The countersubject ; The exposition ; Episode ; The counter-exposition ; The middle section of the fugue ; The final section: pedal points ; The stretto ; Close fugue ; Strict and free fugues ; The ricercare or ricercata ; Fugues by inversion, augmentation, or diminution ; The fughetta ; Fugato ; The essential nature of fugue -- The subject. The essentials of a good subject ; A subject defined, fugues with two or more subjects ; The necessity of clear tonality ; Implied harmony ; Subjects that remain in one key: major ; Ditto, minor ; Subjects in the dominant ; Ditto, in a minor key modulate to the dominant minor ; Modulation from dominant to tonic ; Ditto, from tonic to dominant and back ; Modulation between tonic and subdominant ; A subject in the subdominant ; Incidental modulations ; The cadence of a fugue subject ; Length ; Compass ; A subject may begin on any degree of the scale ; The subject must be contrapuntal in character ; Adaptability for stretto ; Melody and rhythm ; How to determine the limits of a subject ; Directions for work -- The answer. The answer defined ; Key relation of subject and answer ; Real and tonal answers ; When a real answer is possible ; Examples of real answers: in a major key ; The answer of a minor subject must be in the dominant minor ; Examples ; The last note of a minor subject ; Subject in dominant, answer in tonic ; The answer in the subdominant ; Ditto, in a minor key ; Example by Bach analyzed ; Ditto ; Ditto, from the "Art of Fugue" ; Further examples ; When an answer in the subdominant is possible ; Subject in the key of the subdominant, answer in the tonic ; Modulation between subdominant and tonic ; Treatment of intermediate modulations ; Tonal answer: its origin ; The old rule ; Its usual application, modification required ; The practice of the great masters ; The leap from tonic to dominant answered tonally ; The rule applies only to the beginning of an answer ; Examples of a real answer in such cases ; The dominant approached through the third of the scale ; Subjects beginning with the notes of the tonic chord: tonal answers ; Ditto, with real answers ; The principle involved ; Rule for our guidance ; Subjects that commence on dominant, with tonal answers ; Ditto, with real answers ; The reason for real answers here ; Fugues with both tonal and real answers ; Tonal answers in the subdominant ; Answer in two keys ; A real answer always possible when there is no modulation to the dominant ; Warning to students -- |
| Contents | The answer, continued. Subjects that modulate to the dominant ; Only two chief keys used in exposition ; Rule for modulation ; Point of modulation ; Expressed and implied modulation ; Examples ; Modulation to be made as early as possible ; Double significance of each degree of the scale ; Its importance ; Example of subject modulating, by Mozart ; Further examples ; Reasons for making the tonal change early ; Treatment of third and seventh of scale ; Rule for third of scale ; Examples ; Treatment of leading note ; Examples ; Subjects that modulate from dominant to tonic ; One note answered by two ; Subjects modulating to dominant and back ; Dissonant intervals generally retained in answer ; An important exception ; Disregard of semitones ; Dominant answered by supertonic ; Treatment of chromatic subjects ; Answers by inversion ; Ditto, by augmentation and diminution ; Change of an octave in pitch in course of the answer ; Irregular answers ; Summary of general principles ; Bad subjects ; Exercises for the student -- The countersubject. Countersubject defined ; Must be in double counterpoint with subject ; Need of contrast ; Examples ; Key of countersubject ; The inganno ; The material of the countersubject ; Often forms the basis of episodes ; Sometimes only accompanies a part of the subject ; Countersubject in tonal fugues ; Sometimes needs modification ; Must make correct two-part counterpoint with the two countersubjects ; Two countersubjects used in succession ; A double fugue ; When a countersubject is unnecessary ; Directions for working -- The exposition and the counter-exposition. Exposition defined ; Order of entry ; Relative distance of voices ; How this affects choice of voice for answer ; The last entry best in an outer part ; Exposition of a two-part fugue ; Order of entry in a three-part fugue ; Place of countersubject ; Additional entry, when advisable ; Example ; Codetta ; When is a codetta needed before the entry of the answer ; Codetta between second and third entries ; Example of an exposition in three parts ; Exercises ; Order of entry in a four-part fugue ; Alternation of subject and answer: exceptions ; How a four-part exposition differs from one in three parts ; When an exposition ends in the tonic key, and when in the dominant ; Cases in which all the voices do not appear in the exposition ; Example of a four-part exposition ; Irregular expositions: an "octave fugue" ; The counter-exposition ; Often only partial ; Frequently introduces the first stretto ; Counter-exposition by inversion ; Counter-exposition quite optional ; Directions for work -- |
| Contents | Episode. Episode defined ; Its use for modulation ; Difference between episode and codetta ; The material for episode: sequence ; Use of imitation ; Example of episodes developed from subject of fugue ; Ditto from countersubject ; Ditto from codetta ; Various devices used in episodes, example by Handel ; Episodes formed from entirely new material ; One episode sometimes the inversion of another ; General principles, the importance of sequence ; Need of variety in each episode ; The freedom allowed to the composer ; The number of episodes variable ; Long and short episodes ; Fugues without episodes ; Examples to follow the expositions given in the last chapter ; Episodes for the three-part fugue ; Ditto, for the four-part fugue ; The chief essentials of good episodes, directions for work -- Stretto. Meaning of the word ; The old rule ; A stretto not indispensable ; Subjects should be designed for stretto originally ; Examples of stretto on a subject not so designed ; Interval of entry, and number of parts, closest stretti should come last ; Incomplete entries ; Varieties of stretto ; A subject and answer specially written for stretto ; The various stretti: in two parts ; Ditto for three voices ; Ditto for four voices ; How to invent a subject suitable for stretto ; Stretto in the counter-exposition of a fugue ; Canonic stretto ; Regularity desirable in the entries of a stretto ; Subject and countersubject used together in a stretto, stretto on a pedal ; Stretto made from modified subject ; Stretto by inversion ; Ditto by augmentation ; Ditto by diminution and inversion ; The stretto maestrale ; Stretto in the exposition of a fugue, close fugue ; In a close fugue the answer will be in the same key as the subject ; Examples of stretto by Mozart ; Example by Mendelssohn ; Ditto by Spohr ; Ditto by Brahms ; Necessity of analysis by the student ; Exercises to be worked -- The middle and final sections of a fugue. Freedom of treatment of middle section ; Ternary, or three-part form ; Limits of the first section of a fugue ; Varied length of the middle section ; Analysis of the 21st fugue of the "Wohltemperirtes Clavier" ; How to distinguish subject and answer in the middle section ; Bach's fugue in E minor analyzed ; The first section ; First group of middle entries ; Isolated entries ; Return to the tonic key in the middle section ; The rest of the middle section ; Final section: the coda, a dominant pedal ; Additional voices often introduced in a coda ; Summary of entries ; Fugue in D major, by Bach ; The subject ; Absence of countersubject ; The exposition ; Commencement of middle section ; The first stretto ; Third episode and second stretto ; A codetta in the middle section ; The third stretto ; Fourth middle entry ; Final section ; Advisability of rests: method of re-entry of voices ; The employment of cadences ; Order of modulation ; Cherubini's rules ; These rules hardly ever observed by Bach ; Modulations beyond the nearly-related keys ; General rules for the treatment of middle entries ; Exceptions ; All voices need not take part in a middle entry ; Number of middle entries variable ; Treatment of the pedal point ; Need of continuity ; The last note before a rest ; Individuality of the voices necessary ; The composition of a complete fugue ; Should have a definite plan ; Specimen fugue for two voices ; Analysis of ditto ; A fugue for three voices ; The same analyzed ; A four-part fugue ; Analysis of ditto ; Need of practice -- |
| Contents | Fughetta and fugato. Definition of fughetta ; Its usual form ; Examples by Bach ; A five-part fughetta by Handel ; Example by Mozart ; Ditto by Beethoven ; The nature of fugato ; Example by Bach ; Ditto from the "Creation" ; Ditto by Beethoven ; Ditto by Mendelssohn ; Ditto by Mackenzie -- The fugue on more than one subject. Double fugue ; The two kinds of double fugue ; How distinguished from fugues with a countersubject ; The two subjects must be written in double counterpoint ; Number of parts requisite ; The exposition of the first kind of double fugue, first method ; The second method ; Need for clearness ; The form of this kind of double fugue ; The middle entries ; The stretti ; Isolated entries ; The second kind of double fugue ; How it differs from the other kind ; The two expositions ; The combination of the two subjects ; Analysis of Organ Fugue in C minor, by Bach ; Limits of variation in this form ; General form of this kind of fugue ; Small amount of modulation ; Triple fugue ; An unusual form ; Fugue from the "Art of Fugue" analyzed ; The ordinary form, the exposition ; Example by Albrechtsberger ; Triple fugue by Mozart analyzed ; Freedom of triple fugues ; Quadruple fugue ; A spurious variety ; An exposition of a quadruple fugue by Cherubini ; Its subsequent treatment -- The fugue on a choral. The two methods of writing a fugue on a choral ; The subjects taken from the choral itself ; Example by Buxtehude analyzed ; Example by Bach ; The form of such fugues ; The entries of the canto fermo ; Modern examples ; The second kind of fugue on a choral ; Example from Bach's Motetts analyzed ; Modulations ; The choral introduced during the episodes ; Example by Mendelssohn ; Why the freer style was adopted ; The first line of a choral taken as the fugue subject, example ; The freedom allowed in this kind of work -- Accompanied fugues. Definition ; Accompanied exposition ; Filling up thin harmony ; Variations of voice parts ; Independent counterpoints ; General principles ; Importance of good models ; Our rules founded on the practice of the great masters. |
| ISBN | 0837118727 |
Availability
| Library | Location | Call Number | Status | Item Actions |
|---|---|---|---|---|
| Music | Closed Stacks - Ask at Circulation Desk | MT59.P87 F8 1891 | ✔ Available | Place Hold |