Fugue - Knowledge (XXG)

40: 1967: 1000: 723: 780: 1909: 1754:, dated in Vienna on 20 April 1782, Mozart recognizes that he had not written anything in this form, but moved by his wife's interest he composed one piece, which is sent with the letter. He begs her not to let anybody see the fugue and manifests the hope to write five more and then present them to Baron van Swieten. Regarding the piece, he said "I have taken particular care to write 1773: 1090: 4743: 812:

results in a perfect fourth, which, unlike the perfect fifth, is considered a dissonance, requiring proper preparation and resolution. The countersubject, if sounding at the same time as the answer, is transposed to the pitch of the answer. Each voice then responds with its own subject or answer, and further countersubjects or free counterpoint may be heard.

1037: 4764: 1331:. (In other words, the subject and countersubjects must be capable of being played both above and below all the other themes without creating any unacceptable dissonances.) Each voice takes this pattern and states all the subjects/themes in the same order (and repeats the material when all the themes have been stated, sometimes after a rest). 2196:': the many voicedness of small intervals at small distances in time from one another is a kind of conjuring trick. At the micro level of the individual lines, and there are dozens and dozens of them in this music...there's an astonishing detail and finesse, but the overall macro effect is a huge overwhelming and singular experience. 2439:. This is unlike later forms such as the sonata, which clearly prescribes which keys are explored (typically the tonic and dominant in an ABA form). Then, many modern fugues dispense with traditional tonal harmonic scaffolding altogether, and either use serial (pitch-oriented) rules, or (as the Kyrie/Christe in 2192:

allow us access to the labyrinth through listening in to individual lines… He creates instead a vastly dense texture of voices in his choir and orchestra, a huge stratified slab of terrifying visionary power. Yet this is music that's made with a fine craft and detail of a Swiss clock maker. Ligeti's so-called '

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The exposition usually concludes when all voices have given a statement of the subject or answer. In some fugues, especially those with an odd number of voices, the exposition will end with a redundant entry, or an extra presentation of the theme in a voice which has already entered. Furthermore, the

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in Vienna around 1782. Van Swieten, during diplomatic service in Berlin, had taken the opportunity to collect as many manuscripts by Bach and Handel as he could, and he invited Mozart to study his collection and encouraged him to transcribe various works for other combinations of instruments. Mozart

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Further entries of the subject, or middle entries, occur throughout the fugue. The development must state the subject or answer at least once in its entirety, and may also be heard in combination with any countersubjects from the exposition, new countersubjects, free counterpoint, or any of these in

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the composer, having completed the initial imitative entrances, take the passage which has served as accompaniment to the theme and make it the basis for new imitative treatment, so that "he will always have material with which to compose without having to stop and reflect". This formulation of the

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upon it, so that it should not be played fast – for if a fugue is not played slowly the ear cannot clearly distinguish the new subject as it is introduced and the effect is missed". Mozart then set to writing fugues on his own, mimicking the Baroque style. These included a fugue in C minor, K. 426,

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There is usually very little non-structural/thematic material. During the course of a permutation fugue, it is quite uncommon, actually, for every single possible voice-combination (or "permutation") of the themes to be heard. This limitation exists in consequence of sheer proportionality: the more

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middle-voice is stating a second version of the second countersubject, which concludes with the characteristic rhythm of the subject, and is always used together with the first version of the second countersubject. Following this an episode modulates from the tonic to the relative major by means of

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takes the logic of the fugal idea and creates something that's meticulously built on precise contrapuntal principles of imitation and fugality, but he expands them into a different region of musical experience. Ligeti doesn't want us to hear individual entries of the subject or any subject, or to

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It expresses the Creation of All Things: space, time, stars, planets – and the Countenance (or rather, the Thought) of God behind the flames and the seething – impossible even to speak of it, I have not attempted to describe it ... Instead, I have sheltered behind the form of the Fugue.

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The fugue is the most complex of contrapuntal forms. In Ratz's words, "fugal technique significantly burdens the shaping of musical ideas, and it was given only to the greatest geniuses, such as Bach and Beethoven, to breathe life into such an unwieldy form and make it the bearer of the highest

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at the octave or fifteenth (two octaves). The distinction is made between the use of free counterpoint and regular countersubjects accompanying the fugue subject/answer, because in order for it to be heard accompanying the subject in more than one instance, the countersubject must be capable of

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and is written according to certain rules. The composer has more freedom once the exposition ends, though a logical key structure is usually followed. Further entries of the subject will occur throughout the fugue, repeating the accompanying material at the same time, and often accompanying key

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of the third beat of the second bar, which harmonizes the opening G of the tonal answer. The later codettas may be considerably longer, and often serve to develop the material heard in the subject/answer and countersubject and possibly introduce ideas heard in the second countersubject or free

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music, invertible contrapuntal lines must be written according to certain rules, because several intervallic combinations, while acceptable in one orientation, are not permissible when inverted. As an example, perfect fifths are contrapuntally acceptable, while the inversion of a perfect fifth

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voices in a fugue, the greater the number of possible permutations. In consequence, composers exercise editorial judgment as to the most musical of permutations and processes leading thereto. One example of permutation fugue can be seen in the eighth and final chorus of J.S. Bach's cantata,

1051:. This passage is bars 6/7, at the end of the codetta before the first entry of the third voice, the bass, in the exposition. The false entry occurs in the alto, and consists of the head of the subject only, marked in red. It anticipates the true entry of the subject, marked in blue, by one 972:

illustrates the application of most of the characteristics described above. The fugue is for keyboard and in three voices, with regular countersubjects. This excerpt opens at last entry of the exposition: the subject is sounding in the bass, the first countersubject in the treble, while the

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concerto. Stravinsky recognized the compositional techniques of Bach, and in the second movement of his Symphony of Psalms (1930), he lays out a fugue that is much like that of the Baroque era. It employs a double fugue with two distinct subjects, the first beginning in C and the second in

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At any point in the fugue there may be "false entries" of the subject, which include the start of the subject but are not completed. False entries are often abbreviated to the head of the subject, and anticipate the "true" entry of the subject, heightening the impact of the subject proper.

1397:, which are now thought of as distinct from fugues. Prior to the 16th century, fugue was originally a genre. It was not until the 16th century that fugal technique as it is understood today began to be seen in pieces, both instrumental and vocal. Fugal writing is found in works such as 828:

is often heard connecting the various statements of the subject and answer, smoothly connecting each and often facilitating the modulation between the tonic and the key of the answer. The codetta, like other parts of the exposition, may be reused throughout the remainder of the fugue.

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has two subjects that are often developed simultaneously. Similarly, a triple fugue has three subjects. There are two kinds of double (triple) fugue: (a) a fugue in which the second (third) subject is (are) presented simultaneously with the subject in the exposition (e.g. as in

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as well. Palestrina's imitative motets differed from fugues in that each phrase of the text had a different subject which was introduced and worked out separately, whereas a fugue continued working with the same subject or subjects throughout the entire length of the piece.

2183:(multiple simultaneous subdivisions of the measure), blurring everything both harmonically and rhythmically so as to create an aural aggregate, thus highlighting the theoretical/aesthetic question of the next section as to whether fugue is a form or a texture. According to 1739:(1780), various litanies, and vespers. Leopold admonished his son openly in 1777 that he not forget to make public demonstration of his abilities in "fugue, canon, and contrapunctus". Later in life, the major impetus to fugal writing for Mozart was the influence of Baron 1326:

are combined. Each voice enters in succession with the subject, each entry alternating between tonic and dominant, and each voice, having stated the initial subject, continues by stating two or more themes (or countersubjects), which must be conceived in correct

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This is related to the idea that restrictions create freedom for the composer, by directing their efforts. He also points out that fugal writing has its roots in improvisation, and was, during the Renaissance, practiced as an improvisatory art. Writing in 1555,

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and is usually based upon some musical idea heard in the exposition. Each episode has the primary function of transitioning into a new key for the next entry of the subject, and may also provide release from the strictness of form required by the exposition.

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The counter-exposition is a second exposition. However, there are only two entries, and the entries occur in reverse order. The counter-exposition in a fugue is separated from the exposition by an episode and is in the same key as the original exposition.

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begins with a fugal exposition. The exposition ends with a chorale, the melody of which is then used as a second fugal exposition at the beginning of the development. The recapitulation features both fugal subjects concurrently. The finale of Mahler's

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entry of one of the voices may not be heard until considerably later. For example, in J.S. Bach's Fugue in C minor for Organ, BWV 549, the subject entrance in the lowest voice (played by the organ pedals), is not heard until near the end of the fugue.

711:. To enable a natural harmonic progression, the answer may also be altered slightly (usually by changing one or a few notes near the beginning). When the answer is an exact transposition of the subject into the new key, the answer is classified as a 2347:, at the point where Kevin, accidentally left at home by his family, and realizing he is about to be attacked by a pair of bumbling burglars, begins to plan his elaborate defenses. Another fugue occurs at a similar point in the 1992 sequel film, 2416:

are more commonly explored in fugal development, the overall structure of a fugue does not limit its harmonic structure. For example, a fugue may not even explore the dominant, one of the most closely related keys to the tonic. Bach's Fugue in

1111: 1587:) on a single theme that is gradually transformed as the cycle progresses. Bach also wrote smaller single fugues and put fugal sections or movements into many of his more general works. J.S. Bach's influence extended forward through his son 2025:

Twentieth-century composers brought fugue back to its position of prominence, realizing its uses in full instrumental works, its importance in development and introductory sections, and the developmental capabilities of fugal composition.

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across the bar line, from the last quarter note beat of the first bar to the first beat of the second bar in the second system, and the first middle entry. Here, Bach has altered the second countersubject to accommodate the change of

924:), middle entries in keys other than the tonic and dominant tend to be the exception, and non-modulation the norm. One famous example of such non-modulating fugue occurs in Buxtehude's Praeludium (Fugue and Chaconne) in C, BuxWV 137. 2464:

points out that "counterpoint itself, since time out of mind, has been associated in the thinking of musicians with the profound and the serious" and argues that "there seems to be some rational justification for their doing so."

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When the subject begins with a prominent dominant note, or when there is a prominent dominant note very close to the beginning of the subject, a tonal answer is usually necessary. To prevent an undermining of the fugue's

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counterpoint that follows. They may also be present to delay, and therefore heighten the impact of, the reentry of the subject in another voice. Finally, they may be modulatory passages to return the fugue to the tonic.

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who died in 1746. The subject, including an eighth note rest, is seen in the alto voice, starting on beat 1 bar 1 and ending on beat 1 bar 3, which is where the answer would usually be expected to begin. As this is a

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comprises two volumes written in different times of Bach's life, each comprising 24 prelude and fugue pairs, one for each major and minor key. Bach is also known for his organ fugues, which are usually preceded by a

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combination. It is uncommon for the subject to enter alone in a single voice in the middle entries; rather, it is usually heard with at least one of the countersubjects and/or other free contrapuntal accompaniments.

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key. Fugues can also have episodes, which are parts of the fugue where new material often based on the subject is heard; a stretto (plural stretti), when the fugue's subject overlaps itself in different voices, or a

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argues that the formal organization of a fugue involves not only the arrangement of its theme and episodes, but also its harmonic structure. In particular, the exposition and coda tend to emphasize the

1822:, Beethoven attracted notice for his performance of these fugues. There are fugal sections in Beethoven's early piano sonatas, and fugal writing is to be found in the second and fourth movements of the 916:

of the work's overall key, and is followed by an entry in the dominant of the relative major or minor when the fugue's subject requires a tonal answer. In the fugues of earlier composers (notably

2409:, whereas the episodes usually explore more distant tonalities. Ratz stressed, however, that this is the core, underlying form ("Urform") of the fugue, from which individual fugues may deviate. 832:

The first answer must occur as soon after the initial statement of the subject as possible; therefore, the first codetta is often absent or very short. In the example shown above of J.S. Bach's

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of all Bartók's works – a fugue that unfolds like a fan to a point of maximum intensity and then closes, returning to the mysterious atmosphere of the opening." The second movement of Bartók's

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is not purely a permutation fugue, as it does have episodes between permutation expositions. Invertible counterpoint is essential to permutation fugues but is not found in simple fugues.

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It is customary in the exposition to alternate entrances of the subject (S) with entrances of the answer (A). However, this order is occasionally varied. For example, the exposition from

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of Handel during his visits to London (1791–1793, 1794–1795). Haydn then studied Handel's techniques and incorporated Handelian fugal writing into the choruses of his mature oratorios

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During the answer, the voice in which the subject was previously heard accompanies with new material. If this new material is reused in later statements of the subject, it is called a

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quotes Beethoven's monumental "Große Fuge" for string quartet and employs Arnold Schoenberg's twelve tone technique, all in the context of a jazz infused Broadway show stopper.

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of the subject, although the term is sometimes used synonymously with middle entry and may also describe the exposition of completely new subjects, such as those encountered in

1949:, Op. 24, is a work for solo piano written in 1861. It consists of a set of twenty-five variations and a concluding fugue, all based on a theme from George Frideric Handel's 1242:), and (b) a fugue in which all subjects have their own expositions at some point, and they are not combined until later (see for example, the three-subject Fugue No. 14 in F 1345:

Permutation fugues differ from conventional fugue in that there are no connecting episodes, nor statement of the themes in related keys. So for example, the fugue of Bach's

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is a short fugue that has the same characteristics as a fugue. Often the contrapuntal writing is not strict, and the setting less formal. See for example, variation 24 of

2120:, starting at rehearsal mark 63, is a gigantic fugue in which the 20-bar subject (and tonal answer) consist entirely of semiquavers, played at the speed of quaver = 168. 1086:

whereby one voice responds with the subject/answer before the first voice has completed its entry of the subject/answer, usually increasing the intensity of the music.

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has a composition called "Fugue State", which incorporates a fugue-like section between Theo Katzman (guitar), Joe Dart (bass), and Woody Goss (Wurlitzer keyboard).

3637: 3530: 3412: 3369: 3317: 3226: 3114: 2876: 2836: 2791: 2721: 2590: 1020: 1434:, was one of the first to distinguish between the two types of imitative counterpoint: fugues and canons (which he called imitations). Originally, this was to aid 4539: 2478:

basic rule for fugal improvisation anticipates later sixteenth-century discussions which deal with the improvisational technique at the keyboard more extensively.

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contains a fugue, which was practically unperformed until the late 19th century, due to its tremendous technical difficulty and length. The last movement of his

1631:(op. 20, 1772), of which three have fugal finales. This was a practice that Haydn repeated only once later in his quartet-writing career, with the finale of his 207:. Episodes (if applicable) and entries are usually alternated until the final entry of the subject, at which point the music has returned to the opening key, or 739:, Book 1. The first note of the subject, D (in red), is a prominent dominant note, demanding that the first note of the answer (in blue) sound as the tonic, G. 2205: 1732: 4126: 1720: 1828:(1805). Beethoven incorporated fugues in his sonatas, and reshaped the episode's purpose and compositional technique for later generations of composers. 215:. Because of the composer's prerogative to decide most structural elements, the fugue is closer to a style of composition rather than a structural form. 4418:

Einführung in die Musikalische Formenlehre: Über Formprinzipien in den Inventionen J. S. Bachs und ihre Bedeutung für die Kompositionstechnik Beethovens

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key. After the statement of the subject, a second voice enters and states the subject with the subject transposed to another key (almost always the

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he completed also contain several fugues (most notably the Kyrie, and the three fugues in the Domine Jesu; he also left behind a sketch for an

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Introduction to Musical Form: On the Principles of Form in J. S. Bach's Inventions and their Import for Beethoven's Compositional Technique

2066: 1905:(1965, p. 149) says " bare description of its formal outline can give but little idea of the extraordinary profundity of this fugue ." 4644: 1786: 865:

Further entries of the subject may follow the initial exposition either immediately or separated by episodes. Episodic material is always

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was evidently fascinated by these works and wrote a set of five transcriptions for string quartet, K. 405 (1782), of fugues from Bach's

1525:. Some fugues during the Baroque period were pieces designed to teach contrapuntal technique to students. The most influential text was 2057:(1986, pp. 346–47) regards as "certainly the finest and most characteristic example of Bartók's subtle style... probably the most 2062: 125: 118:(repetition at different pitches), which recurs frequently throughout the course of the composition. It is not to be confused with a 4565: 4520: 4464: 4395: 4348: 4153: 3850: 2973: 2666: 2538: 1884: 1874: 1627:

Joseph Haydn was the leader of fugal composition and technique in the Classical era. Haydn's most famous fugues can be found in his

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When there is no entrance of the subject and answer material, the composer can develop the subject by altering it. This is called a

1982: 908:, although the key structure of fugues varies greatly. In the fugues of J.S. Bach, the first middle entry occurs most often in the 804:

sounding correctly when played above or below the subject, and must be conceived, therefore, in invertible (double) counterpoint.

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at the Salzburg Cathedral, the young Mozart composed ambitious fugues and contrapuntal passages in Catholic choral works such as

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Fugues (or fughettas/fugatos) have been incorporated into genres outside Western classical music. Several examples exist within

1424:. The fugue arose from the technique of "imitation", where the same musical material was repeated starting on a different note. 4794: 1960: 1847: 1843: 1832: 1831:

Nevertheless, fugues did not take on a truly central role in Beethoven's work until his late period. The finale of Beethoven's

1632: 1628: 1098: 4424:] (first edition with supplementary volume). Vienna: Österreichischer Bundesverlag für Unterricht, Wissenschaft und Kunst. 878:, stated that the episode of the fugue is generally based on a series of imitations of the subject that have been fragmented. 3845:. Translated by Thomas Irvine (this chapter). Cambridge, Massachusetts: Harvard University Department of Music. p. 236. 2654: 2349: 2222: 1644: 2913:, eleventh edition, revised, ed. Catherine Soanes and Angus Stevenson (Oxford and New York: Oxford University Press, 2006). 2506:, eleventh edition, revised, ed. Catherine Soanes and Angus Stevenson (Oxford and New York: Oxford University Press, 2006). 1619:

had periods of their careers in which they in some sense "rediscovered" fugal writing and used it frequently in their work.

1106:, the answer already takes place in the tenor voice, on the third quarter note of the first bar, therefore coming in "early" 270:

rose to a more prominent position. Nevertheless, composers continued to write and study fugues; they appear in the works of

2117: 4754: 2075:(Czech: Švanda dudák), written in 1926, an opera in two acts (five scenes), with music by Jaromír Weinberger, includes a 743: 4536: 1860:, "With the finale of 110, Beethoven re-conceived the significance of the most traditional elements of fugue writing." 1018: 3632: 3525: 3407: 3364: 3312: 3221: 3109: 2871: 2831: 2786: 2716: 2585: 4589: 4579: 3448: 3071: 2978: 2915: 2508: 1554:, for example, taught counterpoint from his own summary of Fux and thought of it as the basis for formal structure. 218:

The form evolved during the 18th century from several earlier types of contrapuntal compositions, such as imitative

4631: 4620: 4606: 4558: 4358: 3487: 2756: 2671: 2366: 1870: 1865: 1824: 2279:, the characters Nicely-Nicely, Benny, and Rusty sing simultaneously about hot tips they each have in an upcoming 4548: 4375: 4093: 3723: 2306: 2113: 2009: 1814: 1592: 1588: 1559: 1464: 1463:

that the writing of fugues became central to composition, in part as a demonstration of compositional expertise.

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may also occur by inversion, augmentation and diminution. A fugue in which the opening exposition takes place in

239: 4584: 2104:. Techniques such as stretto, sequencing, and the use of subject incipits are frequently heard in the movement. 1281:(upside down), and the inverted subject continues to feature prominently throughout the fugue. Examples include 4789: 4573: 1766: 1700: 1684: 1608: 2331:

included an atonal or twelve-tone fugue, for flute trumpet and string quartet, in his score for the 1953 film

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The closing section of a fugue often includes one or two counter-expositions, and possibly a stretto, in the

3602: 3169: 2658: 2167:'s second movement, the Kyrie, in which each part (SMATB) is subdivided in four-voice "bundles" that make a 2153:) have nothing to do with the academic fugue. Like those great models, this one is an anti-scholastic fugue. 2014: 1708: 1680: 1676: 1640: 1616: 1547: 1542:, and offered a series of exercises to learn fugue writing. Fux's work was largely based on the practice of 1328: 1232: 1211: 800: 792: 271: 4768: 2172: 2035: 2017:

features a "fugue-like" passage early in the movement, though this is not actually an example of a fugue.

1636: 1611:, the fugue was no longer a central or even fully natural mode of musical composition. Nevertheless, both 1487: 1472: 243: 154: 31: 188:

has described what is commonly regarded as the most fully developed procedure of imitative counterpoint.

1939: 1746: 1740: 1648: 1635:(1787). Some of the earliest examples of Haydn's use of counterpoint, however, are in three symphonies ( 1249: 1045: 1041: 1008: 1004: 966: 962: 820: 816: 735: 727: 235: 54: 2448: 2397:

A widespread view of the fugue is that it is not a musical form but rather a technique of composition.

1966: 1901:(1927, p. 235) hears it as "the most superhuman piece of music that Beethoven has ever written." 1812:

was familiar with fugal writing from childhood, as an important part of his training was playing from

3838: 3642: 3535: 3417: 3374: 3322: 3231: 3119: 2881: 2841: 2796: 2726: 2595: 2559: 2257: 2149: 1809: 1704: 1664: 1539: 1468: 1362: 950: 761:. For the same reason, it is possible for the answer of such a subject to be in the subdominant key. 275: 251: 191:

Most fugues open with a short main theme, called the subject, which then sounds successively in each

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describes a type of composition (or technique of composition) in which elements of fugue and strict

953:(the enlargement of the subject's rhythmic values by a certain factor), or any combination thereof. 3908: 2413: 2261: 2105: 1670: 1530: 1476: 1413: 1366: 942: 917: 897: 887: 279: 255: 204: 145: 103: 3831: 2380: 2360:, includes a fugue as the climax of his score (a classical theme with variations, and fugue) for 2268: 2090: 1503: 866: 690: 340: 267: 141: 137: 1761: 824:

Fugue No. 1 in C Major, BWV 846 uses a SAAS (subject-answer-answer-subject) exposition. A brief

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Analyses of J. S. Bach's Fugue for Solo Violin in C major, BWV 1005 (tutorial video with score)

203:, developed from previously heard material; further "entries" of the subject are then heard in 4707: 4516: 4470: 4460: 4434: 4401: 4391: 4344: 4320: 4303: 4159: 4149: 4020: 4001: 3995: 3974: 3968: 3937: 3846: 3646: 3610: 3577: 3561: 3539: 3493: 3454: 3421: 3378: 3326: 3235: 3123: 3077: 2984: 2969: 2885: 2845: 2800: 2730: 2677: 2662: 2599: 2534: 2291: 2044: 2008:

also included them in their respective symphonies. The exposition of the finale of Bruckner's

1935: 1898: 1526: 1515: 1431: 1278: 933: 788: 772: 223: 181: 115: 3573: 4506: 4291: 3606: 3271: 2470: 2440: 2298: 2252: 2200: 2161: 2157: 2123: 1992: 1902: 1794: 1577: 1511: 1427: 1398: 1300: 1291: 1235: 974: 871: 784: 722: 675: 247: 231: 71: 3484:, fourth edition, ed. Michael Kennedy (Oxford and New York: Oxford University Press, 1996) 4784: 4722: 4692: 4569: 4553: 4543: 2287: 2086: 1997: 1569: 1507: 1190: 1166: 988: 905: 860: 704: 111: 61: 4625: 4562: 2290:", the dance sequence following the song "Cool" is structured as a fugue. Interestingly, 1934:, fugue writing had become specifically attached to the norms and styles of the Baroque. 1185:. Any material that follows the final entry of the subject is considered to be the final 715:; alternatively, if the intervals of the subject are altered in any way, the answer is a 4087:

Eric Drott, "Lines, Masses, Micropolyphony: Ligeti's Kyrie and the 'Crisis of the Figure

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is a fugue, and there are fugal passages in the last movements of his Piano Sonatas in

1751: 1716: 1390: 913: 909: 766: 283: 161:, the fugue was fundamental in showing mastery of harmony and tonality as it presented 1658:

Haydn's second fugal period occurred after he heard, and was greatly inspired by, the

1647:) that date from 1762 to 1763. The earliest fugues, in both the symphonies and in the 258:(c. 1637–1707) and others. With the decline of sophisticated styles at the end of the 4778: 4732: 4717: 4687: 4682: 4498: 4337: 4142: 3921: 3903: 3827: 3628: 3566: 3521: 3403: 3360: 3308: 3217: 3105: 2867: 2827: 2782: 2712: 2581: 2371: 2338: 2328: 2276: 2247: 2210: 2168: 2054: 2030: 2005: 1894: 1879: 1857: 1712: 1696: 1584: 1495: 1483: 1460: 1435: 1394: 1323: 1295:. During the Baroque period, counter-fugues were sometimes called by the Latin name 1178: 978: 875: 696: 667: 259: 208: 173: 149: 107: 4459:. Eastman studies in music. Vol. 13. Rochester: University of Rochester Press. 2460:

thoughts." In presenting Bach's fugues as among the greatest of contrapuntal works,

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A fugue begins with the exposition of its subject in one of the voices alone in the

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featured a quick fugal section after a slow introduction. The second movement of a

1443: 1393:, but was initially used to refer to any kind of imitative counterpoint, including 1186: 1052: 999: 993: 901: 837: 700: 212: 192: 162: 120: 96: 3832:"On ancient languages: the historical idiom in the music of Wolfgang Amadé Mozart" 2610:‎ for discussion of the changing use of the term throughout Western music history. 2226:, a full-scale fugue set to a text that cleverly explicates its own musical form. 1311:(1739), and some German-language texts use that name to refer to a counter-fugue. 779: 1963:(1853) contains a powerful fugue, demanding incisive virtuosity from its player: 1893:

that several commentators regard as one of the composer's greatest achievements.

1783: 1550:

studied from this book, and it remained influential into the nineteenth century.

1109: 1017: 941:. In any of the entries within a fugue, the subject may be altered by inversion, 757:, this note is transposed up a fourth to the tonic rather than up a fifth to the 742: 4114: 4106: 4078:. Translator not indicated. Erato Disques S.A. 4509-91705-2, 1993. Compact Disc. 2436: 2217: 2184: 1956: 1182: 770:; if this accompanying material is only heard once, it is simply referred to as 754: 263: 177: 169: 133: 3256:

Bach, Johann Sebastian (1997). "Fuge Nr. 2". In Heinemann, Ernst-Günter (ed.).

1908: 1759:

for two pianos (1783). Later, Mozart incorporated fugal writing into his opera

1438:, but by the 1550s, it was considered a technique of composition. The composer 4614: 4413: 4332: 4177: 3278:. Cambridge, Massachusetts, and London: Harvard University Press. p. 178. 2461: 2432: 2401: 2343: 2180: 2176: 1971: 1919: 1687:; and the late string quartets, Opus 71 no. 3 and (especially) Opus 76 no. 6. 946: 758: 129: 4636: 1563:, which many composers and theorists look at as the greatest model of fugue. 1127:

in which the subject/answer is heard in completion in all voices is known as

4742: 4671: 4474: 4163: 4110: 2533:. Vol. 2 (3rd ed.). Dubuque: Wm. C. Brown Publishers. p. 45. 2406: 2310: 2040: 1772: 1535: 1506:

has only a few fugues among his corpus of over 500 harpsichord sonatas. The

1089: 921: 238:(1685–1750), well known for his fugues, shaped his own works after those of 100: 4438: 4405: 1446:

counterpoint and imitation, and fugal writing became the basis for writing

896:

Middle entries tend to occur at keys other than the tonic. These are often

148:, and a final entry that contains the return of the subject in the fugue's 4324: 4307: 2968:, ed. Alison Latham (Oxford and New York: Oxford University Press, 2002). 4712: 4127:"Listening to Britten – the Young Person's Guide to the Orchestra, Op.34" 3068:, ed. Alison Latham (Oxford and New York: Oxford University Press, 2002) 2321: 1801:

fugue which, some believe, would have come at the end of the Sequentia).

1659: 1491: 1402: 808: 219: 44: 1036: 17: 4339:

Music Alone: Philosophical Reflections on the Purely Musical Experience

4182: 2751: 1873:, except the third. A massive, dissonant fugue forms the finale of his 1750:, introducing them with preludes of his own. In a letter to his sister 1703:, and the musical influence of his predecessors and colleagues such as 1599:("Treatise on the fugue", 1753) was largely based on J.S. Bach's work. 1573: 1406: 1262: 1081: 1074: 825: 227: 158: 4511: 949:(the reduction of the subject's rhythmic values by a certain factor), 1819: 27:

Contrapuntal musical form based on a subject that recurs in imitation

1277:

is a fugue in which the first answer is presented as the subject in

330:(a passage in fugal style within another work that is not a fugue). 1119:

Only one entry of the subject must be heard in its completion in a

298:

originated in the 16th century and is derived from the French word

2213:

theme is triumphantly cited at the end, making it a choral fugue.

1965: 1907: 1877:(1825); the latter was later published separately as Op. 133, the 1771: 1651:, exhibit the influence of Joseph Fux's treatise on counterpoint, 1499: 1447: 1228: 1088: 1079:

Sometimes counter-expositions or the middle entries take place in

1035: 998: 778: 721: 357:

Example of key and entry structure in a three-voice Baroque fugue

89: 38: 1883:("Great Fugue"). However, it is the fugue that opens Beethoven's 2235: 2043:(200, p. 88) describes as having "a subtle glint of jazz". 1798: 199:

is complete. This is often followed by a connecting passage, or

124:, which is a style of song popularized by and mostly limited to 4640: 3486:

Kennedy, Michael; Kennedy, Joyce Bourne; Bourne, Joyce (2007).

2711:

Walker, Paul (2001). "Fugue, §1: A classic fugue analysed". In

2670:

Kennedy, Michael; Kennedy, Joyce Bourne; Bourne, Joyce (2007).

1897:(1966, p. 330) calls it "this most moving of all fugues". 4599: 4319:. Washington, D.C.: The Catholic University of America Press. 195:. When each voice has completed its entry of the subject, the 2179:(running) parts overlaid onto skipping intervals, and use of 4457:

Theories of Fugue from the Age of Josquin to the Age of Bach

2451:

works), use panchromatic, or even denser, harmonic spectra.

1729:

Mass in C major, K. 167 "in honorem Sanctissimae Trinitatis"

1695:

The young Wolfgang Amadeus Mozart studied counterpoint with

1538:"), which appeared in 1725. This work laid out the terms of 836:, the first codetta is absent. The subject concludes on the 707:, with the latter being less common), which is known as the 345:

changes. The various entries may or may not be separated by

77: 1776:

Fugal passage from the finale of Mozart's Symphony No. 41 (

1557:

Bach's most famous fugues are those for the harpsichord in

262:, the fugue's central role waned, eventually giving way as 4036:

Howat, R. (2000) "Ravel and the Piano" in Mawer, D. (ed.)

1412:"Fugue" as a theoretical term first occurred in 1330 when 1238:

or the fugue of Bach's Passacaglia and Fugue in C minor,

114:(a musical theme) that is introduced at the beginning in 80: 4616:

Visualization of Bach's "Little" Fugue in G minor, organ

2826:

Walker, Paul (2001). "Fugue, §6: Late 18th century". In

1938:

wrote many fugues inspired by his study of the music of

1521:

The Baroque period also saw a rise in the importance of

4302:]. trans. A. Levin. Mattapan: Gamut Music Company. 3104:

Drabkin, William (2001). "Invertible Counterpoint". In

2089:

also incorporated fugues into his works, including the

4178:"Fugue for Tinhorns - Guys and Dolls (1955) - YouTube" 1675:

as well as several of his later symphonies, including

4752: 4503:

The Art of Fugue: Bach Fugues for Keyboard, 1715–1750

3359:

Walker, Paul (2001). "Fugue, §5: The golden age". In

2132:(1944) wrote of the sixth piece of that collection, " 1990:

included a whimsical example at the end of his opera

74: 3445:, Ed. Alison Latham, Oxford University Press, 2002, 3287: 3285: 3167:Paul Walker, "Fugue, §1: A Classic Fugue Analysed" 3036: 3034: 2866:Walker, Paul (2001). "Fugue, §8: 20th century". In 4336: 4141: 3810: 3808: 3565: 3274:(1996). "Figments of the Organicist Imagination". 3188: 3186: 2618: 2616: 2112:is the composer's homage to Bach's two volumes of 172:, the term was widely used to denote any works in 4144:Wondrous Strange: The Life and Art of Glenn Gould 3753:. New York: Oxford University Press. p. 243. 3689: 3687: 2341:includes a fugue in his score for the 1990 film, 278:(1770–1827), as well as modern composers such as 4493:. New York/London: Free Press/Collier-Macmillan. 2171:. The melodic material in this fugue is totally 2000:contained two (originally three) choral fugues. 1255:, or more famously, Bach's "St. Anne" Fugue in E 791:(dissonant) and therefore cannot be employed in 3973:. University of California Press. p. 223. 3638:The New Grove Dictionary of Music and Musicians 3531:The New Grove Dictionary of Music and Musicians 3413:The New Grove Dictionary of Music and Musicians 3370:The New Grove Dictionary of Music and Musicians 3318:The New Grove Dictionary of Music and Musicians 3227:The New Grove Dictionary of Music and Musicians 3115:The New Grove Dictionary of Music and Musicians 3025:Contrapuntal Technique in the Sixteenth Century 2877:The New Grove Dictionary of Music and Musicians 2837:The New Grove Dictionary of Music and Musicians 2792:The New Grove Dictionary of Music and Musicians 2722:The New Grove Dictionary of Music and Musicians 2591:The New Grove Dictionary of Music and Musicians 2475: 2370:, based on the 1953 novel by British novelist, 2189: 2138: 4216:. London: Oxford University Press. p. 17. 4097:49, no. 1 (Winter 2011): 4–46. Citation on 10. 3216:Walker, Paul (2001). "Counter-exposition". In 3027:. London: Oxford University Press. p. 47. 2964:G. M. Tucker and Andrew V. Jones, "Fugue", in 2916:"Oxford Reference Online, subscription access" 2509:"Oxford Reference Online, subscription access" 1097:fugue in a quotation from Fugue in C major by 140:. A fugue usually has three main sections: an 4652: 4214:Essays in Music Analysis Volume I: Symphonies 3970:The Great Composers: Reviews and Bombardments 3627:Walker, Paul (2001). "Permutation Fugue". In 3302: 3300: 2557:(Cambridge: Harvard University Press, 2003), 2147:and the fugue from Beethoven's Opus 106 (the 1307:to refer to a counter-fugue construct in his 8: 3869:. New York: Dorset Press. 1986. p. 195. 3489:Oxford Reference Online, subscription access 3450:Oxford Reference Online, subscription access 3073:Oxford Reference Online, subscription access 2980:Oxford Reference Online, subscription access 2776: 2774: 2673:Oxford Reference Online, subscription access 2374:, as well as several times in his score for 945:(where the subject is heard back-to-front), 2494: 2492: 1498:from this time often conclude with a fugal 1482:Fugues were incorporated into a variety of 1210:has only one subject, and does not utilize 1157: 157:. A popular compositional technique in the 4659: 4645: 4637: 4431:Fugue and Invention in Theory and Practice 4388:Classic Music: Expression, Form, and Style 2960: 2958: 2956: 2954: 2952: 2950: 2948: 2946: 2944: 2065:is a fugue, and the first movement of his 1918:minor, Op. 131, opening fugal exposition. 1430:, a composer, author, and theorist in the 1044:Fugue No. 2 in C minor, BWV 847, from the 1007:Fugue No. 2 in C minor, BWV 847, from the 965:Fugue No. 2 in C minor, BWV 847, from the 4510: 3568:The Art of Fugue & A Musical Offering 3520:Walker, Paul (2001). "Counter-fugue". In 2706: 2704: 2702: 2700: 2206:The Young Person's Guide to the Orchestra 2050:Music for Strings, Percussion and Celesta 1947:Variations and Fugue on a Theme by Handel 1347:Passacaglia and Fugue in C minor, BWV 582 4390:. London: Collier Macmillan Publishers. 4000:. Oxford University Press. p. 340. 3597:Paul M. Walker (2001). "Counter-fugue". 3402:Walker, Paul (2001). "Double Fugue". In 355: 184:works. Since the 17th century, the term 4759: 3622: 3620: 3611:10.1093/gmo/9781561592630.article.06689 3346: 3307:Walker, Paul (2001). "Stretto (i)". In 3291: 3204: 3192: 3155: 3143: 3052: 3040: 3010: 2935: 2634: 2488: 1655:(1725), which Haydn studied carefully. 4201:. London: Plumbago Books. p. 167. 4062: 3891: 3879: 3814: 3799: 3775: 3763: 3736: 3693: 3678: 3666: 3482:The Concise Oxford Dictionary of Music 2821: 2819: 2817: 2651:The Concise Oxford Dictionary of Music 2622: 1583:, is a collection of fugues (and four 4148:. New York: Oxford University Press. 2911:The Concise Oxford English Dictionary 2645: 2643: 2504:The Concise Oxford English Dictionary 2356:The jazz composer and film composer, 2216:Canadian pianist and musical thinker 1980:included several fugues in his opera 1863:Fugal passages are also found in the 1733:Mass in C major, K. 262 "Missa longa" 1181:; sometimes over a tonic or dominant 795:, without preparation and resolution. 318:("to chase"). The adjectival form is 180:, it had come to denote specifically 95:, meaning "flight" or "escape") is a 7: 4450:. New York: Broude Brothers Limited. 4343:. Ithaca: Cornell University Press. 4274: 4262: 4250: 4238: 4226: 3787: 3705: 3397: 3395: 2067:Sonata for Two Pianos and Percussion 2053:(1936) opens with a slow fugue that 1721:Mass in C minor, K. 139 "Waisenhaus" 1699:in Bologna. Under the employment of 306:. This in turn comes from the Latin 4559:Fugues of the Well-Tempered Clavier 3720:Music in the Age of the Renaissance 2301:, such as the central movement of " 2160:wrote a five-part double fugue for 2136:" ("By Him were all things made"): 1951:Harpsichord Suite No. 1 in B♭ major 4505:. University of California Press. 4365:. London: Oxford University Press. 3276:Bach and the Patterns of Invention 2203:used a fugue in the final part of 1737:Mass in C major, K. 337 "Solemnis" 1725:Mass in C major, K. 66 "Dominicus" 310:, which is itself related to both 25: 2781:Walker, Paul (2001). "Fugue". In 2580:Walker, Paul (2001). "Fugue". In 2297:A few examples also exist within 2242:, composed by the Welsh composer 1970:Liszt Piano Sonata fugue subject 799:The countersubject is written in 4762: 4741: 4076:Vingt Regards sur l'Enfant Jésus 4038:The Cambridge Companion to Ravel 3994:Budden, Julian (December 2015). 3843:The Century of Bach & Mozart 2129:Vingt regards sur l'enfant-Jésus 1781: 1442:(1525?–1594) wrote masses using 1440:Giovanni Pierluigi da Palestrina 1218:Double (triple, quadruple) fugue 1107: 1015: 977:, in the form of an accompanied 961:The excerpt below, bars 7–12 of 834:Fugue No. 16 in G minor, BWV 861 740: 731:Fugue No. 16 in G minor, BWV 861 70: 4448:The Origin of Permutation Fugue 4315:Graves, William L. Jr. (1962). 4027:, trans. Wicker. Amadeus Press. 3560:Bach, Johann Sebastian (1992). 2555:The Harvard Dictionary of Music 2116:. In the first movement of his 1518:and others, was usually fugal. 1099:Johann Caspar Ferdinand Fischer 211:, which is often followed by a 4212:Tovey, Donald Francis (1962). 2473:, for example, suggests that: 2350:Home Alone 2: Lost in New York 2320:On their EP of the same name, 1983:Die Meistersinger von Nürnberg 1: 4040:. Cambridge University Press. 4025:Gustav Mahler: The Symphonies 3443:The Oxford Companion to Music 3258:Das Wohltemperierte Klavier I 3066:The Oxford Companion to Music 2966:The Oxford Companion to Music 2223:So You Want to Write a Fugue? 1818:. During his early career in 1309:Der vollkommene Capellmeister 1265:, a triple fugue for organ.) 1040:Example of a false answer in 821:Well-Tempered Clavier, Book 1 726:Example of a tonal answer in 4594:with accompanying recordings 4433:. Palo Alto: Pacific Books. 2531:Music in Theory and Practice 2271:" from the Broadway musical 1633:String Quartet, Op. 50 No. 4 1389:was used as far back as the 1338:Himmelskönig, sei willkommen 4491:Fugue: History and Practice 3955:Beethoven's String Quartets 3749:Schulenberg, David (2001). 3718:Perkins, Leeman L. (1999). 3492:. Oxford University Press. 3453:. Oxford University Press. 3076:. Oxford University Press. 2983:. Oxford University Press. 2676:. Oxford University Press. 1840:Cello Sonata, Op. 102 No. 2 1486:, and are found in most of 1381:Middle Ages and Renaissance 987:major is marked by a quasi 981:at the fourth. Arrival in E 43:The six-part fugue in the " 4811: 4455:Walker, Paul Mark (2000). 4376:W. W. Norton & Company 3724:W. W. Norton & Company 3260:. Munich: G. Henle Verlag. 3064:"Invertible Counterpoint" 2455:Perceptions and aesthetics 2400:The Austrian musicologist 2307:Emerson, Lake & Palmer 2083:based on the Polka theme. 1165:choruses from J.S. Bach's 1072: 938: 885: 858: 688: 29: 4739: 4678: 4590:Analyses of J. S. Bach's 4549:The Well-Tempered Clavier 4489:Horsley, Imogene (1966). 4429:Verrall, John W. (1966). 4094:Perspectives of New Music 3928:. Oxford University Press 3841:; Sean Gallagher (eds.). 3572:. Courier Dover. p. 2423:major from Book 1 of the 2114:The Well-Tempered Clavier 1869:and all movements of the 1815:The Well-Tempered Clavier 1593:Friedrich Wilhelm Marpurg 1591:and through the theorist 1565:The Well-Tempered Clavier 1560:The Well-Tempered Clavier 1540:"species" of counterpoint 1465:Jan Pieterszoon Sweelinck 543: 515: 495: 466: 440: 380: 368: 363: 240:Jan Pieterszoon Sweelinck 4568:25 February 2019 at the 4542:7 September 2006 at the 3912:, p. 501. London, Faber. 3641:(2nd ed.). London: 3534:(2nd ed.). London: 3416:(2nd ed.). London: 3373:(2nd ed.). London: 3321:(2nd ed.). London: 3230:(2nd ed.). London: 3118:(2nd ed.). London: 2880:(2nd ed.). London: 2840:(2nd ed.). London: 2795:(2nd ed.). London: 2725:(2nd ed.). London: 2594:(2nd ed.). London: 1930:By the beginning of the 338:A fugue begins with the 4607:The American Cyclopædia 4317:Twentieth Century Fugue 4140:Bazzana, Kevin (2004). 3944:. London, Jonathan Cape 3603:Oxford University Press 3447:Latham, Alison (2011). 3070:Latham, Alison (2011). 2977:Latham, Alison (2011). 2757:Encyclopædia Britannica 2659:Oxford University Press 2529:Benward, Bruce (1985). 2393:Musical form or texture 2230:Outside classical music 2187:, in this work, Ligeti 2134:Par Lui tout a été fait 2079:followed by a powerful 2039:(1917) is a fugue that 2029:The second movement of 1996:and his setting of the 1961:Piano Sonata in B minor 1912:Beethoven, Quartet in C 1875:String Quartet, Op. 130 1709:Anton Cajetan Adlgasser 1597:Abhandlung von der Fuge 1329:invertible counterpoint 1212:invertible counterpoint 931:, which often uses the 801:invertible counterpoint 793:invertible counterpoint 381:Final entries in tonic 272:Wolfgang Amadeus Mozart 234:. The Baroque composer 176:style; however, by the 104:compositional technique 4795:Classical music styles 3967:Shaw, Bernard (1978). 3926:The Beethoven Quartets 3023:Morris, R. O. (1958). 2657:(Oxford and New York: 2653:, fourth edition, ed. 2480: 2198: 2155: 2110:24 Preludes and Fugues 2063:Sonata for Solo Violin 2036:Le Tombeau de Couperin 1974: 1922: 1790: 1765:and the finale of his 1715:, and his own father, 1488:George Frideric Handel 1473:Johann Jakob Froberger 1173:Final entries and coda 1158: 1151:(see for example, the 1116: 1056: 1024: 796: 749: 326:("a small fugue") and 244:Johann Jakob Froberger 57: 32:Fugue (disambiguation) 4592:Well-Tempered Clavier 4585:Fugues and fugue sets 4446:Walker, Paul (1992). 4370:Mann, Alfred (1965). 4199:Film Music and Beyond 4197:Keller, Hans (2006). 4109:. (26 November 2017) 3957:. London, Hutchinson. 3953:Radcliffe, P. (1965) 2425:Well Tempered Clavier 2073:Schwanda the Bagpiper 1969: 1940:Johann Sebastian Bach 1911: 1775: 1747:Well-Tempered Clavier 1741:Gottfried van Swieten 1251:Well-Tempered Clavier 1092: 1047:Well-Tempered Clavier 1039: 1010:Well-Tempered Clavier 1002: 968:Well-Tempered Clavier 886:Further information: 859:Further information: 782: 736:Well-Tempered Clavier 725: 689:Further information: 236:Johann Sebastian Bach 55:Johann Sebastian Bach 42: 3839:Thomas Forrest Kelly 3751:Music of the Baroque 3643:Macmillan Publishers 3536:Macmillan Publishers 3418:Macmillan Publishers 3375:Macmillan Publishers 3323:Macmillan Publishers 3232:Macmillan Publishers 3170:"Grove Music Online" 3120:Macmillan Publishers 2882:Macmillan Publishers 2842:Macmillan Publishers 2797:Macmillan Publishers 2727:Macmillan Publishers 2596:Macmillan Publishers 2260:and recorded by the 2150:Hammerklavier sonata 2126:, writing about his 1810:Ludwig van Beethoven 1705:Johann Ernst Eberlin 1701:Archbishop Colloredo 1469:Girolamo Frescobaldi 957:Example and analysis 898:closely related keys 276:Ludwig van Beethoven 252:Girolamo Frescobaldi 50:The Musical Offering 30:For other uses, see 4561:(viewable in Adobe 3909:The Classical Style 2262:Modern Jazz Quartet 2106:Dmitri Shostakovich 2069:contains a fugato. 1885:String Quartet in C 1653:Gradus ad Parnassum 1531:Gradus Ad Parnassum 1527:Johann Joseph Fux's 1477:Dieterich Buxtehude 1368:Diabelli Variations 1153:Gratias agimus tibi 1143:form is known as a 1003:Visual analysis of 888:Musical development 358: 322:. Variants include 280:Dmitri Shostakovich 256:Dieterich Buxtehude 4384:Ratner, Leonard G. 4372:The Study of Fugue 4363:The Study of Fugue 4296:Traité de la fugue 4129:. 18 October 2013. 4049:Boulez, P. (1986) 4021:Floros, Constantin 3938:Sullivan, J. W. N. 3726:. pp. 880–81. 3599:Grove Music Online 2449:Witold Lutosławski 2337:The film composer 2303:The Endless Enigma 2269:Fugue for Tinhorns 2091:Symphony of Psalms 1975: 1923: 1791: 1595:(1718–1795) whose 1504:Domenico Scarlatti 1479:all wrote fugues. 1299:. German composer 1248:minor from Bach's 1236:Requiem in D minor 1117: 1060:Counter-exposition 1057: 1025: 929:counter-exposition 797: 783:The interval of a 750: 691:Exposition (music) 662:= countersubject; 356: 268:symphony orchestra 138:West Gallery music 58: 4750: 4749: 4512:10.1525/luminos.1 4300:Treatise on Fugue 4023:. (1997, p. 135) 4007:978-0-19-027398-9 3980:978-0-520-03266-8 3867:Letters of Mozart 3652:978-1-56159-239-5 3583:978-0-486-27006-7 3545:978-1-56159-239-5 3499:978-0-19-920383-3 3460:978-0-19-957903-7 3427:978-1-56159-239-5 3384:978-1-56159-239-5 3332:978-1-56159-239-5 3272:Dreyfus, Laurence 3241:978-1-56159-239-5 3129:978-1-56159-239-5 3083:978-0-19-957903-7 2990:978-0-19-957903-7 2891:978-1-56159-239-5 2851:978-1-56159-239-5 2806:978-1-56159-239-5 2736:978-1-56159-239-5 2683:978-0-19-920383-3 2605:978-1-56159-239-5 2560:"credo Reference" 2412:Although certain 2333:Graham Sutherland 2292:Leonard Bernstein 2240:Bach goes to Town 1945:Johannes Brahms' 1936:Felix Mendelssohn 1899:J. W. N. Sullivan 1793:The parts of the 1787: 1546:'s modal fugues. 1516:Arcangelo Corelli 1320:Permutation fugue 1315:Permutation fugue 1287:Contrapunctus VII 1129:stretto maestrale 1113: 1021: 902:relative dominant 773:free counterpoint 746: 678: 645: 644: 530: 510: 481: 455: 402: 294:The English term 53:, in the hand of 16:(Redirected from 4802: 4767: 4766: 4765: 4758: 4745: 4661: 4654: 4647: 4638: 4628: 4617: 4611: 4603: 4580:Theory on fugues 4526: 4514: 4494: 4478: 4451: 4442: 4425: 4409: 4379: 4366: 4354: 4342: 4328: 4311: 4278: 4272: 4266: 4260: 4254: 4248: 4242: 4236: 4230: 4224: 4218: 4217: 4209: 4203: 4202: 4194: 4188: 4187: 4174: 4168: 4167: 4147: 4137: 4131: 4130: 4123: 4117: 4111:"Chasing a Fugue 4104: 4098: 4090: 4085: 4079: 4072: 4066: 4060: 4054: 4053:. London, Faber. 4047: 4041: 4034: 4028: 4018: 4012: 4011: 3991: 3985: 3984: 3964: 3958: 3951: 3945: 3935: 3929: 3919: 3913: 3901: 3895: 3889: 3883: 3877: 3871: 3870: 3863: 3857: 3856: 3836: 3824: 3818: 3812: 3803: 3797: 3791: 3785: 3779: 3773: 3767: 3761: 3755: 3754: 3746: 3740: 3734: 3728: 3727: 3715: 3709: 3703: 3697: 3691: 3682: 3676: 3670: 3664: 3658: 3656: 3624: 3615: 3614: 3594: 3588: 3587: 3571: 3557: 3551: 3549: 3517: 3511: 3510: 3508: 3506: 3480:"Double Fugue", 3478: 3472: 3471: 3469: 3467: 3439: 3433: 3431: 3399: 3390: 3388: 3356: 3350: 3344: 3338: 3336: 3304: 3295: 3289: 3280: 3279: 3268: 3262: 3261: 3253: 3247: 3245: 3213: 3207: 3202: 3196: 3190: 3181: 3180: 3178: 3176: 3165: 3159: 3158:, pp. 71–72 3153: 3147: 3141: 3135: 3133: 3101: 3095: 3094: 3092: 3090: 3062: 3056: 3050: 3044: 3038: 3029: 3028: 3020: 3014: 3008: 3002: 3001: 2999: 2997: 2962: 2939: 2933: 2927: 2926: 2924: 2922: 2903: 2897: 2895: 2863: 2857: 2855: 2823: 2812: 2810: 2778: 2769: 2768: 2766: 2764: 2748: 2742: 2740: 2708: 2695: 2694: 2692: 2690: 2647: 2638: 2632: 2626: 2620: 2611: 2609: 2577: 2571: 2570: 2568: 2566: 2551: 2545: 2544: 2526: 2520: 2519: 2517: 2515: 2496: 2471:Nicola Vicentino 2422: 2421: 2299:progressive rock 2246:and recorded by 2201:Benjamin Britten 2124:Olivier Messiaen 2103: 2102: 1917: 1916: 1903:Philip Radcliffe 1890: 1889: 1853: 1852: 1844:A major, Op. 101 1789: 1788: 1756:andante maestoso 1579:The Art of Fugue 1514:, as written by 1512:sonata da chiesa 1428:Gioseffo Zarlino 1422:Speculum musicae 1416:wrote about the 1414:Jacobus of Liege 1303:coined the term 1301:Johann Mattheson 1292:The Art of Fugue 1260: 1259: 1247: 1246: 1189:and is normally 1163: 1160:Dona nobis pacem 1115: 1114: 1023: 1022: 986: 985: 845: 844: 748: 747: 650: 516: 496: 467: 441: 408:Relative maj/min 400: 359: 314:("to flee") and 282:(1906–1975) and 274:(1756–1791) and 248:Johann Pachelbel 87: 86: 83: 82: 79: 76: 21: 4810: 4809: 4805: 4804: 4803: 4801: 4800: 4799: 4790:Polyphonic form 4775: 4774: 4773: 4769:Classical music 4763: 4761: 4753: 4751: 4746: 4737: 4693:English cadence 4674: 4665: 4626: 4615: 4598: 4570:Wayback Machine 4554:Mutopia Project 4546:, J. S. Bach's 4544:Wayback Machine 4533: 4523: 4497: 4488: 4485: 4483:Further reading 4467: 4454: 4445: 4428: 4412: 4398: 4382: 4369: 4357: 4351: 4331: 4314: 4290: 4287: 4282: 4281: 4273: 4269: 4261: 4257: 4249: 4245: 4237: 4233: 4225: 4221: 4211: 4210: 4206: 4196: 4195: 4191: 4176: 4175: 4171: 4156: 4139: 4138: 4134: 4125: 4124: 4120: 4105: 4101: 4088: 4086: 4082: 4073: 4069: 4061: 4057: 4048: 4044: 4035: 4031: 4019: 4015: 4008: 3993: 3992: 3988: 3981: 3966: 3965: 3961: 3952: 3948: 3936: 3932: 3920: 3916: 3902: 3898: 3890: 3886: 3878: 3874: 3865: 3864: 3860: 3853: 3834: 3826: 3825: 3821: 3813: 3806: 3798: 3794: 3786: 3782: 3774: 3770: 3762: 3758: 3748: 3747: 3743: 3735: 3731: 3717: 3716: 3712: 3704: 3700: 3696:, pp. 9–10 3692: 3685: 3677: 3673: 3665: 3661: 3653: 3626: 3625: 3618: 3596: 3595: 3591: 3584: 3562:Dörffel, Alfred 3559: 3558: 3554: 3546: 3519: 3518: 3514: 3504: 3502: 3500: 3485: 3479: 3475: 3465: 3463: 3461: 3446: 3441:"double fugue" 3440: 3436: 3428: 3401: 3400: 3393: 3385: 3358: 3357: 3353: 3345: 3341: 3333: 3306: 3305: 3298: 3290: 3283: 3270: 3269: 3265: 3255: 3254: 3250: 3242: 3215: 3214: 3210: 3203: 3199: 3191: 3184: 3174: 3172: 3168: 3166: 3162: 3154: 3150: 3142: 3138: 3130: 3103: 3102: 3098: 3088: 3086: 3084: 3069: 3063: 3059: 3051: 3047: 3039: 3032: 3022: 3021: 3017: 3009: 3005: 2995: 2993: 2991: 2976: 2963: 2942: 2934: 2930: 2920: 2918: 2914: 2904: 2900: 2892: 2865: 2864: 2860: 2852: 2825: 2824: 2815: 2807: 2780: 2779: 2772: 2762: 2760: 2752:"Fugue | music" 2750: 2749: 2745: 2737: 2710: 2709: 2698: 2688: 2686: 2684: 2669: 2655:Michael Kennedy 2648: 2641: 2633: 2629: 2621: 2614: 2606: 2579: 2578: 2574: 2564: 2562: 2558: 2552: 2548: 2541: 2528: 2527: 2523: 2513: 2511: 2507: 2497: 2490: 2485: 2457: 2419: 2418: 2395: 2390: 2288:West Side Story 2232: 2194:micro-polyphony 2118:Fourth Symphony 2100: 2099: 2087:Igor Stravinsky 2033:'s piano suite 2023: 1972:Link to passage 1928: 1914: 1913: 1887: 1886: 1856:. According to 1850: 1849: 1825:Eroica Symphony 1807: 1782: 1767:Symphony No. 41 1762:Die Zauberflöte 1693: 1625: 1605: 1508:French overture 1457: 1383: 1378: 1355: 1317: 1283:Contrapunctus V 1271: 1257: 1256: 1244: 1243: 1220: 1204: 1199: 1175: 1167:Mass in B minor 1108: 1077: 1071: 1062: 1030: 1016: 989:perfect cadence 983: 982: 959: 890: 884: 874:, a teacher of 863: 861:Section (music) 857: 842: 841: 840:(or crotchet) B 741: 693: 687: 638: 632: 623: 617: 599: 590: 584: 575: 569: 552: 550: 548: 546: 540: 536: 528: 526: 524: 522: 520: 518: 508: 506: 504: 502: 500: 498: 493: 487: 479: 477: 475: 473: 471: 469: 461: 453: 451: 449: 447: 445: 443: 438: 401:redundant entry 375: 369:First mid-entry 336: 334:Musical outline 302:or the Italian 292: 106:in two or more 73: 69: 62:classical music 35: 28: 23: 22: 15: 12: 11: 5: 4808: 4806: 4798: 4797: 4792: 4787: 4777: 4776: 4772: 4771: 4748: 4747: 4740: 4738: 4736: 4735: 4730: 4725: 4720: 4715: 4710: 4705: 4700: 4698:False relation 4695: 4690: 4685: 4679: 4676: 4675: 4666: 4664: 4663: 4656: 4649: 4641: 4635: 4634: 4623: 4612: 4596: 4587: 4582: 4577: 4556: 4532: 4531:External links 4529: 4528: 4527: 4521: 4499:Kerman, Joseph 4495: 4484: 4481: 4480: 4479: 4465: 4452: 4443: 4426: 4410: 4396: 4380: 4367: 4355: 4349: 4329: 4312: 4292:Gedalge, André 4286: 4283: 4280: 4279: 4267: 4255: 4243: 4231: 4219: 4204: 4189: 4169: 4154: 4132: 4118: 4099: 4080: 4067: 4055: 4042: 4029: 4013: 4006: 3986: 3979: 3959: 3946: 3930: 3922:Kerman, Joseph 3914: 3904:Rosen, Charles 3896: 3884: 3872: 3858: 3851: 3819: 3804: 3792: 3780: 3768: 3756: 3741: 3729: 3710: 3698: 3683: 3671: 3659: 3651: 3629:Sadie, Stanley 3616: 3589: 3582: 3552: 3544: 3522:Sadie, Stanley 3512: 3498: 3473: 3459: 3434: 3426: 3404:Sadie, Stanley 3391: 3383: 3361:Sadie, Stanley 3351: 3339: 3331: 3309:Sadie, Stanley 3296: 3281: 3263: 3248: 3240: 3218:Sadie, Stanley 3208: 3197: 3182: 3160: 3148: 3136: 3128: 3106:Sadie, Stanley 3096: 3082: 3057: 3045: 3030: 3015: 3003: 2989: 2940: 2928: 2898: 2890: 2868:Sadie, Stanley 2858: 2850: 2828:Sadie, Stanley 2813: 2805: 2783:Sadie, Stanley 2770: 2743: 2735: 2713:Sadie, Stanley 2696: 2682: 2639: 2627: 2612: 2604: 2582:Sadie, Stanley 2572: 2546: 2539: 2521: 2487: 2486: 2484: 2481: 2456: 2453: 2429:relative minor 2394: 2391: 2389: 2386: 2367:The Go-Between 2358:Michel Legrand 2273:Guys and Dolls 2244:Alec Templeton 2231: 2228: 2095:Dumbarton Oaks 2022: 2019: 2015:Symphony No. 5 2010:Symphony No. 5 2002:Anton Bruckner 1988:Giuseppe Verdi 1978:Richard Wagner 1927: 1924: 1891:minor, Op. 131 1871:Ninth Symphony 1866:Missa Solemnis 1806: 1803: 1752:Nannerl Mozart 1717:Leopold Mozart 1692: 1689: 1629:"Sun" Quartets 1624: 1621: 1604: 1601: 1484:musical genres 1461:Baroque period 1459:It was in the 1456: 1453: 1382: 1379: 1377: 1374: 1354: 1351: 1316: 1313: 1297:fuga contraria 1289:, from Bach's 1270: 1267: 1219: 1216: 1203: 1200: 1198: 1195: 1174: 1171: 1073:Main article: 1070: 1067: 1061: 1058: 1029: 1026: 958: 955: 910:relative major 883: 880: 856: 853: 767:countersubject 686: 683: 682: 681: 680: 679: 643: 642: 639: 636: 633: 630: 627: 624: 621: 618: 615: 612: 609: 607: 605: 601: 600: 597: 594: 591: 588: 585: 582: 579: 576: 573: 570: 567: 564: 561: 559: 555: 554: 542: 537: 534: 531: 514: 511: 494: 491: 488: 485: 482: 465: 462: 459: 456: 439: 436: 433: 430: 426: 425: 422: 419: 417: 414: 412: 409: 406: 404: 397: 394: 392: 389: 386: 383: 382: 379: 377: 372: 370: 367: 365: 362: 335: 332: 291: 288: 284:Paul Hindemith 260:baroque period 155:recapitulation 126:early American 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 4807: 4796: 4793: 4791: 4788: 4786: 4783: 4782: 4780: 4770: 4760: 4756: 4744: 4734: 4733:Voice leading 4731: 4729: 4726: 4724: 4721: 4719: 4716: 4714: 4711: 4709: 4706: 4704: 4701: 4699: 4696: 4694: 4691: 4689: 4686: 4684: 4681: 4680: 4677: 4673: 4669: 4662: 4657: 4655: 4650: 4648: 4643: 4642: 4639: 4633: 4629: 4624: 4622: 4618: 4613: 4609: 4608: 4602: 4601:"Fugue" 4597: 4595: 4593: 4588: 4586: 4583: 4581: 4578: 4575: 4571: 4567: 4564: 4560: 4557: 4555: 4551: 4550: 4545: 4541: 4538: 4535: 4534: 4530: 4524: 4522:9780520962590 4518: 4513: 4508: 4504: 4500: 4496: 4492: 4487: 4486: 4482: 4476: 4472: 4468: 4466:9781580461504 4462: 4458: 4453: 4449: 4444: 4440: 4436: 4432: 4427: 4423: 4419: 4415: 4411: 4407: 4403: 4399: 4397:9780028720203 4393: 4389: 4385: 4381: 4377: 4373: 4368: 4364: 4360: 4356: 4352: 4350:0-8014-2331-7 4346: 4341: 4340: 4334: 4330: 4326: 4322: 4318: 4313: 4309: 4305: 4301: 4297: 4293: 4289: 4288: 4284: 4276: 4271: 4268: 4265:, p. 210 4264: 4259: 4256: 4253:, p. 206 4252: 4247: 4244: 4241:, p. 259 4240: 4235: 4232: 4228: 4223: 4220: 4215: 4208: 4205: 4200: 4193: 4190: 4185: 4184: 4179: 4173: 4170: 4165: 4161: 4157: 4155:0-19-517440-2 4151: 4146: 4145: 4136: 4133: 4128: 4122: 4119: 4116: 4112: 4108: 4103: 4100: 4096: 4095: 4084: 4081: 4077: 4071: 4068: 4064: 4059: 4056: 4052: 4046: 4043: 4039: 4033: 4030: 4026: 4022: 4017: 4014: 4009: 4003: 3999: 3998: 3990: 3987: 3982: 3976: 3972: 3971: 3963: 3960: 3956: 3950: 3947: 3943: 3939: 3934: 3931: 3927: 3923: 3918: 3915: 3911: 3910: 3905: 3900: 3897: 3893: 3888: 3885: 3882:, p. 266 3881: 3876: 3873: 3868: 3862: 3859: 3854: 3852:9780964031739 3848: 3844: 3840: 3833: 3829: 3828:Ulrich Konrad 3823: 3820: 3816: 3811: 3809: 3805: 3801: 3796: 3793: 3789: 3784: 3781: 3778:, p. 317 3777: 3772: 3769: 3766:, p. 316 3765: 3760: 3757: 3752: 3745: 3742: 3739:, p. 165 3738: 3733: 3730: 3725: 3721: 3714: 3711: 3707: 3702: 3699: 3695: 3690: 3688: 3684: 3680: 3675: 3672: 3668: 3663: 3660: 3654: 3648: 3644: 3640: 3639: 3634: 3633:Tyrrell, John 3630: 3623: 3621: 3617: 3612: 3608: 3604: 3600: 3593: 3590: 3585: 3579: 3575: 3570: 3569: 3563: 3556: 3553: 3547: 3541: 3537: 3533: 3532: 3527: 3526:Tyrrell, John 3523: 3516: 3513: 3501: 3495: 3491: 3490: 3483: 3477: 3474: 3462: 3456: 3452: 3451: 3444: 3438: 3435: 3429: 3423: 3419: 3415: 3414: 3409: 3408:Tyrrell, John 3405: 3398: 3396: 3392: 3386: 3380: 3376: 3372: 3371: 3366: 3365:Tyrrell, John 3362: 3355: 3352: 3348: 3343: 3340: 3334: 3328: 3324: 3320: 3319: 3314: 3313:Tyrrell, John 3310: 3303: 3301: 3297: 3294:, p. 108 3293: 3288: 3286: 3282: 3277: 3273: 3267: 3264: 3259: 3252: 3249: 3243: 3237: 3233: 3229: 3228: 3223: 3222:Tyrrell, John 3219: 3212: 3209: 3206: 3201: 3198: 3194: 3189: 3187: 3183: 3171: 3164: 3161: 3157: 3152: 3149: 3145: 3140: 3137: 3131: 3125: 3121: 3117: 3116: 3111: 3110:Tyrrell, John 3107: 3100: 3097: 3085: 3079: 3075: 3074: 3067: 3061: 3058: 3054: 3049: 3046: 3042: 3037: 3035: 3031: 3026: 3019: 3016: 3012: 3007: 3004: 2992: 2986: 2982: 2981: 2975: 2974:0-19-866212-2 2971: 2967: 2961: 2959: 2957: 2955: 2953: 2951: 2949: 2947: 2945: 2941: 2937: 2932: 2929: 2917: 2912: 2908: 2902: 2899: 2893: 2887: 2883: 2879: 2878: 2873: 2872:Tyrrell, John 2869: 2862: 2859: 2853: 2847: 2843: 2839: 2838: 2833: 2832:Tyrrell, John 2829: 2822: 2820: 2818: 2814: 2808: 2802: 2798: 2794: 2793: 2788: 2787:Tyrrell, John 2784: 2777: 2775: 2771: 2759: 2758: 2753: 2747: 2744: 2738: 2732: 2728: 2724: 2723: 2718: 2717:Tyrrell, John 2714: 2707: 2705: 2703: 2701: 2697: 2685: 2679: 2675: 2674: 2668: 2667:0-19-280037-X 2664: 2660: 2656: 2652: 2646: 2644: 2640: 2636: 2631: 2628: 2625:, p. 263 2624: 2619: 2617: 2613: 2607: 2601: 2597: 2593: 2592: 2587: 2586:Tyrrell, John 2583: 2576: 2573: 2561: 2556: 2550: 2547: 2542: 2540:0-697-03633-2 2536: 2532: 2525: 2522: 2510: 2505: 2501: 2495: 2493: 2489: 2482: 2479: 2474: 2472: 2466: 2463: 2454: 2452: 2450: 2446: 2442: 2441:György Ligeti 2438: 2434: 2430: 2427:explores the 2426: 2415: 2410: 2408: 2403: 2398: 2392: 2387: 2385: 2383: 2382: 2378:'s 1970 film 2377: 2373: 2369: 2368: 2364:'s 1972 film 2363: 2359: 2354: 2352: 2351: 2346: 2345: 2340: 2339:John Williams 2335: 2334: 2330: 2329:Matyas Seiber 2327:The composer 2325: 2323: 2318: 2316: 2312: 2311:On Reflection 2308: 2304: 2300: 2295: 2293: 2289: 2284: 2282: 2278: 2277:Frank Loesser 2275:, written by 2274: 2270: 2265: 2263: 2259: 2255: 2254: 2250:in 1938, and 2249: 2248:Benny Goodman 2245: 2241: 2237: 2229: 2227: 2225: 2224: 2219: 2214: 2212: 2211:Henry Purcell 2208: 2207: 2202: 2197: 2195: 2188: 2186: 2182: 2178: 2174: 2170: 2166: 2165: 2159: 2158:György Ligeti 2154: 2152: 2151: 2146: 2145: 2137: 2135: 2131: 2130: 2125: 2121: 2119: 2115: 2111: 2107: 2096: 2092: 2088: 2084: 2082: 2078: 2074: 2070: 2068: 2064: 2060: 2056: 2055:Pierre Boulez 2052: 2051: 2046: 2042: 2038: 2037: 2032: 2031:Maurice Ravel 2027: 2020: 2018: 2016: 2011: 2007: 2006:Gustav Mahler 2003: 1999: 1995: 1994: 1989: 1985: 1984: 1979: 1973: 1968: 1964: 1962: 1958: 1954: 1952: 1948: 1943: 1941: 1937: 1933: 1925: 1921: 1910: 1906: 1904: 1900: 1896: 1895:Joseph Kerman 1892: 1882: 1881: 1876: 1872: 1868: 1867: 1861: 1859: 1858:Charles Rosen 1855: 1854:major Op. 110 1845: 1841: 1837: 1835: 1834:Hammerklavier 1829: 1827: 1826: 1821: 1817: 1816: 1811: 1804: 1802: 1800: 1796: 1779: 1774: 1770: 1768: 1764: 1763: 1757: 1753: 1749: 1748: 1742: 1738: 1734: 1730: 1726: 1722: 1718: 1714: 1713:Michael Haydn 1710: 1706: 1702: 1698: 1697:Padre Martini 1690: 1688: 1686: 1682: 1678: 1674: 1672: 1667: 1666: 1661: 1656: 1654: 1650: 1649:Baryton trios 1646: 1642: 1638: 1634: 1630: 1622: 1620: 1618: 1614: 1610: 1609:Classical era 1603:Classical era 1602: 1600: 1598: 1594: 1590: 1586: 1582: 1580: 1575: 1571: 1566: 1562: 1561: 1555: 1553: 1549: 1545: 1541: 1537: 1533: 1532: 1528: 1524: 1519: 1517: 1513: 1509: 1505: 1501: 1497: 1493: 1489: 1485: 1480: 1478: 1474: 1470: 1466: 1462: 1454: 1452: 1449: 1445: 1441: 1437: 1436:improvisation 1433: 1429: 1425: 1423: 1419: 1415: 1410: 1408: 1404: 1400: 1396: 1392: 1388: 1380: 1375: 1373: 1371: 1369: 1364: 1360: 1352: 1350: 1348: 1343: 1341: 1339: 1332: 1330: 1325: 1321: 1314: 1312: 1310: 1306: 1302: 1298: 1294: 1293: 1288: 1284: 1280: 1276: 1275:counter-fugue 1269:Counter-fugue 1268: 1266: 1264: 1254: 1252: 1241: 1237: 1234: 1230: 1229:Kyrie Eleison 1225: 1217: 1215: 1213: 1209: 1201: 1196: 1194: 1192: 1188: 1184: 1180: 1172: 1170: 1168: 1164: 1162: 1161: 1154: 1150: 1149:stretto fugue 1146: 1142: 1138: 1134: 1133:grand stretto 1130: 1126: 1123:. However, a 1122: 1105: 1100: 1096: 1091: 1087: 1085: 1083: 1076: 1068: 1066: 1059: 1054: 1050: 1048: 1043: 1038: 1034: 1028:False entries 1027: 1013: 1011: 1006: 1001: 997: 995: 990: 980: 976: 971: 969: 964: 956: 954: 952: 948: 944: 940: 939:double fugues 936: 935: 930: 925: 923: 919: 915: 911: 907: 903: 899: 894: 889: 881: 879: 877: 876:Maurice Ravel 873: 872:André Gedalge 868: 862: 854: 852: 848: 839: 835: 830: 827: 823: 822: 818: 813: 810: 805: 802: 794: 790: 787:inverts to a 786: 781: 777: 775: 774: 769: 768: 762: 760: 756: 738: 737: 732: 729: 724: 720: 718: 714: 710: 706: 702: 698: 692: 684: 677: 673: 669: 665: 661: 657: 653: 649: 648: 647: 646: 640: 634: 628: 625: 619: 613: 610: 608: 606: 603: 602: 595: 592: 586: 580: 577: 571: 565: 562: 560: 557: 556: 553: 538: 532: 512: 489: 483: 463: 457: 434: 431: 428: 427: 423: 420: 418: 415: 413: 410: 407: 405: 398: 395: 393: 390: 387: 385: 384: 378: 373: 371: 366: 361: 360: 354: 352: 348: 343: 342: 333: 331: 329: 325: 321: 317: 313: 309: 305: 301: 297: 289: 287: 286:(1895–1963). 285: 281: 277: 273: 269: 265: 261: 257: 254:(1583–1643), 253: 250:(1653–1706), 249: 246:(1616–1667), 245: 242:(1562–1621), 241: 237: 233: 229: 225: 221: 216: 214: 210: 206: 202: 198: 194: 189: 187: 183: 179: 175: 171: 166: 164: 160: 156: 151: 147: 143: 139: 136:") music and 135: 131: 127: 123: 122: 117: 113: 110:, built on a 109: 105: 102: 98: 94: 91: 85: 67: 63: 56: 52: 51: 46: 41: 37: 33: 19: 4702: 4668:Counterpoint 4605: 4591: 4547: 4502: 4490: 4456: 4447: 4430: 4421: 4417: 4387: 4374:. New York: 4371: 4362: 4359:Mann, Alfred 4338: 4316: 4299: 4295: 4277:, p. 16 4270: 4258: 4246: 4234: 4222: 4213: 4207: 4198: 4192: 4181: 4172: 4143: 4135: 4121: 4107:Service, Tom 4102: 4092: 4083: 4075: 4070: 4065:, p. 67 4058: 4051:Orientations 4050: 4045: 4037: 4032: 4024: 4016: 3996: 3989: 3969: 3962: 3954: 3949: 3941: 3933: 3925: 3917: 3907: 3899: 3894:, p. 65 3887: 3875: 3866: 3861: 3842: 3822: 3817:, p. 64 3795: 3790:, p. 53 3783: 3771: 3759: 3750: 3744: 3732: 3722:. New York: 3719: 3713: 3701: 3674: 3669:, p. 56 3662: 3636: 3598: 3592: 3567: 3555: 3529: 3515: 3503:. Retrieved 3488: 3481: 3476: 3464:. Retrieved 3449: 3442: 3437: 3411: 3368: 3354: 3349:, p. 77 3347:Verrall 1966 3342: 3316: 3292:Gedalge 1964 3275: 3266: 3257: 3251: 3225: 3211: 3205:Gedalge 1964 3200: 3195:, p. 33 3193:Verrall 1966 3173:. Retrieved 3163: 3156:Gedalge 1964 3151: 3146:, p. 61 3144:Gedalge 1964 3139: 3113: 3099: 3087:. Retrieved 3072: 3065: 3060: 3055:, p. 59 3053:Gedalge 1964 3048: 3043:, p. 12 3041:Verrall 1966 3024: 3018: 3013:, p. 12 3011:Gedalge 1964 3006: 2994:. Retrieved 2979: 2965: 2938:, p. 70 2936:Gedalge 1964 2931: 2919:. Retrieved 2910: 2906: 2901: 2875: 2861: 2835: 2790: 2761:. Retrieved 2755: 2746: 2720: 2687:. Retrieved 2672: 2650: 2635:Gedalge 1964 2630: 2589: 2575: 2563:. Retrieved 2554: 2549: 2530: 2524: 2512:. Retrieved 2503: 2499: 2476: 2467: 2458: 2444: 2424: 2414:related keys 2411: 2399: 2396: 2379: 2376:Jacques Demy 2372:L.P. Hartley 2365: 2362:Joseph Losey 2355: 2348: 2342: 2336: 2332: 2326: 2319: 2315:Gentle Giant 2296: 2285: 2266: 2256:composed by 2251: 2239: 2233: 2221: 2215: 2209:(1946). 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