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aria-controls="toc-Musical_outline-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Musical outline subsection</span> </button> <ul id="toc-Musical_outline-sublist" class="vector-toc-list"> <li id="toc-Exposition" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Exposition"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.1</span> <span>Exposition</span> </div> </a> <ul id="toc-Exposition-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Episode" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Episode"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.2</span> <span>Episode</span> </div> </a> <ul id="toc-Episode-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Development" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Development"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.3</span> <span>Development</span> </div> </a> <ul id="toc-Development-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Example_and_analysis" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Example_and_analysis"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.4</span> <span>Example and analysis</span> </div> </a> <ul id="toc-Example_and_analysis-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-False_entries" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#False_entries"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.5</span> <span>False entries</span> </div> </a> <ul id="toc-False_entries-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Counter-exposition" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Counter-exposition"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.6</span> <span>Counter-exposition</span> </div> </a> <ul id="toc-Counter-exposition-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Stretto" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Stretto"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.7</span> <span>Stretto</span> </div> </a> <ul id="toc-Stretto-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Final_entries_and_coda" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Final_entries_and_coda"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.8</span> <span>Final entries and coda</span> </div> </a> <ul id="toc-Final_entries_and_coda-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Types" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Types"> <div class="vector-toc-text"> <span class="vector-toc-numb">3</span> <span>Types</span> </div> </a> <button aria-controls="toc-Types-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Types subsection</span> </button> <ul id="toc-Types-sublist" class="vector-toc-list"> <li id="toc-Simple_fugue" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Simple_fugue"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.1</span> <span>Simple fugue</span> </div> </a> <ul id="toc-Simple_fugue-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Double_(triple,_quadruple)_fugue" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Double_(triple,_quadruple)_fugue"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.2</span> <span>Double (triple, quadruple) fugue</span> </div> </a> <ul id="toc-Double_(triple,_quadruple)_fugue-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Counter-fugue" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Counter-fugue"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.3</span> <span>Counter-fugue</span> </div> </a> <ul id="toc-Counter-fugue-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Permutation_fugue" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Permutation_fugue"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.4</span> <span>Permutation fugue</span> </div> </a> <ul id="toc-Permutation_fugue-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Fughetta" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Fughetta"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.5</span> <span>Fughetta</span> </div> </a> <ul id="toc-Fughetta-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Mirror_fugue" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Mirror_fugue"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.6</span> <span>Mirror fugue</span> </div> </a> <ul id="toc-Mirror_fugue-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-History" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#History"> <div class="vector-toc-text"> <span class="vector-toc-numb">4</span> <span>History</span> </div> </a> <button aria-controls="toc-History-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle History subsection</span> </button> <ul id="toc-History-sublist" class="vector-toc-list"> <li id="toc-Middle_Ages_and_Renaissance" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Middle_Ages_and_Renaissance"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.1</span> <span>Middle Ages and Renaissance</span> </div> </a> <ul id="toc-Middle_Ages_and_Renaissance-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Baroque_era" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Baroque_era"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.2</span> <span>Baroque era</span> </div> </a> <ul id="toc-Baroque_era-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Classical_era" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Classical_era"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.3</span> <span>Classical era</span> </div> </a> <ul id="toc-Classical_era-sublist" class="vector-toc-list"> <li id="toc-Haydn" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Haydn"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.3.1</span> <span>Haydn</span> </div> </a> <ul id="toc-Haydn-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Mozart" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Mozart"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.3.2</span> <span>Mozart</span> </div> </a> <ul id="toc-Mozart-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Beethoven" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Beethoven"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.3.3</span> <span>Beethoven</span> </div> </a> <ul id="toc-Beethoven-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Romantic_era" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Romantic_era"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.4</span> <span>Romantic era</span> </div> </a> <ul id="toc-Romantic_era-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-20th_century" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#20th_century"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.5</span> <span>20th century</span> </div> </a> <ul id="toc-20th_century-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Outside_classical_music" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Outside_classical_music"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.6</span> <span>Outside classical music</span> </div> </a> <ul id="toc-Outside_classical_music-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Discussion" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Discussion"> <div class="vector-toc-text"> <span class="vector-toc-numb">5</span> <span>Discussion</span> </div> </a> <button aria-controls="toc-Discussion-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Discussion subsection</span> </button> <ul id="toc-Discussion-sublist" class="vector-toc-list"> <li id="toc-Musical_form_or_texture" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Musical_form_or_texture"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.1</span> <span>Musical form or texture</span> </div> </a> <ul id="toc-Musical_form_or_texture-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Perceptions_and_aesthetics" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Perceptions_and_aesthetics"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.2</span> <span>Perceptions and aesthetics</span> </div> </a> <ul id="toc-Perceptions_and_aesthetics-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> <span class="vector-toc-numb">6</span> <span>References</span> </div> </a> <ul id="toc-References-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Sources" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Sources"> <div class="vector-toc-text"> <span class="vector-toc-numb">7</span> <span>Sources</span> </div> </a> <ul id="toc-Sources-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Further_reading" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Further_reading"> <div class="vector-toc-text"> <span class="vector-toc-numb">8</span> <span>Further reading</span> </div> </a> <ul id="toc-Further_reading-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> <span class="vector-toc-numb">9</span> <span>External links</span> </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc vector-button-flush-left" title="Table of Contents" > <input type="checkbox" id="vector-page-titlebar-toc-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-page-titlebar-toc" class="vector-dropdown-checkbox " aria-label="Toggle the table of contents" > <label id="vector-page-titlebar-toc-label" for="vector-page-titlebar-toc-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only " aria-hidden="true" ><span class="vector-icon mw-ui-icon-listBullet mw-ui-icon-wikimedia-listBullet"></span> <span class="vector-dropdown-label-text">Toggle the table of contents</span> </label> <div class="vector-dropdown-content"> <div id="vector-page-titlebar-toc-unpinned-container" class="vector-unpinned-container"> </div> </div> </div> </nav> <h1 id="firstHeading" class="firstHeading mw-first-heading"><span class="mw-page-title-main">Fugue</span></h1> <div id="p-lang-btn" class="vector-dropdown mw-portlet mw-portlet-lang" > <input type="checkbox" id="p-lang-btn-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-p-lang-btn" class="vector-dropdown-checkbox mw-interlanguage-selector" aria-label="Go to an article in another language. Available in 55 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-55" aria-hidden="true" ><span class="vector-icon mw-ui-icon-language-progressive mw-ui-icon-wikimedia-language-progressive"></span> <span class="vector-dropdown-label-text">55 languages</span> </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-als mw-list-item"><a href="https://als.wikipedia.org/wiki/Fuge_(Musik)" title="Fuge (Musik) – Alemannic" lang="gsw" hreflang="gsw" data-title="Fuge (Musik)" data-language-autonym="Alemannisch" data-language-local-name="Alemannic" class="interlanguage-link-target"><span>Alemannisch</span></a></li><li class="interlanguage-link interwiki-ar mw-list-item"><a href="https://ar.wikipedia.org/wiki/%D8%AA%D8%B3%D9%84%D9%84_(%D9%85%D9%88%D8%B3%D9%8A%D9%82%D9%89)" title="تسلل (موسيقى) – Arabic" lang="ar" hreflang="ar" data-title="تسلل (موسيقى)" data-language-autonym="العربية" data-language-local-name="Arabic" class="interlanguage-link-target"><span>العربية</span></a></li><li class="interlanguage-link interwiki-ast mw-list-item"><a href="https://ast.wikipedia.org/wiki/Fuga" title="Fuga – Asturian" lang="ast" hreflang="ast" data-title="Fuga" data-language-autonym="Asturianu" data-language-local-name="Asturian" class="interlanguage-link-target"><span>Asturianu</span></a></li><li class="interlanguage-link interwiki-az mw-list-item"><a href="https://az.wikipedia.org/wiki/Fuqa" title="Fuqa – Azerbaijani" lang="az" hreflang="az" data-title="Fuqa" data-language-autonym="Azərbaycanca" data-language-local-name="Azerbaijani" class="interlanguage-link-target"><span>Azərbaycanca</span></a></li><li class="interlanguage-link interwiki-be mw-list-item"><a href="https://be.wikipedia.org/wiki/%D0%A4%D1%83%D0%B3%D0%B0" title="Фуга – Belarusian" lang="be" hreflang="be" data-title="Фуга" data-language-autonym="Беларуская" data-language-local-name="Belarusian" class="interlanguage-link-target"><span>Беларуская</span></a></li><li class="interlanguage-link interwiki-bg mw-list-item"><a href="https://bg.wikipedia.org/wiki/%D0%A4%D1%83%D0%B3%D0%B0" title="Фуга – Bulgarian" lang="bg" hreflang="bg" data-title="Фуга" data-language-autonym="Български" data-language-local-name="Bulgarian" class="interlanguage-link-target"><span>Български</span></a></li><li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/Fuga" title="Fuga – Catalan" lang="ca" hreflang="ca" data-title="Fuga" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target"><span>Català</span></a></li><li class="interlanguage-link interwiki-cs mw-list-item"><a href="https://cs.wikipedia.org/wiki/Fuga" title="Fuga – Czech" lang="cs" hreflang="cs" data-title="Fuga" data-language-autonym="Čeština" data-language-local-name="Czech" class="interlanguage-link-target"><span>Čeština</span></a></li><li class="interlanguage-link interwiki-da mw-list-item"><a href="https://da.wikipedia.org/wiki/Fuga" title="Fuga – Danish" lang="da" hreflang="da" data-title="Fuga" data-language-autonym="Dansk" data-language-local-name="Danish" class="interlanguage-link-target"><span>Dansk</span></a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Fuge_(Musik)" title="Fuge (Musik) – German" lang="de" hreflang="de" data-title="Fuge (Musik)" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target"><span>Deutsch</span></a></li><li class="interlanguage-link interwiki-et mw-list-item"><a href="https://et.wikipedia.org/wiki/Fuuga" title="Fuuga – Estonian" lang="et" hreflang="et" data-title="Fuuga" data-language-autonym="Eesti" data-language-local-name="Estonian" class="interlanguage-link-target"><span>Eesti</span></a></li><li class="interlanguage-link interwiki-el mw-list-item"><a href="https://el.wikipedia.org/wiki/%CE%A6%CE%BF%CF%8D%CE%B3%CE%BA%CE%B1" title="Φούγκα – Greek" lang="el" hreflang="el" data-title="Φούγκα" data-language-autonym="Ελληνικά" data-language-local-name="Greek" class="interlanguage-link-target"><span>Ελληνικά</span></a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Fuga" title="Fuga – Spanish" lang="es" hreflang="es" data-title="Fuga" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target"><span>Español</span></a></li><li class="interlanguage-link interwiki-eo mw-list-item"><a href="https://eo.wikipedia.org/wiki/Fugo" title="Fugo – Esperanto" lang="eo" hreflang="eo" data-title="Fugo" data-language-autonym="Esperanto" data-language-local-name="Esperanto" class="interlanguage-link-target"><span>Esperanto</span></a></li><li class="interlanguage-link interwiki-eu mw-list-item"><a href="https://eu.wikipedia.org/wiki/Fuga" title="Fuga – Basque" lang="eu" hreflang="eu" data-title="Fuga" data-language-autonym="Euskara" data-language-local-name="Basque" class="interlanguage-link-target"><span>Euskara</span></a></li><li class="interlanguage-link interwiki-fa badge-Q17437798 badge-goodarticle mw-list-item" title="good article badge"><a href="https://fa.wikipedia.org/wiki/%D9%81%D9%88%DA%AF" title="فوگ – Persian" lang="fa" hreflang="fa" data-title="فوگ" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target"><span>فارسی</span></a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Fugue" title="Fugue – French" lang="fr" hreflang="fr" data-title="Fugue" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target"><span>Français</span></a></li><li class="interlanguage-link interwiki-gl mw-list-item"><a href="https://gl.wikipedia.org/wiki/Fuga" title="Fuga – Galician" lang="gl" hreflang="gl" data-title="Fuga" data-language-autonym="Galego" data-language-local-name="Galician" class="interlanguage-link-target"><span>Galego</span></a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%ED%91%B8%EA%B0%80" title="푸가 – Korean" lang="ko" hreflang="ko" data-title="푸가" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target"><span>한국어</span></a></li><li class="interlanguage-link interwiki-hy mw-list-item"><a href="https://hy.wikipedia.org/wiki/%D5%96%D5%B8%D6%82%D5%A3%D5%A1" title="Ֆուգա – Armenian" lang="hy" hreflang="hy" data-title="Ֆուգա" data-language-autonym="Հայերեն" data-language-local-name="Armenian" class="interlanguage-link-target"><span>Հայերեն</span></a></li><li class="interlanguage-link interwiki-hr mw-list-item"><a href="https://hr.wikipedia.org/wiki/Fuga_(glazba)" title="Fuga (glazba) – Croatian" lang="hr" hreflang="hr" data-title="Fuga (glazba)" data-language-autonym="Hrvatski" data-language-local-name="Croatian" class="interlanguage-link-target"><span>Hrvatski</span></a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Fuga_(musica)" title="Fuga (musica) – Italian" lang="it" hreflang="it" data-title="Fuga (musica)" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target"><span>Italiano</span></a></li><li class="interlanguage-link interwiki-he badge-Q17437796 badge-featuredarticle mw-list-item" title="featured article badge"><a href="https://he.wikipedia.org/wiki/%D7%A4%D7%95%D7%92%D7%94" title="פוגה – Hebrew" lang="he" hreflang="he" data-title="פוגה" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target"><span>עברית</span></a></li><li class="interlanguage-link interwiki-ka mw-list-item"><a href="https://ka.wikipedia.org/wiki/%E1%83%A4%E1%83%A3%E1%83%92%E1%83%90" title="ფუგა – Georgian" lang="ka" hreflang="ka" data-title="ფუგა" data-language-autonym="ქართული" data-language-local-name="Georgian" class="interlanguage-link-target"><span>ქართული</span></a></li><li class="interlanguage-link interwiki-kk mw-list-item"><a href="https://kk.wikipedia.org/wiki/%D0%A4%D1%83%D0%B3%D0%B0" title="Фуга – Kazakh" lang="kk" hreflang="kk" data-title="Фуга" data-language-autonym="Қазақша" data-language-local-name="Kazakh" class="interlanguage-link-target"><span>Қазақша</span></a></li><li class="interlanguage-link interwiki-ky mw-list-item"><a href="https://ky.wikipedia.org/wiki/%D0%A4%D1%83%D0%B3%D0%B0" title="Фуга – Kyrgyz" lang="ky" hreflang="ky" data-title="Фуга" data-language-autonym="Кыргызча" data-language-local-name="Kyrgyz" class="interlanguage-link-target"><span>Кыргызча</span></a></li><li class="interlanguage-link interwiki-la mw-list-item"><a href="https://la.wikipedia.org/wiki/Fuga_(musica)" title="Fuga (musica) – Latin" lang="la" hreflang="la" data-title="Fuga (musica)" data-language-autonym="Latina" data-language-local-name="Latin" class="interlanguage-link-target"><span>Latina</span></a></li><li class="interlanguage-link interwiki-lb mw-list-item"><a href="https://lb.wikipedia.org/wiki/Fugue" title="Fugue – Luxembourgish" lang="lb" hreflang="lb" data-title="Fugue" data-language-autonym="Lëtzebuergesch" data-language-local-name="Luxembourgish" class="interlanguage-link-target"><span>Lëtzebuergesch</span></a></li><li class="interlanguage-link interwiki-lt mw-list-item"><a href="https://lt.wikipedia.org/wiki/Fuga" title="Fuga – Lithuanian" lang="lt" hreflang="lt" data-title="Fuga" data-language-autonym="Lietuvių" data-language-local-name="Lithuanian" class="interlanguage-link-target"><span>Lietuvių</span></a></li><li class="interlanguage-link interwiki-hu mw-list-item"><a href="https://hu.wikipedia.org/wiki/F%C3%BAga" title="Fúga – Hungarian" lang="hu" hreflang="hu" data-title="Fúga" data-language-autonym="Magyar" data-language-local-name="Hungarian" class="interlanguage-link-target"><span>Magyar</span></a></li><li class="interlanguage-link interwiki-mk mw-list-item"><a href="https://mk.wikipedia.org/wiki/%D0%A4%D1%83%D0%B3%D0%B0_(%D0%BC%D1%83%D0%B7%D0%B8%D0%BA%D0%B0)" title="Фуга (музика) – Macedonian" lang="mk" hreflang="mk" data-title="Фуга (музика)" data-language-autonym="Македонски" data-language-local-name="Macedonian" class="interlanguage-link-target"><span>Македонски</span></a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Fuga" title="Fuga – Dutch" lang="nl" hreflang="nl" data-title="Fuga" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target"><span>Nederlands</span></a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E3%83%95%E3%83%BC%E3%82%AC" title="フーガ – Japanese" lang="ja" hreflang="ja" data-title="フーガ" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target"><span>日本語</span></a></li><li class="interlanguage-link interwiki-no mw-list-item"><a href="https://no.wikipedia.org/wiki/Fuge" title="Fuge – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="Fuge" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target"><span>Norsk bokmål</span></a></li><li class="interlanguage-link interwiki-nn mw-list-item"><a href="https://nn.wikipedia.org/wiki/Fuge" title="Fuge – Norwegian Nynorsk" lang="nn" hreflang="nn" data-title="Fuge" data-language-autonym="Norsk nynorsk" data-language-local-name="Norwegian Nynorsk" class="interlanguage-link-target"><span>Norsk nynorsk</span></a></li><li class="interlanguage-link interwiki-uz mw-list-item"><a href="https://uz.wikipedia.org/wiki/Fuga" title="Fuga – Uzbek" lang="uz" hreflang="uz" data-title="Fuga" data-language-autonym="Oʻzbekcha / ўзбекча" data-language-local-name="Uzbek" class="interlanguage-link-target"><span>Oʻzbekcha / ўзбекча</span></a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Fuga_(muzyka)" title="Fuga (muzyka) – Polish" lang="pl" hreflang="pl" data-title="Fuga (muzyka)" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target"><span>Polski</span></a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Fuga" title="Fuga – Portuguese" lang="pt" hreflang="pt" data-title="Fuga" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target"><span>Português</span></a></li><li class="interlanguage-link interwiki-ro mw-list-item"><a href="https://ro.wikipedia.org/wiki/Fug%C4%83_(muzic%C4%83)" title="Fugă (muzică) – Romanian" lang="ro" hreflang="ro" data-title="Fugă (muzică)" data-language-autonym="Română" data-language-local-name="Romanian" class="interlanguage-link-target"><span>Română</span></a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%A4%D1%83%D0%B3%D0%B0" title="Фуга – Russian" lang="ru" hreflang="ru" data-title="Фуга" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target"><span>Русский</span></a></li><li class="interlanguage-link interwiki-simple mw-list-item"><a href="https://simple.wikipedia.org/wiki/Fugue" title="Fugue – Simple English" lang="en-simple" hreflang="en-simple" data-title="Fugue" data-language-autonym="Simple English" data-language-local-name="Simple English" class="interlanguage-link-target"><span>Simple English</span></a></li><li class="interlanguage-link interwiki-sk mw-list-item"><a href="https://sk.wikipedia.org/wiki/F%C3%BAga" title="Fúga – Slovak" lang="sk" hreflang="sk" data-title="Fúga" data-language-autonym="Slovenčina" data-language-local-name="Slovak" class="interlanguage-link-target"><span>Slovenčina</span></a></li><li class="interlanguage-link interwiki-sl mw-list-item"><a href="https://sl.wikipedia.org/wiki/Fuga" title="Fuga – Slovenian" lang="sl" hreflang="sl" data-title="Fuga" data-language-autonym="Slovenščina" data-language-local-name="Slovenian" class="interlanguage-link-target"><span>Slovenščina</span></a></li><li class="interlanguage-link interwiki-ckb mw-list-item"><a href="https://ckb.wikipedia.org/wiki/%D9%81%DB%8C%D9%88%DA%AF" title="فیوگ – Central Kurdish" lang="ckb" hreflang="ckb" data-title="فیوگ" data-language-autonym="کوردی" data-language-local-name="Central Kurdish" class="interlanguage-link-target"><span>کوردی</span></a></li><li class="interlanguage-link interwiki-sr mw-list-item"><a href="https://sr.wikipedia.org/wiki/%D0%A4%D1%83%D0%B3%D0%B0_(%D0%BC%D1%83%D0%B7%D0%B8%D0%BA%D0%B0)" title="Фуга (музика) – Serbian" lang="sr" hreflang="sr" data-title="Фуга (музика)" data-language-autonym="Српски / srpski" data-language-local-name="Serbian" class="interlanguage-link-target"><span>Српски / srpski</span></a></li><li class="interlanguage-link interwiki-sh mw-list-item"><a href="https://sh.wikipedia.org/wiki/Fuga_(muzika)" title="Fuga (muzika) – Serbo-Croatian" lang="sh" hreflang="sh" data-title="Fuga (muzika)" data-language-autonym="Srpskohrvatski / српскохрватски" data-language-local-name="Serbo-Croatian" class="interlanguage-link-target"><span>Srpskohrvatski / српскохрватски</span></a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/Fuuga" title="Fuuga – Finnish" lang="fi" hreflang="fi" data-title="Fuuga" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target"><span>Suomi</span></a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Fuga" title="Fuga – Swedish" lang="sv" hreflang="sv" data-title="Fuga" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target"><span>Svenska</span></a></li><li class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/F%C3%BCg" title="Füg – Turkish" lang="tr" hreflang="tr" data-title="Füg" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target"><span>Türkçe</span></a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/%D0%A4%D1%83%D0%B3%D0%B0" title="Фуга – Ukrainian" lang="uk" hreflang="uk" data-title="Фуга" data-language-autonym="Українська" data-language-local-name="Ukrainian" class="interlanguage-link-target"><span>Українська</span></a></li><li class="interlanguage-link interwiki-vi mw-list-item"><a href="https://vi.wikipedia.org/wiki/T%E1%BA%A9u_ph%C3%A1p" title="Tẩu pháp – Vietnamese" lang="vi" hreflang="vi" data-title="Tẩu pháp" data-language-autonym="Tiếng Việt" data-language-local-name="Vietnamese" class="interlanguage-link-target"><span>Tiếng Việt</span></a></li><li class="interlanguage-link interwiki-vo mw-list-item"><a href="https://vo.wikipedia.org/wiki/Fuge" title="Fuge – Volapük" lang="vo" hreflang="vo" data-title="Fuge" data-language-autonym="Volapük" data-language-local-name="Volapük" class="interlanguage-link-target"><span>Volapük</span></a></li><li class="interlanguage-link interwiki-wuu mw-list-item"><a href="https://wuu.wikipedia.org/wiki/%E8%B5%8B%E6%A0%BC" title="赋格 – Wu" lang="wuu" hreflang="wuu" data-title="赋格" data-language-autonym="吴语" data-language-local-name="Wu" class="interlanguage-link-target"><span>吴语</span></a></li><li class="interlanguage-link interwiki-zh-yue mw-list-item"><a href="https://zh-yue.wikipedia.org/wiki/%E8%B3%A6%E6%A0%BC%E6%9B%B2" title="賦格曲 – Cantonese" lang="yue" hreflang="yue" data-title="賦格曲" data-language-autonym="粵語" data-language-local-name="Cantonese" class="interlanguage-link-target"><span>粵語</span></a></li><li class="interlanguage-link interwiki-zh mw-list-item"><a href="https://zh.wikipedia.org/wiki/%E8%B5%8B%E6%A0%BC" title="赋格 – Chinese" lang="zh" hreflang="zh" data-title="赋格" data-language-autonym="中文" data-language-local-name="Chinese" class="interlanguage-link-target"><span>中文</span></a></li> </ul> <div class="after-portlet after-portlet-lang"><span class="wb-langlinks-edit wb-langlinks-link"><a href="https://www.wikidata.org/wiki/Special:EntityPage/Q181014#sitelinks-wikipedia" title="Edit interlanguage links" class="wbc-editpage">Edit links</a></span></div> </div> </div> </div> </header> <div class="vector-page-toolbar"> <div class="vector-page-toolbar-container"> <div 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class="vector-body" aria-labelledby="firstHeading" data-mw-ve-target-container> <div class="vector-body-before-content"> <div class="mw-indicators"> </div> <div id="siteSub" class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Contrapuntal musical form based on a subject that recurs in imitation</div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">For other uses, see <a href="/wiki/Fugue_(disambiguation)" class="mw-disambig" title="Fugue (disambiguation)">Fugue (disambiguation)</a>.</div> <p class="mw-empty-elt"> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Ricercare_a_6_from_The_Musical_Offering.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f1/Ricercare_a_6_from_The_Musical_Offering.jpg/220px-Ricercare_a_6_from_The_Musical_Offering.jpg" decoding="async" width="220" height="324" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f1/Ricercare_a_6_from_The_Musical_Offering.jpg/330px-Ricercare_a_6_from_The_Musical_Offering.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f1/Ricercare_a_6_from_The_Musical_Offering.jpg/440px-Ricercare_a_6_from_The_Musical_Offering.jpg 2x" data-file-width="1224" data-file-height="1805" /></a><figcaption>The six-part fugue in the "<a href="/wiki/Ricercar" title="Ricercar">Ricercar</a> a 6" from <i><a href="/wiki/The_Musical_Offering" title="The Musical Offering">The Musical Offering</a></i>, in the hand of <a href="/wiki/Johann_Sebastian_Bach" title="Johann Sebastian Bach">Johann Sebastian Bach</a></figcaption></figure> <p>In <a href="/wiki/Classical_music" title="Classical music">classical music</a>, a <b>fugue</b> (<span class="rt-commentedText nowrap"><span class="IPA nopopups noexcerpt" lang="en-fonipa"><a href="/wiki/Help:IPA/English" title="Help:IPA/English">/<span style="border-bottom:1px dotted"><span title="'f' in 'find'">f</span><span title="/juː/: 'u' in 'cute'">juː</span><span title="/ɡ/: 'g' in 'guy'">ɡ</span></span>/</a></span></span>, from <a href="/wiki/Latin" title="Latin">Latin</a> <i>fuga</i>, meaning "flight" or "escape"<sup id="cite_ref-etymology_1-0" class="reference"><a href="#cite_note-etymology-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup>) is a <a href="/wiki/Counterpoint" title="Counterpoint">contrapuntal</a>, <a href="/wiki/Polyphony" title="Polyphony">polyphonic</a> <a href="/wiki/Musical_composition" title="Musical composition">compositional technique</a> in two or more <a href="/wiki/Voice_(music)" class="mw-redirect" title="Voice (music)">voices</a>, built on a <a href="/wiki/Subject_(music)" title="Subject (music)">subject</a> (a musical theme) that is introduced at the beginning in <a href="/wiki/Imitation_(music)" title="Imitation (music)">imitation</a> (repetition at different pitches), which recurs frequently throughout the course of the composition. It is not to be confused with a <i><a href="/wiki/Fuguing_tune" title="Fuguing tune">fuguing tune</a></i>, which is a style of song popularized by and mostly limited to <a href="/wiki/Music_history_of_the_United_States" title="Music history of the United States">early American</a> (i.e. <a href="/wiki/Shape_note" title="Shape note">shape note</a> or "<a href="/wiki/Sacred_Harp" title="Sacred Harp">Sacred Harp</a>") music and <a href="/wiki/West_gallery_music" title="West gallery music">West Gallery music</a>. A fugue usually has three main sections: an <a href="/wiki/Exposition_(music)" title="Exposition (music)">exposition</a>, a <a href="/wiki/Development_(music)" title="Development (music)">development</a>, and a final entry that contains the return of the subject in the fugue's <a href="/wiki/Tonic_(music)" title="Tonic (music)">tonic</a> 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 <a href="/wiki/Recapitulation_(music)" title="Recapitulation (music)">recapitulation</a>.<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> A popular compositional technique in the <a href="/wiki/Baroque#Music" title="Baroque">Baroque era</a>, the fugue was fundamental in showing mastery of harmony and tonality as it presented <a href="/wiki/Counterpoint" title="Counterpoint">counterpoint</a>. </p><p>In the <a href="/wiki/Middle_Ages" title="Middle Ages">Middle Ages</a>, the term was widely used to denote any works in <a href="/wiki/Canon_(music)" title="Canon (music)">canonic</a> style; however, by the <a href="/wiki/Renaissance" title="Renaissance">Renaissance</a>, it had come to denote specifically <a href="/wiki/Imitation_(music)" title="Imitation (music)">imitative</a> works.<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> Since the 17th century,<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> the term <i>fugue</i> has described what is commonly regarded as the most fully developed procedure of imitative counterpoint.<sup id="cite_ref-Ratner-1980-p263_5-0" class="reference"><a href="#cite_note-Ratner-1980-p263-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> </p><p>Most fugues open with a short main theme, called the subject,<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> which then sounds successively in each <a href="/wiki/Part_(music)" title="Part (music)">voice</a>. When each voice has completed its entry of the subject, the <i>exposition</i> is complete. This is often followed by a connecting passage, or <i>episode</i>, developed from previously heard material; further "entries" of the subject are then heard in <a href="/wiki/Closely_related_key" title="Closely related key">related keys</a>. 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 <a href="/wiki/Tonic_(music)" title="Tonic (music)">tonic</a>, which is often followed by a <a href="/wiki/Coda_(music)" title="Coda (music)">coda</a>.<sup id="cite_ref-one_7-0" class="reference"><a href="#cite_note-one-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-classic_8-0" class="reference"><a href="#cite_note-classic-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> 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. </p><p>The form evolved during the 18th century from several earlier types of contrapuntal compositions, such as imitative <a href="/wiki/Ricercar" title="Ricercar">ricercars</a>, <a href="/wiki/Capriccio_(music)" title="Capriccio (music)">capriccios</a>, <a href="/wiki/Canzona" title="Canzona">canzonas</a>, and <a href="/wiki/Fantasia_(music)" class="mw-redirect" title="Fantasia (music)">fantasias</a>.<sup id="cite_ref-grovemain_10-0" class="reference"><a href="#cite_note-grovemain-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> The Baroque composer <a href="/wiki/Johann_Sebastian_Bach" title="Johann Sebastian Bach">Johann Sebastian Bach</a> (1685–1750), well known for his fugues, shaped his own works after those of <a href="/wiki/Jan_Pieterszoon_Sweelinck" title="Jan Pieterszoon Sweelinck">Jan Pieterszoon Sweelinck</a> (1562–1621), <a href="/wiki/Johann_Jakob_Froberger" title="Johann Jakob Froberger">Johann Jakob Froberger</a> (1616–1667), <a href="/wiki/Johann_Pachelbel" title="Johann Pachelbel">Johann Pachelbel</a> (1653–1706), <a href="/wiki/Girolamo_Frescobaldi" title="Girolamo Frescobaldi">Girolamo Frescobaldi</a> (1583–1643), <a href="/wiki/Dieterich_Buxtehude" title="Dieterich Buxtehude">Dieterich Buxtehude</a> (c. 1637–1707) and others.<sup id="cite_ref-grovemain_10-1" class="reference"><a href="#cite_note-grovemain-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> With the decline of sophisticated styles at the end of the <a href="/wiki/Baroque_music" title="Baroque music">baroque period</a>, the fugue's central role waned, eventually giving way as <a href="/wiki/Sonata_form" title="Sonata form">sonata form</a> and the <a href="/wiki/Symphony_orchestra" class="mw-redirect" title="Symphony orchestra">symphony orchestra</a> rose to a more prominent position.<sup id="cite_ref-egg_11-0" class="reference"><a href="#cite_note-egg-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> Nevertheless, composers continued to write and study fugues; they appear in the works of <a href="/wiki/Wolfgang_Amadeus_Mozart" title="Wolfgang Amadeus Mozart">Wolfgang Amadeus Mozart</a> (1756–1791)<sup id="cite_ref-egg_11-1" class="reference"><a href="#cite_note-egg-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> and <a href="/wiki/Ludwig_van_Beethoven" title="Ludwig van Beethoven">Ludwig van Beethoven</a> (1770–1827),<sup id="cite_ref-egg_11-2" class="reference"><a href="#cite_note-egg-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> as well as modern composers such as <a href="/wiki/Dmitri_Shostakovich" title="Dmitri Shostakovich">Dmitri Shostakovich</a> (1906–1975) and <a href="/wiki/Paul_Hindemith" title="Paul Hindemith">Paul Hindemith</a> (1895–1963).<sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> </p> <style data-mw-deduplicate="TemplateStyles:r886046785">.mw-parser-output .toclimit-2 .toclevel-1 ul,.mw-parser-output .toclimit-3 .toclevel-2 ul,.mw-parser-output .toclimit-4 .toclevel-3 ul,.mw-parser-output .toclimit-5 .toclevel-4 ul,.mw-parser-output .toclimit-6 .toclevel-5 ul,.mw-parser-output .toclimit-7 .toclevel-6 ul{display:none}</style><div class="toclimit-3"><meta property="mw:PageProp/toc" /></div> <div class="mw-heading mw-heading2"><h2 id="Etymology">Etymology</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=1" title="Edit section: Etymology"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The English term <i>fugue</i> originated in the 16th century and is derived from the French word <i>fugue</i> or the Italian <i>fuga</i>. This in turn comes from the Latin <i>fuga</i>, which is itself related to both <i>fugere</i> ("to flee") and <i>fugare</i> ("to chase").<sup id="cite_ref-etymology_1-1" class="reference"><a href="#cite_note-etymology-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> The adjectival form is <i>fugal</i>.<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> Variants include <i>fughetta</i> ("a small fugue") and <i>fugato</i> (a passage in fugal style within another work that is not a fugue).<sup id="cite_ref-one_7-1" class="reference"><a href="#cite_note-one-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Musical_outline">Musical outline</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=2" title="Edit section: Musical outline"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>A fugue begins with the <i><a href="/wiki/Exposition_(music)" title="Exposition (music)">exposition</a></i> 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,<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> and often accompanying key changes. The various entries may or may not be separated by <i>episodes</i> or occur in <i>stretto</i>. </p> <table class="wikitable" style="text-align:center"> <caption>Example of key and entry structure in a three-voice Baroque fugue </caption> <tbody><tr> <th></th> <th colspan="5" style="background-color:#ABCDEF;">Exposition</th> <th></th> <th colspan="2" style="background-color:#ABCDEF;">First mid-entry</th> <th></th> <th style="background-color:#ABCDEF;">Second<br />mid-entry</th> <th></th> <th colspan="2" style="background-color:#ABCDEF;">Final entries in tonic </th></tr> <tr> <th></th> <th>Tonic</th> <th>Dom.</th> <th></th> <th>T</th> <th>(D-<small>redundant entry</small>)</th> <th></th> <th>Relative maj/min</th> <th>Dom. of rel.</th> <th></th> <th>Subdom.</th> <th></th> <th>T</th> <th>T </th></tr> <tr> <th>Soprano </th> <td>S</td> <td>CS<sub>1</sub></td> <td rowspan="3" style="background:#ffdead;"><small>C<br />o<br />d<br />e<br />t<br />t<br />a</small></td> <td>CS<sub>2</sub></td> <td>A</td> <td rowspan="3" style="background:#ffdead;"><small>E<br />p<br />i<br />s<br />o<br />d<br />e</small> </td> <td>CS<sub>1</sub></td> <td>CS<sub>2</sub></td> <td rowspan="3" style="background:#ffdead;"><small>E<br />p<br />i<br />s<br />o<br />d<br />e</small></td> <td>S</td> <td rowspan="3" style="background:#ffdead;"><small>E<br />p<br />i<br />s<br />o<br />d<br />e</small></td> <td>CS<sub>1</sub></td> <td>Free<br />counterpoint</td> <td rowspan="3" style="background:#ffaa2d"><b>C<br />o<br />d<br />a<br /></b> </td></tr> <tr> <th>Alto </th> <td></td> <td>A</td> <td>CS<sub>1</sub></td> <td>CS<sub>2</sub></td> <td>S</td> <td>CS<sub>1</sub></td> <td>CS<sub>2</sub></td> <td>S</td> <td>CS<sub>1</sub> </td></tr> <tr> <th>Bass </th> <td></td> <td></td> <td>S</td> <td>CS<sub>1</sub></td> <td>CS<sub>2</sub></td> <td>A</td> <td>CS<sub>1</sub></td> <td>CS<sub>2</sub></td> <td>S </td></tr></tbody></table> <dl><dd><dl><dd><small><b>S</b> = subject; <b>A</b> = answer; <b>CS</b> = countersubject; <b>T</b> = <a href="/wiki/Tonic_(music)" title="Tonic (music)">tonic</a>; <b>D</b> = <a href="/wiki/Dominant_(music)" title="Dominant (music)">dominant</a></small></dd></dl></dd></dl> <div class="mw-heading mw-heading3"><h3 id="Exposition">Exposition</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=3" title="Edit section: Exposition"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Further information: <a href="/wiki/Exposition_(music)" title="Exposition (music)">Exposition (music)</a></div> <p>A fugue begins with the exposition of its subject in one of the voices alone in the <a href="/wiki/Tonic_(music)" title="Tonic (music)">tonic</a> key.<sup id="cite_ref-oxfcomp_15-0" class="reference"><a href="#cite_note-oxfcomp-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> After the statement of the subject, a second voice enters and states the subject with the subject transposed to another key (almost always the <a href="/wiki/Dominant_key" class="mw-redirect" title="Dominant key">dominant</a> or <a href="/wiki/Subdominant_key" class="mw-redirect" title="Subdominant key">subdominant</a>, with the latter being less common), which is known as the <i>answer</i>.<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> 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 <i>real answer</i>; alternatively, if the intervals of the subject are altered in any way, the answer is a <i>tonal answer</i>.<sup id="cite_ref-oxfcomp_15-1" class="reference"><a href="#cite_note-oxfcomp-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> </p> <div class="thumb tright" style=""><div class="thumbinner" style="width:-moz-fit-content; width:fit-content;"><div class="thumbimage noresize" style="width:auto;"> <div class="mw-ext-score noresize" data-midi="//upload.wikimedia.org/score/0/2/02a8qosa6rbqhgbtkbgxdgw2b3142rh/02a8qosa.midi"><img src="//upload.wikimedia.org/score/0/2/02a8qosa6rbqhgbtkbgxdgw2b3142rh/02a8qosa.png" width="741" height="108" alt="
\new PianoStaff <<
 \new Staff \fixed c' {
 \key g \minor
 R1 |
 r2 r8 \once \override NoteHead.color = #blue g bes d |
 cis4 d r8 e16 f g8 f16 e |
 }
 \new Staff {
 \clef bass
 \key g \minor
 r8 \once \override NoteHead.color = #red d' ees' g fis4 g |
 r8 a16 bes c'8 bes16 a bes4 g |
 r8 a16 g f8 g16 a bes8 g e cis' |
 }
>>
" /><div style="margin-top: 3px;"><audio controls=""><source src="//upload.wikimedia.org/score/0/2/02a8qosa6rbqhgbtkbgxdgw2b3142rh/02a8qosa.mp3" type="audio/mpeg" /><div>Audio playback is not supported in your browser. You can <a href="//upload.wikimedia.org/score/0/2/02a8qosa6rbqhgbtkbgxdgw2b3142rh/02a8qosa.mp3">download the audio file</a>.</div></audio></div></div></div><div class="thumbcaption">Example of a tonal answer in <a href="/wiki/Johann_Sebastian_Bach" title="Johann Sebastian Bach">J.S. Bach's</a> <a href="/wiki/Prelude_and_Fugue_in_G_minor,_BWV_861" title="Prelude and Fugue in G minor, BWV 861">Fugue No. 16 in G minor, BWV 861</a>, from the <i><a href="/wiki/Well-Tempered_Clavier" class="mw-redirect" title="Well-Tempered Clavier">Well-Tempered Clavier</a></i>, 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.</div></div></div> <p>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.<sup id="cite_ref-oxfcomp_15-2" class="reference"><a href="#cite_note-oxfcomp-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> To prevent an undermining of the fugue's <a href="/wiki/Key_(music)" title="Key (music)">key</a>, this note is transposed up a fourth to the tonic rather than up a fifth to the <a href="/wiki/Supertonic" title="Supertonic">supertonic</a>. For the same reason, it is possible for the answer of such a subject to be in the subdominant key.<sup id="cite_ref-Verrall-1966-p12_18-0" class="reference"><a href="#cite_note-Verrall-1966-p12-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> </p><p>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 <i><a href="/wiki/Countersubject" class="mw-redirect" title="Countersubject">countersubject</a></i>; if this accompanying material is only heard once, it is simply referred to as <i><a href="/wiki/Free_counterpoint" class="mw-redirect" title="Free counterpoint">free counterpoint</a></i>. </p> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Interval_Inversion.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/70/Interval_Inversion.jpg/400px-Interval_Inversion.jpg" decoding="async" width="400" height="142" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/7/70/Interval_Inversion.jpg 1.5x" data-file-width="550" data-file-height="195" /></a><figcaption>The interval of a <a href="/wiki/Fifth_(interval)" class="mw-redirect" title="Fifth (interval)">fifth</a> inverts to a <a href="/wiki/Fourth_(interval)" class="mw-redirect" title="Fourth (interval)">fourth</a> (dissonant) and therefore cannot be employed in <a href="/wiki/Invertible_counterpoint" class="mw-redirect" title="Invertible counterpoint">invertible counterpoint</a>, without preparation and resolution.</figcaption></figure> <p>The countersubject is written in <a href="/wiki/Invertible_counterpoint" class="mw-redirect" title="Invertible counterpoint">invertible counterpoint</a> at the octave or fifteenth (two octaves).<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> 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 sounding correctly when played above or below the subject, and must be conceived, therefore, in invertible (double) counterpoint.<sup id="cite_ref-oxfcomp_15-3" class="reference"><a href="#cite_note-oxfcomp-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> </p><p>In <a href="/wiki/Tonality" title="Tonality">tonal</a> 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 results in a perfect fourth, which, unlike the perfect fifth, is considered a dissonance, requiring proper preparation and resolution.<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> The countersubject, if sounding at the same time as the answer, is transposed to the pitch of the answer.<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> Each voice then responds with its own subject or answer, and further countersubjects or free counterpoint may be heard. </p><p>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 <a href="/wiki/Johann_Sebastian_Bach" title="Johann Sebastian Bach">J.S. Bach's</a> <i><a href="/wiki/Well-Tempered_Clavier" class="mw-redirect" title="Well-Tempered Clavier">Well-Tempered Clavier, Book 1</a></i> Fugue No. 1 in C Major, BWV 846 uses a SAAS (subject-answer-answer-subject) exposition. A brief <a href="/wiki/Codetta" class="mw-redirect" title="Codetta">codetta</a> 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.<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> </p><p>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 <a href="/wiki/Prelude_and_Fugue_in_G_minor,_BWV_861" title="Prelude and Fugue in G minor, BWV 861">Fugue No. 16 in G minor, BWV 861</a>, the first codetta is absent. The subject concludes on the <a href="/wiki/Quarter_note" title="Quarter note">quarter note</a> (or crotchet) B<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span> 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 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.<sup id="cite_ref-24" class="reference"><a href="#cite_note-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> </p><p>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.<sup id="cite_ref-oxfcomp_15-4" class="reference"><a href="#cite_note-oxfcomp-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> Furthermore, the 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. </p> <div class="mw-heading mw-heading3"><h3 id="Episode">Episode</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=4" title="Edit section: Episode"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Further information: <a href="/wiki/Section_(music)" title="Section (music)">Section (music)</a></div> <p>Further entries of the subject may follow the initial exposition either immediately or separated by episodes.<sup id="cite_ref-oxfcomp_15-5" class="reference"><a href="#cite_note-oxfcomp-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> Episodic material is always <a href="/wiki/Modulation_(music)" title="Modulation (music)">modulatory</a> and is usually based upon some musical idea heard in the exposition.<sup id="cite_ref-classic_8-1" class="reference"><a href="#cite_note-classic-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-oxfcomp_15-6" class="reference"><a href="#cite_note-oxfcomp-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> Each episode has the primary function of transitioning into a new key for the next entry of the subject,<sup id="cite_ref-oxfcomp_15-7" class="reference"><a href="#cite_note-oxfcomp-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> and may also provide release from the strictness of form required by the exposition.<sup id="cite_ref-Verrall_1966_33_25-0" class="reference"><a href="#cite_note-Verrall_1966_33-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Andr%C3%A9_Gedalge" title="André Gedalge">André Gedalge</a>, a teacher of <a href="/wiki/Maurice_Ravel" title="Maurice Ravel">Maurice Ravel</a>, stated that the episode of the fugue is generally based on a series of imitations of the subject that have been fragmented.<sup id="cite_ref-26" class="reference"><a href="#cite_note-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Development">Development</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=5" title="Edit section: Development"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Further information: <a href="/wiki/Musical_development" class="mw-redirect" title="Musical development">Musical development</a></div> <p>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 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. </p><p>Middle entries tend to occur at keys other than the tonic. These are often <a href="/wiki/Closely_related_key" title="Closely related key">closely related keys</a> such as the <a href="/wiki/Dominant_key" class="mw-redirect" title="Dominant key">relative dominant</a> and <a href="/wiki/Subdominant_key" class="mw-redirect" title="Subdominant key">subdominant</a>, although the key structure of fugues varies greatly. In the fugues of J.S. Bach, the first middle entry occurs most often in the <a href="/wiki/Relative_major" class="mw-redirect" title="Relative major">relative major</a> or <a href="/wiki/Relative_minor" class="mw-redirect" title="Relative minor">minor</a> 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 <a href="/wiki/Dieterich_Buxtehude" title="Dieterich Buxtehude">Buxtehude</a> and <a href="/wiki/Pachelbel" class="mw-redirect" title="Pachelbel">Pachelbel</a>), 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. </p><p>When there is no entrance of the subject and answer material, the composer can develop the subject by altering it. This is called a <i>counter-exposition</i>,<sup id="cite_ref-27" class="reference"><a href="#cite_note-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> which often uses the <i><a href="/wiki/Melodic_inversion" class="mw-redirect" title="Melodic inversion">inversion</a></i> 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 <a href="#Types">double fugues</a>. In any of the entries within a fugue, the subject may be altered by inversion, <a href="/wiki/Permutation_(music)" title="Permutation (music)">retrograde</a> (where the subject is heard back-to-front), <a href="/wiki/Diminution" title="Diminution">diminution</a> (the reduction of the subject's rhythmic values by a certain factor), <a href="/wiki/Augmentation_(music)" title="Augmentation (music)">augmentation</a> (the enlargement of the subject's rhythmic values by a certain factor), or any combination thereof.<sup id="cite_ref-oxfcomp_15-8" class="reference"><a href="#cite_note-oxfcomp-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Example_and_analysis">Example and analysis</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=6" title="Edit section: Example and analysis"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Wiki-fugue-analysis.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/59/Wiki-fugue-analysis.jpg/400px-Wiki-fugue-analysis.jpg" decoding="async" width="400" height="173" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/59/Wiki-fugue-analysis.jpg/600px-Wiki-fugue-analysis.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/59/Wiki-fugue-analysis.jpg/800px-Wiki-fugue-analysis.jpg 2x" data-file-width="2288" data-file-height="990" /></a><figcaption>Visual analysis of <a href="/wiki/Johann_Sebastian_Bach" title="Johann Sebastian Bach">J.S. Bach's</a> Fugue No. 2 in C minor, BWV 847, from the <a href="/wiki/Well-Tempered_Clavier" class="mw-redirect" title="Well-Tempered Clavier"><i>Well-Tempered Clavier</i>, Book 1</a> (bars 7–12)<span class="mw-default-size" typeof="mw:File"><span><audio id="mwe_player_0" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-mwtitle="Wiki_fugue_analysis_audio.mid" data-mwprovider="wikimediacommons"><source src="//upload.wikimedia.org/wikipedia/commons/1/1f/Wiki_fugue_analysis_audio.mid" type="audio/midi" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/1/1f/Wiki_fugue_analysis_audio.mid/Wiki_fugue_analysis_audio.mid.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/1/1f/Wiki_fugue_analysis_audio.mid/Wiki_fugue_analysis_audio.mid.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /></audio></span></span></figcaption></figure> <p>The excerpt below, bars 7–12 of <a href="/wiki/Johann_Sebastian_Bach" title="Johann Sebastian Bach">J.S. Bach's</a> Fugue No. 2 in C minor, BWV 847, from the <a href="/wiki/Well-Tempered_Clavier" class="mw-redirect" title="Well-Tempered Clavier"><i>Well-Tempered Clavier</i>, Book 1</a> illustrates the application of most of the characteristics described above. The fugue is for keyboard and in three voices, with regular countersubjects.<sup id="cite_ref-classic_8-2" class="reference"><a href="#cite_note-classic-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> This excerpt opens at last entry of the exposition: the subject is sounding in the bass, the first countersubject in the treble, while the 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 <a href="/wiki/Sequence_(music)" title="Sequence (music)">sequence</a>, in the form of an accompanied <a href="/wiki/Canon_(music)" title="Canon (music)">canon</a> at the fourth.<sup id="cite_ref-Verrall_1966_33_25-1" class="reference"><a href="#cite_note-Verrall_1966_33-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> Arrival in E<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span> major is marked by a quasi <a href="/wiki/Perfect_cadence" class="mw-redirect" title="Perfect cadence">perfect cadence</a> 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 <a href="/wiki/Mode_(music)" title="Mode (music)">mode</a>.<sup id="cite_ref-29" class="reference"><a href="#cite_note-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="False_entries">False entries</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=7" title="Edit section: False entries"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>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.<sup id="cite_ref-Verrall-1966-p12_18-1" class="reference"><a href="#cite_note-Verrall-1966-p12-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> </p> <div class="center"><div class="thumb tnone" style=""><div class="thumbinner" style="width:-moz-fit-content; width:fit-content;"><div class="thumbimage noresize" style="width:auto;"> <div class="mw-ext-score noresize" data-midi="//upload.wikimedia.org/score/0/g/0guz0rhq3kob47scmsyo4ewv08m9mgo/0guz0rhq.midi"><img src="//upload.wikimedia.org/score/0/g/0guz0rhq3kob47scmsyo4ewv08m9mgo/0guz0rhq.png" width="633" height="133" alt="
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>>
" /><div style="margin-top: 3px;"><audio controls=""><source src="//upload.wikimedia.org/score/0/g/0guz0rhq3kob47scmsyo4ewv08m9mgo/0guz0rhq.mp3" type="audio/mpeg" /><div>Audio playback is not supported in your browser. You can <a href="//upload.wikimedia.org/score/0/g/0guz0rhq3kob47scmsyo4ewv08m9mgo/0guz0rhq.mp3">download the audio file</a>.</div></audio></div></div></div><div class="thumbcaption">Example of a false answer in <a href="/wiki/Johann_Sebastian_Bach" title="Johann Sebastian Bach">J.S. Bach's</a> Fugue No. 2 in C minor, BWV 847, from the <a href="/wiki/Well-Tempered_Clavier" class="mw-redirect" title="Well-Tempered Clavier"><i>Well-Tempered Clavier</i>, Book 1</a>. 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 <a href="/wiki/Quarter_note" title="Quarter note">quarter note</a>.</div></div></div></div> <div class="mw-heading mw-heading3"><h3 id="Counter-exposition">Counter-exposition</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=8" title="Edit section: Counter-exposition"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The counter-exposition is a second exposition. However, there are only two entries, and the entries occur in reverse order.<sup id="cite_ref-Gedalge-1964-p108_30-0" class="reference"><a href="#cite_note-Gedalge-1964-p108-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> The counter-exposition in a fugue is separated from the exposition by an episode and is in the same key as the original exposition.<sup id="cite_ref-Gedalge-1964-p108_30-1" class="reference"><a href="#cite_note-Gedalge-1964-p108-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Stretto">Stretto</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=9" title="Edit section: Stretto"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Stretto" title="Stretto">Stretto</a></div> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Fischer-fugue1.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/50/Fischer-fugue1.png/400px-Fischer-fugue1.png" decoding="async" width="400" height="114" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/50/Fischer-fugue1.png/600px-Fischer-fugue1.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/50/Fischer-fugue1.png/800px-Fischer-fugue1.png 2x" data-file-width="1433" data-file-height="407" /></a><figcaption>Example of <i>stretto</i> fugue in a quotation from Fugue in C major by <a href="/wiki/Johann_Caspar_Ferdinand_Fischer" title="Johann Caspar Ferdinand Fischer">Johann Caspar Ferdinand Fischer</a> 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 <i>stretto</i>, the answer already takes place in the tenor voice, on the third quarter note of the first bar, therefore coming in "early"<br /><span class="mw-default-size" typeof="mw:File"><span><audio id="mwe_player_1" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-mwtitle="Fugue_in_C_major_by_Johann_Caspar_Ferdinand_Fischer.mid" data-mwprovider="wikimediacommons"><source src="//upload.wikimedia.org/wikipedia/commons/6/65/Fugue_in_C_major_by_Johann_Caspar_Ferdinand_Fischer.mid" type="audio/midi" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/65/Fugue_in_C_major_by_Johann_Caspar_Ferdinand_Fischer.mid/Fugue_in_C_major_by_Johann_Caspar_Ferdinand_Fischer.mid.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/65/Fugue_in_C_major_by_Johann_Caspar_Ferdinand_Fischer.mid/Fugue_in_C_major_by_Johann_Caspar_Ferdinand_Fischer.mid.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /></audio></span></span></figcaption></figure> <p>Sometimes counter-expositions or the middle entries take place in <i><a href="/wiki/Stretto" title="Stretto">stretto</a>,</i> 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.<sup id="cite_ref-ReferenceA_31-0" class="reference"><a href="#cite_note-ReferenceA-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> </p><p>Only one entry of the subject must be heard in its completion in a <i>stretto</i>. However, a <i>stretto</i> in which the subject/answer is heard in completion in all voices is known as <i>stretto maestrale</i> or <i>grand stretto</i>.<sup id="cite_ref-32" class="reference"><a href="#cite_note-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> <i>Strettos</i> may also occur by inversion, augmentation and diminution. A fugue in which the opening exposition takes place in <i>stretto</i> form is known as a <i>close fugue</i> or <i>stretto fugue</i> (see for example, the <i>Gratias agimus tibi</i> and <i><span title="Latin-language text"><i lang="la"><a href="/wiki/Mass_in_B_minor_structure#Dona_nobis_pacem" title="Mass in B minor structure">Dona nobis pacem</a></i></span></i> choruses from J.S. Bach's <a href="/wiki/Mass_in_B_minor" title="Mass in B minor">Mass in B minor</a>).<sup id="cite_ref-ReferenceA_31-1" class="reference"><a href="#cite_note-ReferenceA-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Final_entries_and_coda">Final entries and coda</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=10" title="Edit section: Final entries and coda"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The closing section of a fugue often includes one or two counter-expositions, and possibly a stretto, in the <a href="/wiki/Tonic_(music)" title="Tonic (music)">tonic</a>; sometimes over a tonic or dominant <a href="/wiki/Pedal_point" title="Pedal point">pedal note</a>. Any material that follows the final entry of the subject is considered to be the final <a href="/wiki/Coda_(music)" title="Coda (music)">coda</a> and is normally <a href="/wiki/Cadence_(music)" class="mw-redirect" title="Cadence (music)">cadential</a>.<sup id="cite_ref-classic_8-3" class="reference"><a href="#cite_note-classic-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Types">Types</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=11" title="Edit section: Types"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Simple_fugue">Simple fugue</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=12" title="Edit section: Simple fugue"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>A <b>simple fugue</b> has only one subject, and does not utilize <a href="/wiki/Invertible_Counterpoint" class="mw-redirect" title="Invertible Counterpoint">invertible counterpoint</a>.<sup id="cite_ref-sim_33-0" class="reference"><a href="#cite_note-sim-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Double_(triple,_quadruple)_fugue"><span id="Double_.28triple.2C_quadruple.29_fugue"></span>Double (triple, quadruple) fugue</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=13" title="Edit section: Double (triple, quadruple) fugue"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>A <b>double fugue</b> has two subjects that are often developed simultaneously. Similarly, a triple fugue has three subjects.<sup id="cite_ref-x_34-0" class="reference"><a href="#cite_note-x-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-35" class="reference"><a href="#cite_note-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> 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 <a href="/wiki/Kyrie" title="Kyrie">Kyrie Eleison</a> of <a href="/wiki/Wolfgang_Amadeus_Mozart" title="Wolfgang Amadeus Mozart">Mozart's</a> <a href="/wiki/Requiem_(Mozart)" title="Requiem (Mozart)">Requiem in D minor</a> or the fugue of Bach's Passacaglia and Fugue in C minor, <a href="/wiki/Passacaglia_and_Fugue_in_C_minor,_BWV_582" title="Passacaglia and Fugue in C minor, BWV 582">BWV 582</a>), 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<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-sharp">♯</span></span> minor from Bach's <a href="/wiki/Well-tempered_Clavier" class="mw-redirect" title="Well-tempered Clavier"><i>Well-Tempered Clavier</i> Book 2</a>, or more famously, Bach's "St. Anne" Fugue in E<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span> major, <a href="/wiki/BWV_552" class="mw-redirect" title="BWV 552">BWV 552</a>, a triple fugue for organ.)<sup id="cite_ref-x_34-1" class="reference"><a href="#cite_note-x-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-36" class="reference"><a href="#cite_note-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Counter-fugue">Counter-fugue</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=14" title="Edit section: Counter-fugue"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>A <b>counter-fugue</b> is a fugue in which the first answer is presented as the subject in <a href="/wiki/Melodic_inversion" class="mw-redirect" title="Melodic inversion">inversion</a> (upside down), and the inverted subject continues to feature prominently throughout the fugue.<sup id="cite_ref-37" class="reference"><a href="#cite_note-37"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> Examples include <i>Contrapunctus V</i> through <i>Contrapunctus VII</i>, from Bach's <i><a href="/wiki/The_Art_of_Fugue" title="The Art of Fugue">The Art of Fugue</a></i>.<sup id="cite_ref-38" class="reference"><a href="#cite_note-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> During the Baroque period, counter-fugues were sometimes called by the Latin name <i>fuga contraria</i>. German composer <a href="/wiki/Johann_Mattheson" title="Johann Mattheson">Johann Mattheson</a> coined the term <i>gegenfuge</i> to refer to a counter-fugue construct in his <i>Der vollkommene Capellmeister</i> (1739), and some German-language texts use that name to refer to a counter-fugue.<sup id="cite_ref-39" class="reference"><a href="#cite_note-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Permutation_fugue">Permutation fugue</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=15" title="Edit section: Permutation fugue"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><b>Permutation fugue</b> describes a type of composition (or technique of composition) in which elements of fugue and strict <a href="/wiki/Canon_(music)" title="Canon (music)">canon</a> are combined.<sup id="cite_ref-perm_40-0" class="reference"><a href="#cite_note-perm-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> 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 <a href="/wiki/Invertible_Counterpoint" class="mw-redirect" title="Invertible Counterpoint">invertible counterpoint</a>. (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). </p><p>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 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, <a href="/wiki/Himmelsk%C3%B6nig,_sei_willkommen,_BWV_182" title="Himmelskönig, sei willkommen, BWV 182"><i>Himmelskönig, sei willkommen</i>, BWV 182</a>. </p><p>Permutation fugues differ from conventional fugue in that there are no connecting episodes, nor statement of the themes in related keys.<sup id="cite_ref-perm_40-1" class="reference"><a href="#cite_note-perm-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> So for example, the fugue of Bach's <a href="/wiki/Passacaglia_and_Fugue_in_C_minor,_BWV_582" title="Passacaglia and Fugue in C minor, BWV 582">Passacaglia and Fugue in C minor, BWV 582</a> 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.<sup id="cite_ref-41" class="reference"><a href="#cite_note-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Fughetta">Fughetta</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=16" title="Edit section: Fughetta"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>A <b>fughetta</b> 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 <a href="/wiki/Ludwig_van_Beethoven" title="Ludwig van Beethoven">Beethoven</a>'s <a href="/wiki/Diabelli_Variations" title="Diabelli Variations"><i>Diabelli Variations</i> Op. 120</a>. </p> <div class="mw-heading mw-heading3"><h3 id="Mirror_fugue">Mirror fugue</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=17" title="Edit section: Mirror fugue"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>A mirror fugue is a fugue, or rather two fugues, one of which is the mirror image of the other. It is as though a mirror were placed above or below an existing fugue, producing <a href="/wiki/Inversion_(interval)" class="mw-redirect" title="Inversion (interval)">inversions</a> of each interval in each part, as well as inverting the position of the parts within the texture, so that, for example, the topmost part in one fugue is inverted to produce the lowest part in the other. This is well demonstrated by the two four-part fugues of Contrapunctus 12 in <i><a href="/wiki/The_Art_of_Fugue" title="The Art of Fugue">The Art of Fugue</a></i>. </p><p>The two three-part fugues of Contrapunctus 13 exhibit a similar relationship to each other, but this cannot strictly be called a mirror fugue, since the position of each inverted part is not itself inverted in the texture, SAB becoming not BAS, but BSA.<sup id="cite_ref-42" class="reference"><a href="#cite_note-42"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="History">History</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=18" title="Edit section: History"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Middle_Ages_and_Renaissance">Middle Ages and Renaissance</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=19" title="Edit section: Middle Ages and Renaissance"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The term <i>fuga</i> was used as far back as the <a href="/wiki/Medieval_music" title="Medieval music">Middle Ages</a>, but was initially used to refer to any kind of imitative counterpoint, including <a href="/wiki/Canon_(music)" title="Canon (music)">canons</a>, which are now thought of as distinct from fugues.<sup id="cite_ref-43" class="reference"><a href="#cite_note-43"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup> Prior to the 16th century, fugue was originally a genre.<sup id="cite_ref-Walker-2000-p7_44-0" class="reference"><a href="#cite_note-Walker-2000-p7-44"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup> 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 <a href="/wiki/Fantasia_(music)" class="mw-redirect" title="Fantasia (music)">fantasias</a>, <a href="/wiki/Ricercar" title="Ricercar">ricercares</a> and <a href="/wiki/Canzona" title="Canzona">canzonas</a>. </p><p>"Fugue" as a theoretical term first occurred in 1330 when <a href="/wiki/Jacobus_of_Li%C3%A8ge" title="Jacobus of Liège">Jacobus of Liege</a> wrote about the <i>fuga</i> in his <i>Speculum musicae</i>.<sup id="cite_ref-45" class="reference"><a href="#cite_note-45"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup> The fugue arose from the technique of "imitation", where the same musical material was repeated starting on a different note. </p><p><a href="/wiki/Gioseffo_Zarlino" title="Gioseffo Zarlino">Gioseffo Zarlino</a>, a composer, author, and theorist in the <a href="/wiki/Renaissance_music" title="Renaissance music">Renaissance</a>, was one of the first to distinguish between the two types of imitative counterpoint: fugues and canons (which he called imitations).<sup id="cite_ref-Walker-2000-p7_44-1" class="reference"><a href="#cite_note-Walker-2000-p7-44"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup> Originally, this was to aid <a href="/wiki/Improvisation" title="Improvisation">improvisation</a>, but by the 1550s, it was considered a technique of composition. The composer <a href="/wiki/Giovanni_Pierluigi_da_Palestrina" title="Giovanni Pierluigi da Palestrina">Giovanni Pierluigi da Palestrina</a> (1525?–1594) wrote masses using <a href="/wiki/Musical_mode" class="mw-redirect" title="Musical mode">modal</a> counterpoint and imitation, and fugal writing became the basis for writing <a href="/wiki/Motet" title="Motet">motets</a> as well.<sup id="cite_ref-46" class="reference"><a href="#cite_note-46"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> 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. </p> <div class="mw-heading mw-heading3"><h3 id="Baroque_era">Baroque era</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=20" title="Edit section: Baroque era"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>It was in the <a href="/wiki/Baroque_music" title="Baroque music">Baroque period</a> that the writing of fugues became central to composition, in part as a demonstration of compositional expertise. <a href="/wiki/Jan_Pieterszoon_Sweelinck" title="Jan Pieterszoon Sweelinck">Jan Pieterszoon Sweelinck</a>, <a href="/wiki/Girolamo_Frescobaldi" title="Girolamo Frescobaldi">Girolamo Frescobaldi</a>, <a href="/wiki/Johann_Jakob_Froberger" title="Johann Jakob Froberger">Johann Jakob Froberger</a> and <a href="/wiki/Dieterich_Buxtehude" title="Dieterich Buxtehude">Dieterich Buxtehude</a> all wrote fugues.<sup id="cite_ref-47" class="reference"><a href="#cite_note-47"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> </p><p>Fugues were incorporated into a variety of <a href="/wiki/Musical_genre" class="mw-redirect" title="Musical genre">musical genres</a>, and are found in most of <a href="/wiki/George_Frideric_Handel" title="George Frideric Handel">George Frideric Handel</a>'s <a href="/wiki/Oratorio" title="Oratorio">oratorios</a>. Keyboard <a href="/wiki/Suite_(music)" title="Suite (music)">suites</a> from this time often conclude with a fugal <a href="/wiki/Gigue" title="Gigue">gigue</a>. <a href="/wiki/Domenico_Scarlatti" title="Domenico Scarlatti">Domenico Scarlatti</a> has only a few fugues among his corpus of over 500 harpsichord sonatas. The <a href="/wiki/French_overture" title="French overture">French overture</a> featured a quick fugal section after a slow introduction. The second movement of a <a href="/wiki/Sonata_da_chiesa" title="Sonata da chiesa">sonata da chiesa</a>, as written by <a href="/wiki/Arcangelo_Corelli" title="Arcangelo Corelli">Arcangelo Corelli</a> and others, was usually fugal. </p><p>The Baroque period also saw a rise in the importance of <a href="/wiki/Music_theory" title="Music theory">music theory</a>. Some fugues during the Baroque period were pieces designed to teach contrapuntal technique to students.<sup id="cite_ref-48" class="reference"><a href="#cite_note-48"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup> The most influential text was <a href="/wiki/Johann_Joseph_Fux" title="Johann Joseph Fux">Johann Joseph Fux's</a> <i><a href="/wiki/Gradus_ad_Parnassum" title="Gradus ad Parnassum">Gradus Ad Parnassum</a></i> ("Steps to <a href="/wiki/Parnassus" class="mw-redirect" title="Parnassus">Parnassus</a>"), which appeared in 1725.<sup id="cite_ref-49" class="reference"><a href="#cite_note-49"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup> This work laid out the terms of <a href="/wiki/Species_counterpoint" class="mw-redirect" title="Species counterpoint">"species" of counterpoint</a>, and offered a series of exercises to learn fugue writing.<sup id="cite_ref-50" class="reference"><a href="#cite_note-50"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup> Fux's work was largely based on the practice of <a href="/wiki/Giovanni_Pierluigi_da_Palestrina" title="Giovanni Pierluigi da Palestrina">Palestrina</a>'s modal fugues.<sup id="cite_ref-51" class="reference"><a href="#cite_note-51"><span class="cite-bracket">[</span>51<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Wolfgang_Amadeus_Mozart" title="Wolfgang Amadeus Mozart">Mozart</a> studied from this book, and it remained influential into the nineteenth century. <a href="/wiki/Joseph_Haydn" title="Joseph Haydn">Haydn</a>, for example, taught counterpoint from his own summary of Fux and thought of it as the basis for formal structure. </p><p>Bach's most famous fugues are those for the harpsichord in <i><a href="/wiki/The_Well-Tempered_Clavier" title="The Well-Tempered Clavier">The Well-Tempered Clavier</a></i>, which many composers and theorists look at as the greatest model of fugue.<sup id="cite_ref-52" class="reference"><a href="#cite_note-52"><span class="cite-bracket">[</span>52<span class="cite-bracket">]</span></a></sup> <i>The Well-Tempered Clavier</i> 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 <a href="/wiki/Prelude_(music)" title="Prelude (music)">prelude</a> or <a href="/wiki/Toccata" title="Toccata">toccata</a>. <a href="/wiki/The_Art_of_Fugue" title="The Art of Fugue"><i>The Art of Fugue</i>, BWV 1080</a>, is a collection of fugues (and four <a href="/wiki/Canon_(music)" title="Canon (music)">canons</a>) 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 <a href="/wiki/Carl_Philipp_Emanuel_Bach" title="Carl Philipp Emanuel Bach">C.P.E. Bach</a> and through the theorist <a href="/wiki/Friedrich_Wilhelm_Marpurg" title="Friedrich Wilhelm Marpurg">Friedrich Wilhelm Marpurg</a> (1718–1795) whose <i>Abhandlung von der Fuge</i> ("Treatise on the fugue", 1753) was largely based on J.S. Bach's work. </p> <div class="mw-heading mw-heading3"><h3 id="Classical_era">Classical era</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=21" title="Edit section: Classical era"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>During the <a href="/wiki/Classical_period_(music)" title="Classical period (music)">Classical era</a>, the fugue was no longer a central or even fully natural mode of musical composition.<sup id="cite_ref-Graves-1962-p64_53-0" class="reference"><a href="#cite_note-Graves-1962-p64-53"><span class="cite-bracket">[</span>53<span class="cite-bracket">]</span></a></sup> Nevertheless, both <a href="/wiki/Joseph_Haydn" title="Joseph Haydn">Haydn</a> and <a href="/wiki/Wolfgang_Amadeus_Mozart" title="Wolfgang Amadeus Mozart">Mozart</a> had periods of their careers in which they in some sense "rediscovered" fugal writing and used it frequently in their work. </p> <div class="mw-heading mw-heading4"><h4 id="Haydn">Haydn</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=22" title="Edit section: Haydn"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Joseph Haydn was the leader of fugal composition and technique in the Classical era.<sup id="cite_ref-Ratner-1980-p263_5-1" class="reference"><a href="#cite_note-Ratner-1980-p263-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> Haydn's most famous fugues can be found in his <a href="/wiki/String_Quartets,_Op._20_(Haydn)" title="String Quartets, Op. 20 (Haydn)">"Sun" Quartets</a> (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 <a href="/wiki/String_Quartets,_Op._50_(Haydn)" title="String Quartets, Op. 50 (Haydn)">String Quartet, Op. 50 No. 4</a> (1787). Some of the earliest examples of Haydn's use of counterpoint, however, are in three symphonies (<a href="/wiki/Symphony_No._3_(Haydn)" title="Symphony No. 3 (Haydn)">No. 3</a>, <a href="/wiki/Symphony_No._13_(Haydn)" title="Symphony No. 13 (Haydn)">No. 13</a>, and <a href="/wiki/Symphony_No._40_(Joseph_Haydn)" class="mw-redirect" title="Symphony No. 40 (Joseph Haydn)">No. 40</a>) that date from 1762 to 1763. The earliest fugues, in both the symphonies and in the <a href="/wiki/Baryton_trios_(Haydn)" title="Baryton trios (Haydn)">Baryton trios</a>, exhibit the influence of Joseph Fux's treatise on counterpoint, <i>Gradus ad Parnassum</i> (1725), which Haydn studied carefully. </p><p>Haydn's second fugal period occurred after he heard, and was greatly inspired by, the <a href="/wiki/Oratorio" title="Oratorio">oratorios</a> 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 <i><a href="/wiki/The_Creation_(Haydn)" title="The Creation (Haydn)">The Creation</a></i> and <i><a href="/wiki/The_Seasons_(Haydn)" title="The Seasons (Haydn)">The Seasons</a>,</i> as well as several of his later symphonies, including <a href="/wiki/Symphony_No._88_(Haydn)" title="Symphony No. 88 (Haydn)">No. 88</a>, <a href="/wiki/Symphony_No._95_(Haydn)" title="Symphony No. 95 (Haydn)">No. 95</a>, and <a href="/wiki/Symphony_No._101_(Haydn)" title="Symphony No. 101 (Haydn)">No. 101</a>; and the late string quartets, Opus 71 no. 3 and (especially) Opus 76 no. 6. </p> <div class="mw-heading mw-heading4"><h4 id="Mozart">Mozart</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=23" title="Edit section: Mozart"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Jupiter_finale.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/21/Jupiter_finale.png/400px-Jupiter_finale.png" decoding="async" width="400" height="519" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/21/Jupiter_finale.png/600px-Jupiter_finale.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/21/Jupiter_finale.png/800px-Jupiter_finale.png 2x" data-file-width="2441" data-file-height="3169" /></a><figcaption>Fugal passage from the finale of Mozart's Symphony No. 41 (<i>Jupiter</i>)<span class="mw-default-size" typeof="mw:File"><span><audio id="mwe_player_2" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="19" data-mwtitle="Mozart_Symphony_41,_finale,_fugal_passage.wav" data-mwprovider="wikimediacommons"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/c/c4/Mozart_Symphony_41%2C_finale%2C_fugal_passage.wav/Mozart_Symphony_41%2C_finale%2C_fugal_passage.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/c/c4/Mozart_Symphony_41%2C_finale%2C_fugal_passage.wav/Mozart_Symphony_41%2C_finale%2C_fugal_passage.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/c/c4/Mozart_Symphony_41%2C_finale%2C_fugal_passage.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span></span></figcaption></figure> <p>The young Wolfgang Amadeus Mozart studied counterpoint with <a href="/wiki/Padre_Martini" class="mw-redirect" title="Padre Martini">Padre Martini</a> in Bologna. Under the employment of <a href="/wiki/Hieronymus_von_Colloredo" title="Hieronymus von Colloredo">Archbishop Colloredo</a>, and the musical influence of his predecessors and colleagues such as <a href="/wiki/Johann_Ernst_Eberlin" title="Johann Ernst Eberlin">Johann Ernst Eberlin</a>, <a href="/wiki/Anton_Cajetan_Adlgasser" title="Anton Cajetan Adlgasser">Anton Cajetan Adlgasser</a>, <a href="/wiki/Michael_Haydn" title="Michael Haydn">Michael Haydn</a>, and his own father, <a href="/wiki/Leopold_Mozart" title="Leopold Mozart">Leopold Mozart</a> at the Salzburg Cathedral, the young Mozart composed ambitious fugues and contrapuntal passages in Catholic choral works such as <a href="/wiki/Mass_in_C_minor,_K._139_%22Waisenhaus%22" title="Mass in C minor, K. 139 "Waisenhaus"">Mass in C minor, K. 139 "Waisenhaus"</a> (1768), <a href="/wiki/Mass_in_C_major,_K._66_%22Dominicus%22" title="Mass in C major, K. 66 "Dominicus"">Mass in C major, K. 66 "Dominicus"</a> (1769), <a href="/wiki/Mass_in_C_major,_K._167_%22in_honorem_Sanctissimae_Trinitatis%22" title="Mass in C major, K. 167 "in honorem Sanctissimae Trinitatis"">Mass in C major, K. 167 "in honorem Sanctissimae Trinitatis"</a> (1773), <a href="/wiki/Mass_in_C_major,_K._262_%22Missa_longa%22" title="Mass in C major, K. 262 "Missa longa"">Mass in C major, K. 262 "Missa longa"</a> (1775), <a href="/wiki/Mass_in_C_major,_K._337_%22Solemnis%22" title="Mass in C major, K. 337 "Solemnis"">Mass in C major, K. 337 "Solemnis"</a> (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".<sup id="cite_ref-54" class="reference"><a href="#cite_note-54"><span class="cite-bracket">[</span>54<span class="cite-bracket">]</span></a></sup> Later in life, the major impetus to fugal writing for Mozart was the influence of Baron <a href="/wiki/Gottfried_van_Swieten" title="Gottfried van Swieten">Gottfried van Swieten</a> 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 was evidently fascinated by these works and wrote a set of five transcriptions for string quartet, K. 405 (1782), of fugues from Bach's <i><a href="/wiki/Well-Tempered_Clavier" class="mw-redirect" title="Well-Tempered Clavier">Well-Tempered Clavier</a></i>, introducing them with preludes of his own. In a letter to his sister <a href="/wiki/Nannerl_Mozart" class="mw-redirect" title="Nannerl Mozart">Nannerl Mozart</a>, 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 <i>andante maestoso</i> 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".<sup id="cite_ref-55" class="reference"><a href="#cite_note-55"><span class="cite-bracket">[</span>55<span class="cite-bracket">]</span></a></sup> Mozart then set to writing fugues on his own, mimicking the Baroque style. These included a fugue in C minor, K. 426, for two pianos (1783). Later, Mozart incorporated fugal writing into his opera <i><a href="/wiki/Die_Zauberfl%C3%B6te" class="mw-redirect" title="Die Zauberflöte">Die Zauberflöte</a></i> and the finale of his <a href="/wiki/Symphony_No._41_(Mozart)" title="Symphony No. 41 (Mozart)">Symphony No. 41</a>. </p><p><br /> The parts of the <a href="/wiki/Requiem_(Mozart)" title="Requiem (Mozart)">Requiem</a> he completed also contain several fugues (most notably the Kyrie, and the three fugues in the Domine Jesu;<sup id="cite_ref-56" class="reference"><a href="#cite_note-56"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup> he also left behind a sketch for an <a href="/wiki/Amen" title="Amen">Amen</a> fugue which, some believe<sup class="noprint Inline-Template" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Manual_of_Style/Words_to_watch#Unsupported_attributions" title="Wikipedia:Manual of Style/Words to watch"><span title="The material near this tag possibly uses too-vague attribution or weasel words. (January 2018)">who?</span></a></i>]</sup>, would have come at the end of the Sequentia). </p> <div class="mw-heading mw-heading4"><h4 id="Beethoven">Beethoven</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=24" title="Edit section: Beethoven"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Beethoven_Op_131.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/57/Beethoven_Op_131.png/400px-Beethoven_Op_131.png" decoding="async" width="400" height="521" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/57/Beethoven_Op_131.png/600px-Beethoven_Op_131.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/57/Beethoven_Op_131.png/800px-Beethoven_Op_131.png 2x" data-file-width="2442" data-file-height="3183" /></a><figcaption>Beethoven, Quartet in C<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-sharp">♯</span></span> minor, Op. 131, opening fugal exposition. <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=WlFYC1U5viw">Listen</a></figcaption></figure> <p><a href="/wiki/Ludwig_van_Beethoven" title="Ludwig van Beethoven">Ludwig van Beethoven</a> was familiar with fugal writing from childhood, as an important part of his training was playing from <i><a href="/wiki/The_Well-Tempered_Clavier" title="The Well-Tempered Clavier">The Well-Tempered Clavier</a></i>. During his early career in <a href="/wiki/Vienna" title="Vienna">Vienna</a>, 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 <i><a href="/wiki/Symphony_No._3_(Beethoven)" title="Symphony No. 3 (Beethoven)">Eroica Symphony</a></i> (1805). Beethoven incorporated fugues in his sonatas, and reshaped the episode's purpose and compositional technique for later generations of composers.<sup id="cite_ref-57" class="reference"><a href="#cite_note-57"><span class="cite-bracket">[</span>57<span class="cite-bracket">]</span></a></sup> </p><p>Nevertheless, fugues did not take on a truly central role in Beethoven's work until his late period. The finale of Beethoven's <a href="/wiki/Piano_Sonata_No._29_(Beethoven)" title="Piano Sonata No. 29 (Beethoven)"><i>Hammerklavier</i> Sonata</a> 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 <a href="/wiki/Cello_Sonatas_Nos._4_and_5_(Beethoven)#Sonata_No._5.2C_Op._102.2C_No._2" title="Cello Sonatas Nos. 4 and 5 (Beethoven)">Cello Sonata, Op. 102 No. 2</a> is a fugue, and there are fugal passages in the last movements of his Piano Sonatas in <a href="/wiki/Piano_Sonata_No._28_(Beethoven)" title="Piano Sonata No. 28 (Beethoven)">A major, Op. 101</a> and <a href="/wiki/Piano_Sonata_No._31_(Beethoven)" title="Piano Sonata No. 31 (Beethoven)">A<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span> major Op. 110</a>. According to <a href="/wiki/Charles_Rosen" title="Charles Rosen">Charles Rosen</a>, "With the finale of 110, Beethoven re-conceived the significance of the most traditional elements of fugue writing."<sup id="cite_ref-58" class="reference"><a href="#cite_note-58"><span class="cite-bracket">[</span>58<span class="cite-bracket">]</span></a></sup> </p><p>Fugal passages are also found in the <i><a href="/wiki/Missa_Solemnis_(Beethoven)" class="mw-redirect" title="Missa Solemnis (Beethoven)">Missa Solemnis</a></i> and all movements of the <a href="/wiki/Symphony_No._9_(Beethoven)" title="Symphony No. 9 (Beethoven)">Ninth Symphony</a>, except the third. A massive, dissonant fugue forms the finale of his <a href="/wiki/String_Quartet_No._13_(Beethoven)" title="String Quartet No. 13 (Beethoven)">String Quartet, Op. 130</a> (1825); the latter was later published separately as Op. 133, the <i><a href="/wiki/Gro%C3%9Fe_Fuge" class="mw-redirect" title="Große Fuge">Große Fuge</a></i> ("Great Fugue"). However, it is the fugue that opens Beethoven's <a href="/wiki/String_Quartet_No._14_(Beethoven)" title="String Quartet No. 14 (Beethoven)">String Quartet in C<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-sharp">♯</span></span> minor, Op. 131</a> that several commentators regard as one of the composer's greatest achievements. <a href="/wiki/Joseph_Kerman" title="Joseph Kerman">Joseph Kerman</a> (1966, p. 330) calls it "this most moving of all fugues".<sup id="cite_ref-59" class="reference"><a href="#cite_note-59"><span class="cite-bracket">[</span>59<span class="cite-bracket">]</span></a></sup> <a href="/wiki/J._W._N._Sullivan" title="J. W. N. Sullivan">J. W. N. Sullivan</a> (1927, p. 235) hears it as "the most superhuman piece of music that Beethoven has ever written."<sup id="cite_ref-60" class="reference"><a href="#cite_note-60"><span class="cite-bracket">[</span>60<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Philip_Radcliffe" title="Philip Radcliffe">Philip Radcliffe</a> (1965, p. 149) says "[a] bare description of its formal outline can give but little idea of the extraordinary profundity of this fugue ."<sup id="cite_ref-61" class="reference"><a href="#cite_note-61"><span class="cite-bracket">[</span>61<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Romantic_era">Romantic era</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=25" title="Edit section: Romantic era"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>By the beginning of the <a href="/wiki/Romantic_music" title="Romantic music">Romantic era</a>, fugue writing had become specifically attached to the norms and styles of the Baroque. <a href="/wiki/Felix_Mendelssohn" title="Felix Mendelssohn">Felix Mendelssohn</a> wrote many fugues inspired by his study of the music of <a href="/wiki/Johann_Sebastian_Bach" title="Johann Sebastian Bach">Johann Sebastian Bach</a>. </p><p>Johannes Brahms' <i>Variations and Fugue on a Theme by Handel</i>, 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 <i>Harpsichord Suite No. 1 in B♭ major</i>, HWV 434. </p> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Liszt_B_minor_sonata_fugue_subject.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/9b/Liszt_B_minor_sonata_fugue_subject.png/400px-Liszt_B_minor_sonata_fugue_subject.png" decoding="async" width="400" height="96" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/9b/Liszt_B_minor_sonata_fugue_subject.png/600px-Liszt_B_minor_sonata_fugue_subject.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/9b/Liszt_B_minor_sonata_fugue_subject.png/800px-Liszt_B_minor_sonata_fugue_subject.png 2x" data-file-width="2413" data-file-height="580" /></a><figcaption>Liszt Piano Sonata fugue subject <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=VwXtuavTed0">Link to passage</a></figcaption></figure> <p><a href="/wiki/Franz_Liszt" title="Franz Liszt">Franz Liszt</a>'s <a href="/wiki/Piano_Sonata_in_B_minor_(Liszt)" title="Piano Sonata in B minor (Liszt)">Piano Sonata in B minor</a> (1853) contains a powerful fugue, demanding incisive virtuosity from its player: </p><p><a href="/wiki/Richard_Wagner" title="Richard Wagner">Richard Wagner</a> included several fugues in his opera <i><a href="/wiki/Die_Meistersinger_von_N%C3%BCrnberg" title="Die Meistersinger von Nürnberg">Die Meistersinger von Nürnberg</a></i>. <a href="/wiki/Giuseppe_Verdi" title="Giuseppe Verdi">Giuseppe Verdi</a> included a whimsical example at the end of his opera <i><a href="/wiki/Falstaff_(opera)" title="Falstaff (opera)">Falstaff</a></i><sup id="cite_ref-62" class="reference"><a href="#cite_note-62"><span class="cite-bracket">[</span>62<span class="cite-bracket">]</span></a></sup> and his setting of the <a href="/wiki/Requiem_(Verdi)" title="Requiem (Verdi)">Requiem Mass</a> contained two (originally three) choral fugues.<sup id="cite_ref-63" class="reference"><a href="#cite_note-63"><span class="cite-bracket">[</span>63<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Anton_Bruckner" title="Anton Bruckner">Anton Bruckner</a> and <a href="/wiki/Gustav_Mahler" title="Gustav Mahler">Gustav Mahler</a> also included them in their respective symphonies. The exposition of the finale of Bruckner's <a href="/wiki/Symphony_No._5_(Bruckner)" title="Symphony No. 5 (Bruckner)">Symphony No. 5</a> 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.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (April 2018)">citation needed</span></a></i>]</sup> The finale of Mahler's <a href="/wiki/Symphony_No._5_(Mahler)" title="Symphony No. 5 (Mahler)">Symphony No. 5</a> features a "fugue-like"<sup id="cite_ref-64" class="reference"><a href="#cite_note-64"><span class="cite-bracket">[</span>64<span class="cite-bracket">]</span></a></sup> passage early in the movement, though this is not actually an example of a fugue. </p> <div class="mw-heading mw-heading3"><h3 id="20th_century">20th century</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=26" title="Edit section: 20th century"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>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.<sup id="cite_ref-Graves-1962-p64_53-1" class="reference"><a href="#cite_note-Graves-1962-p64-53"><span class="cite-bracket">[</span>53<span class="cite-bracket">]</span></a></sup> </p><p>The second movement of <a href="/wiki/Maurice_Ravel" title="Maurice Ravel">Maurice Ravel</a>'s piano suite <i><a href="/wiki/Le_Tombeau_de_Couperin" title="Le Tombeau de Couperin">Le Tombeau de Couperin</a></i> (1917) is a fugue that <a href="/wiki/Roy_Howat" title="Roy Howat">Roy Howat</a> (200, p. 88) describes as having "a subtle glint of jazz".<sup id="cite_ref-65" class="reference"><a href="#cite_note-65"><span class="cite-bracket">[</span>65<span class="cite-bracket">]</span></a></sup> </p> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Bartok_-_Music_for_Strings,_Percussion_and_Celesta_interval_expansion.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/9d/Bartok_-_Music_for_Strings%2C_Percussion_and_Celesta_interval_expansion.png/400px-Bartok_-_Music_for_Strings%2C_Percussion_and_Celesta_interval_expansion.png" decoding="async" width="400" height="174" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/9d/Bartok_-_Music_for_Strings%2C_Percussion_and_Celesta_interval_expansion.png/600px-Bartok_-_Music_for_Strings%2C_Percussion_and_Celesta_interval_expansion.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/9d/Bartok_-_Music_for_Strings%2C_Percussion_and_Celesta_interval_expansion.png/800px-Bartok_-_Music_for_Strings%2C_Percussion_and_Celesta_interval_expansion.png 2x" data-file-width="1443" data-file-height="627" /></a><figcaption>Example of <a href="/wiki/Interval_expansion" class="mw-redirect" title="Interval expansion">interval expansion</a>, Bartók: <i>Music for Strings, Percussion and Celesta</i> movement I, mm. 1–5 and movement IV, mm. 204–209.<sup id="cite_ref-66" class="reference"><a href="#cite_note-66"><span class="cite-bracket">[</span>66<span class="cite-bracket">]</span></a></sup></figcaption></figure> <p><a href="/wiki/B%C3%A9la_Bart%C3%B3k" title="Béla Bartók">Béla Bartók</a>'s <i><a href="/wiki/Music_for_Strings,_Percussion_and_Celesta" title="Music for Strings, Percussion and Celesta">Music for Strings, Percussion and Celesta</a></i> (1936) opens with a slow fugue that <a href="/wiki/Pierre_Boulez" title="Pierre Boulez">Pierre Boulez</a> (1986, pp. 346–47) regards as "certainly the finest and most characteristic example of Bartók's subtle style... probably the most <i>timeless</i> 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."<sup id="cite_ref-67" class="reference"><a href="#cite_note-67"><span class="cite-bracket">[</span>67<span class="cite-bracket">]</span></a></sup> The second movement of Bartók's <a href="/wiki/Sonata_for_Solo_Violin_(Bart%C3%B3k)" title="Sonata for Solo Violin (Bartók)">Sonata for Solo Violin</a> is a fugue, and the first movement of his <a href="/wiki/Sonata_for_Two_Pianos_and_Percussion" title="Sonata for Two Pianos and Percussion">Sonata for Two Pianos and Percussion</a> contains a fugato. </p><p><i>Schwanda the Bagpiper</i> (Czech: Švanda dudák), written in 1926, an opera in two acts (five scenes), with music by Jaromír Weinberger, includes a <i>Polka</i> followed by a powerful <i>Fugue</i> based on the Polka theme. </p><p><a href="/wiki/Igor_Stravinsky" title="Igor Stravinsky">Igor Stravinsky</a> also incorporated fugues into his works, including the <a href="/wiki/Symphony_of_Psalms" title="Symphony of Psalms">Symphony of Psalms</a> and the <a href="/wiki/Concerto_in_E-flat_(Dumbarton_Oaks)" class="mw-redirect" title="Concerto in E-flat (Dumbarton Oaks)">Dumbarton Oaks</a> 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.<sup id="cite_ref-68" class="reference"><a href="#cite_note-68"><span class="cite-bracket">[</span>68<span class="cite-bracket">]</span></a></sup> It employs a double fugue with two distinct subjects, the first beginning in C and the second in E<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span>. Techniques such as stretto, sequencing, and the use of subject incipits are frequently heard in the movement. <a href="/wiki/Dmitri_Shostakovich" title="Dmitri Shostakovich">Dmitri Shostakovich</a>'s <a href="/wiki/24_Preludes_and_Fugues_(Shostakovich)" title="24 Preludes and Fugues (Shostakovich)">24 Preludes and Fugues</a> is the composer's homage to Bach's two volumes of <a href="/wiki/The_Well-Tempered_Clavier" title="The Well-Tempered Clavier">The Well-Tempered Clavier</a>. In the first movement of his <a href="/wiki/Symphony_No._4_(Shostakovich)" title="Symphony No. 4 (Shostakovich)">Fourth Symphony</a>, 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. </p> <p><a href="/wiki/Olivier_Messiaen" title="Olivier Messiaen">Olivier Messiaen</a>, writing about his <i><a href="/wiki/Vingt_regards_sur_l%27enfant-J%C3%A9sus" class="mw-redirect" title="Vingt regards sur l'enfant-Jésus">Vingt regards sur l'enfant-Jésus</a></i> (1944) wrote of the sixth piece of that collection, "<i>Par Lui tout a été fait</i>" ("By Him were all things made"): <style data-mw-deduplicate="TemplateStyles:r1244412712">.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 32px}.mw-parser-output .templatequotecite{line-height:1.5em;text-align:left;margin-top:0}@media(min-width:500px){.mw-parser-output .templatequotecite{padding-left:1.6em}}</style></p><blockquote class="templatequote"><p>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. Bach's <i><a href="/wiki/Art_of_Fugue" class="mw-redirect" title="Art of Fugue">Art of Fugue</a></i> and the fugue from Beethoven's Opus 106 (the <i><a href="/wiki/Hammerklavier_sonata" class="mw-redirect" title="Hammerklavier sonata">Hammerklavier sonata</a></i>) have nothing to do with the academic fugue. Like those great models, this one is an anti-scholastic fugue.<sup id="cite_ref-69" class="reference"><a href="#cite_note-69"><span class="cite-bracket">[</span>69<span class="cite-bracket">]</span></a></sup></p></blockquote> <p><a href="/wiki/Gy%C3%B6rgy_Ligeti" title="György Ligeti">György Ligeti</a> wrote a five-part double fugue<sup class="noprint Inline-Template" style="margin-left:0.1em; white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Please_clarify" title="Wikipedia:Please clarify"><span title="The text near this tag may need clarification or removal of jargon. (January 2016)">clarification needed</span></a></i>]</sup> for <a href="/wiki/Requiem_(Ligeti)" title="Requiem (Ligeti)">his <i>Requiem</i></a>'s second movement, the Kyrie, in which each part (SMATB) is subdivided in four-voice "bundles" that make a <a href="/wiki/Canon_(music)" title="Canon (music)">canon</a>.<sup class="noprint Inline-Template" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Verifiability" title="Wikipedia:Verifiability"><span title="The material near this tag failed verification of its source citation(s). (January 2016)">failed verification</span></a></i>]</sup> The melodic material in this fugue is totally <a href="/wiki/Diatonic_and_chromatic" title="Diatonic and chromatic">chromatic</a>, with <a href="/wiki/Melismatic" class="mw-redirect" title="Melismatic">melismatic</a> (running) parts overlaid onto skipping intervals, and use of <a href="/wiki/Polyrhythm" title="Polyrhythm">polyrhythm</a> (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.<sup id="cite_ref-70" class="reference"><a href="#cite_note-70"><span class="cite-bracket">[</span>70<span class="cite-bracket">]</span></a></sup> According to <a href="/wiki/Tom_Service" title="Tom Service">Tom Service</a>, in this work, Ligeti </p> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712"><blockquote class="templatequote"><p>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 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 '<a href="/wiki/Micropolyphony" title="Micropolyphony">micro-polyphony</a>': 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.<sup id="cite_ref-71" class="reference"><a href="#cite_note-71"><span class="cite-bracket">[</span>71<span class="cite-bracket">]</span></a></sup></p></blockquote> <p><a href="/wiki/Benjamin_Britten" title="Benjamin Britten">Benjamin Britten</a> used a fugue in the final part of <i><a href="/wiki/The_Young_Person%27s_Guide_to_the_Orchestra" title="The Young Person's Guide to the Orchestra">The Young Person's Guide to the Orchestra</a></i> (1946). The <a href="/wiki/Henry_Purcell" title="Henry Purcell">Henry Purcell</a> theme is triumphantly cited at the end, making it a choral fugue.<sup id="cite_ref-72" class="reference"><a href="#cite_note-72"><span class="cite-bracket">[</span>72<span class="cite-bracket">]</span></a></sup> </p><p>Canadian pianist and musical thinker <a href="/wiki/Glenn_Gould" title="Glenn Gould">Glenn Gould</a> composed <i><a href="/wiki/So_You_Want_to_Write_a_Fugue%3F" title="So You Want to Write a Fugue?">So You Want to Write a Fugue?</a></i>, a full-scale fugue set to a text that cleverly explicates its own musical form.<sup id="cite_ref-73" class="reference"><a href="#cite_note-73"><span class="cite-bracket">[</span>73<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Outside_classical_music">Outside classical music</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=27" title="Edit section: Outside classical music"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Fugues (or fughettas/fugatos) have been incorporated into genres outside Western classical music. Several examples exist within <a href="/wiki/Jazz" title="Jazz">jazz</a>, such as <i>Bach goes to Town</i>, composed by the Welsh composer <a href="/wiki/Alec_Templeton" title="Alec Templeton">Alec Templeton</a> and recorded by <a href="/wiki/Benny_Goodman" title="Benny Goodman">Benny Goodman</a> in 1938, and <i><a href="/wiki/Concorde_(album)" title="Concorde (album)">Concorde</a></i> composed by <a href="/wiki/John_Lewis_(pianist)" title="John Lewis (pianist)">John Lewis</a> and recorded by the <a href="/wiki/Modern_Jazz_Quartet" title="Modern Jazz Quartet">Modern Jazz Quartet</a> in 1955. </p><p>In "<a href="/wiki/Fugue_for_Tinhorns" title="Fugue for Tinhorns">Fugue for Tinhorns</a>" from the Broadway musical <a href="/wiki/Guys_and_Dolls" title="Guys and Dolls">Guys and Dolls</a>, written by <a href="/wiki/Frank_Loesser" title="Frank Loesser">Frank Loesser</a>, the characters Nicely-Nicely, Benny, and Rusty sing simultaneously about hot tips they each have in an upcoming <a href="/wiki/Horse_racing" title="Horse racing">horse race</a>.<sup id="cite_ref-74" class="reference"><a href="#cite_note-74"><span class="cite-bracket">[</span>74<span class="cite-bracket">]</span></a></sup> </p><p>In "<a href="/wiki/West_Side_Story" title="West Side Story">West Side Story</a>", the dance sequence following the song "Cool" is structured as a fugue. Interestingly, <a href="/wiki/Leonard_Bernstein" title="Leonard Bernstein">Leonard Bernstein</a> 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. </p><p>A few examples also exist within <a href="/wiki/Progressive_rock" title="Progressive rock">progressive rock</a>, such as the central movement of "<a href="/wiki/Trilogy_(Emerson,_Lake_%26_Palmer_album)#Track_listing" title="Trilogy (Emerson, Lake & Palmer album)">The Endless Enigma</a>" by <a href="/wiki/Emerson,_Lake_%26_Palmer" title="Emerson, Lake & Palmer">Emerson, Lake & Palmer</a> and "<a href="/wiki/Free_Hand#Track_listing" title="Free Hand">On Reflection</a>" by <a href="/wiki/Gentle_Giant" title="Gentle Giant">Gentle Giant</a>. </p><p>On their EP of the same name, <a href="/wiki/Vulfpeck" title="Vulfpeck">Vulfpeck</a> has a composition called "Fugue State", which incorporates a fugue-like section between Theo Katzman (guitar), Joe Dart (bass), and Woody Goss (Wurlitzer keyboard). </p><p>The composer <a href="/wiki/Matyas_Seiber" class="mw-redirect" title="Matyas Seiber">Matyas Seiber</a> included an atonal or twelve-tone fugue, for flute trumpet and string quartet, in his score for the 1953 film <i>Graham Sutherland</i><sup id="cite_ref-75" class="reference"><a href="#cite_note-75"><span class="cite-bracket">[</span>75<span class="cite-bracket">]</span></a></sup> </p><p>The film composer <a href="/wiki/John_Williams" title="John Williams">John Williams</a> includes a fugue in his score for the 1990 film, <i><a href="/wiki/Home_Alone" title="Home Alone">Home Alone</a></i>, 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, <i><a href="/wiki/Home_Alone_2:_Lost_in_New_York" title="Home Alone 2: Lost in New York">Home Alone 2: Lost in New York</a></i>. </p><p>The jazz composer and film composer, <a href="/wiki/Michel_Legrand" title="Michel Legrand">Michel Legrand</a>, includes a fugue as the climax of his score (a classical theme with variations, and fugue) for <a href="/wiki/Joseph_Losey" title="Joseph Losey">Joseph Losey</a>'s 1972 film <i><a href="/wiki/The_Go-Between_(1971_film)" title="The Go-Between (1971 film)">The Go-Between</a></i>, based on the 1953 novel by British novelist, <a href="/wiki/L._P._Hartley" title="L. P. Hartley">L.P. Hartley</a>, as well as several times in his score for <a href="/wiki/Jacques_Demy" title="Jacques Demy">Jacques Demy</a>'s 1970 film <i><a href="/wiki/Donkey_Skin_(film)" title="Donkey Skin (film)">Peau d'âne</a></i>. </p> <div class="mw-heading mw-heading2"><h2 id="Discussion">Discussion</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=28" title="Edit section: Discussion"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Musical_form_or_texture">Musical form or texture</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=29" title="Edit section: Musical form or texture"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>A widespread view of the fugue is that it is not a musical form but rather a technique of composition.<sup id="cite_ref-76" class="reference"><a href="#cite_note-76"><span class="cite-bracket">[</span>76<span class="cite-bracket">]</span></a></sup> </p><p>The Austrian musicologist <a href="/wiki/Erwin_Ratz" title="Erwin Ratz">Erwin Ratz</a> argues that the formal organization of a fugue involves not only the arrangement of its theme and episodes, but also its harmonic structure.<sup id="cite_ref-77" class="reference"><a href="#cite_note-77"><span class="cite-bracket">[</span>77<span class="cite-bracket">]</span></a></sup> In particular, the exposition and coda tend to emphasize the <a href="/wiki/Tonic_key" class="mw-redirect" title="Tonic key">tonic key</a>, 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. </p><p>Although certain <a href="/wiki/Closely_related_key" title="Closely related key">related keys</a> 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 B<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span> major from Book 1 of the <i>Well Tempered Clavier</i> explores the <a href="/wiki/Relative_minor" class="mw-redirect" title="Relative minor">relative minor</a>, the <a href="/wiki/Supertonic" title="Supertonic">supertonic</a> and the <a href="/wiki/Subdominant" title="Subdominant">subdominant</a>. 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 <a href="/wiki/Gy%C3%B6rgy_Ligeti" title="György Ligeti">György Ligeti</a>'s <i>Requiem</i>, <a href="/wiki/Witold_Lutos%C5%82awski" title="Witold Lutosławski">Witold Lutosławski</a> works), use panchromatic, or even denser, harmonic spectra. </p> <div class="mw-heading mw-heading3"><h3 id="Perceptions_and_aesthetics">Perceptions and aesthetics</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=30" title="Edit section: Perceptions and aesthetics"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>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 thoughts."<sup id="cite_ref-78" class="reference"><a href="#cite_note-78"><span class="cite-bracket">[</span>78<span class="cite-bracket">]</span></a></sup> In presenting Bach's fugues as among the greatest of contrapuntal works, <a href="/wiki/Peter_Kivy" title="Peter Kivy">Peter Kivy</a> points out that "counterpoint itself, since time out of mind, has been associated in the thinking of musicians with the profound and the serious"<sup id="cite_ref-Kivy_79-0" class="reference"><a href="#cite_note-Kivy-79"><span class="cite-bracket">[</span>79<span class="cite-bracket">]</span></a></sup> and argues that "there seems to be some rational justification for their doing so."<sup id="cite_ref-80" class="reference"><a href="#cite_note-80"><span class="cite-bracket">[</span>80<span class="cite-bracket">]</span></a></sup> </p><p>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, <a href="/wiki/Nicola_Vicentino" title="Nicola Vicentino">Nicola Vicentino</a>, for example, suggests that: </p> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712"><blockquote class="templatequote"><p>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 basic rule for fugal improvisation anticipates later sixteenth-century discussions which deal with the improvisational technique at the keyboard more extensively.<sup id="cite_ref-81" class="reference"><a href="#cite_note-81"><span class="cite-bracket">[</span>81<span class="cite-bracket">]</span></a></sup></p></blockquote> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=31" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-etymology-1"><span class="mw-cite-backlink">^ <a href="#cite_ref-etymology_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-etymology_1-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">"Fugue, <i>n</i>." <i>The Concise Oxford English Dictionary</i>, eleventh edition, revised, ed. Catherine Soanes and Angus Stevenson (Oxford and New York: Oxford University Press, 2006). <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t23.e22155">"Oxford Reference Online, subscription access"</a><span class="reference-accessdate">. Retrieved <span class="nowrap">16 March</span> 2007</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Oxford+Reference+Online%2C+subscription+access&rft_id=http%3A%2F%2Fwww.oxfordreference.com%2Fviews%2FENTRY.html%3Fsubview%3DMain%26entry%3Dt23.e22155&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span><sup class="noprint Inline-Template"><span style="white-space: nowrap;">[<i><a href="/wiki/Wikipedia:Link_rot" title="Wikipedia:Link rot"><span title=" Dead link tagged April 2020">permanent dead link</span></a></i><span style="visibility:hidden; color:transparent; padding-left:2px">‍</span>]</span></sup></span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBenward1985" class="citation book cs1">Benward, Bruce (1985). <i>Music in Theory and Practice</i>. Vol. 2 (3rd ed.). Dubuque: Wm. C. Brown Publishers. p. 45. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-697-03633-2" title="Special:BookSources/0-697-03633-2"><bdi>0-697-03633-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Music+in+Theory+and+Practice&rft.place=Dubuque&rft.pages=45&rft.edition=3rd&rft.pub=Wm.+C.+Brown+Publishers&rft.date=1985&rft.isbn=0-697-03633-2&rft.aulast=Benward&rft.aufirst=Bruce&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></span> </li> <li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text">"Fugue [Fr. fugue; Ger. Fuge; Lat., It., Sp., fuga]." <i>The Harvard Dictionary of Music</i> (Cambridge: Harvard University Press, 2003), <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.xreferplus.com/entry.jsp?xrefid=4663031&secid=.3.2.">"credo Reference"</a>. <i>www.xreferplus.com</i><span class="reference-accessdate">. Retrieved <span class="nowrap">6 May</span> 2008</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.xreferplus.com&rft.atitle=credo+Reference&rft_id=http%3A%2F%2Fwww.xreferplus.com%2Fentry.jsp%3Fxrefid%3D4663031%26secid%3D.3.2.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span><sup class="noprint Inline-Template"><span style="white-space: nowrap;">[<i><a href="/wiki/Wikipedia:Link_rot" title="Wikipedia:Link rot"><span title=" Dead link tagged July 2018">permanent dead link</span></a></i><span style="visibility:hidden; color:transparent; padding-left:2px">‍</span>]</span></sup></span> </li> <li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWalker2001" class="citation encyclopaedia cs1">Walker, Paul (2001). "Fugue". In <a href="/wiki/Stanley_Sadie" title="Stanley Sadie">Sadie, Stanley</a>; <a href="/wiki/John_Tyrrell_(musicologist)" title="John Tyrrell (musicologist)">Tyrrell, John</a> (eds.). <i><a href="/wiki/The_New_Grove_Dictionary_of_Music_and_Musicians" title="The New Grove Dictionary of Music and Musicians">The New Grove Dictionary of Music and Musicians</a></i> (2nd ed.). London: <a href="/wiki/Macmillan_Publishers" title="Macmillan Publishers">Macmillan Publishers</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-56159-239-5" title="Special:BookSources/978-1-56159-239-5"><bdi>978-1-56159-239-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Fugue&rft.btitle=The+New+Grove+Dictionary+of+Music+and+Musicians&rft.place=London&rft.edition=2nd&rft.pub=Macmillan+Publishers&rft.date=2001&rft.isbn=978-1-56159-239-5&rft.aulast=Walker&rft.aufirst=Paul&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span>‎ for discussion of the changing use of the term throughout Western music history.</span> </li> <li id="cite_note-Ratner-1980-p263-5"><span class="mw-cite-backlink">^ <a href="#cite_ref-Ratner-1980-p263_5-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Ratner-1980-p263_5-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFRatner1980">Ratner 1980</a>, p. 263</span> </li> <li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text"><a href="#CITEREFGedalge1964">Gedalge 1964</a>, p. 7</span> </li> <li id="cite_note-one-7"><span class="mw-cite-backlink">^ <a href="#cite_ref-one_7-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-one_7-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">"Fugue", <i>The Concise Oxford Dictionary of Music</i>, fourth edition, ed. <a href="/wiki/Michael_Kennedy_(music_critic)" title="Michael Kennedy (music critic)">Michael Kennedy</a> (Oxford and New York: <a href="/wiki/Oxford_University_Press" title="Oxford University Press">Oxford University Press</a>, 1996). <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-280037-X" title="Special:BookSources/0-19-280037-X">0-19-280037-X</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKennedyKennedy2007" class="citation book cs1">Kennedy, Michael; Kennedy, Joyce Bourne (2007). <a rel="nofollow" class="external text" href="http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t76.e3627"><i>Oxford Reference Online, subscription access</i></a>. Oxford University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-920383-3" title="Special:BookSources/978-0-19-920383-3"><bdi>978-0-19-920383-3</bdi></a><span class="reference-accessdate">. Retrieved <span class="nowrap">16 March</span> 2007</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Oxford+Reference+Online%2C+subscription+access&rft.pub=Oxford+University+Press&rft.date=2007&rft.isbn=978-0-19-920383-3&rft.aulast=Kennedy&rft.aufirst=Michael&rft.au=Kennedy%2C+Joyce+Bourne&rft_id=http%3A%2F%2Fwww.oxfordreference.com%2Fviews%2FENTRY.html%3Fsubview%3DMain%26entry%3Dt76.e3627&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></span> </li> <li id="cite_note-classic-8"><span class="mw-cite-backlink">^ <a href="#cite_ref-classic_8-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-classic_8-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-classic_8-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-classic_8-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWalker2001" class="citation encyclopaedia cs1">Walker, Paul (2001). "Fugue, §1: A classic fugue analysed". In <a href="/wiki/Stanley_Sadie" title="Stanley Sadie">Sadie, Stanley</a>; <a href="/wiki/John_Tyrrell_(musicologist)" title="John Tyrrell (musicologist)">Tyrrell, John</a> (eds.). <i><a href="/wiki/The_New_Grove_Dictionary_of_Music_and_Musicians" title="The New Grove Dictionary of Music and Musicians">The New Grove Dictionary of Music and Musicians</a></i> (2nd ed.). London: <a href="/wiki/Macmillan_Publishers" title="Macmillan Publishers">Macmillan Publishers</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-56159-239-5" title="Special:BookSources/978-1-56159-239-5"><bdi>978-1-56159-239-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Fugue%2C+%C2%A71%3A+A+classic+fugue+analysed&rft.btitle=The+New+Grove+Dictionary+of+Music+and+Musicians&rft.place=London&rft.edition=2nd&rft.pub=Macmillan+Publishers&rft.date=2001&rft.isbn=978-1-56159-239-5&rft.aulast=Walker&rft.aufirst=Paul&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span>‎</span> </li> <li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.britannica.com/art/fugue">"Fugue | music"</a>. <i><a href="/wiki/Encyclop%C3%A6dia_Britannica" title="Encyclopædia Britannica">Encyclopædia Britannica</a></i><span class="reference-accessdate">. Retrieved <span class="nowrap">29 May</span> 2019</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Encyclop%C3%A6dia+Britannica&rft.atitle=Fugue+%7C+music&rft_id=https%3A%2F%2Fwww.britannica.com%2Fart%2Ffugue&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></span> </li> <li id="cite_note-grovemain-10"><span class="mw-cite-backlink">^ <a href="#cite_ref-grovemain_10-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-grovemain_10-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWalker2001" class="citation encyclopaedia cs1">Walker, Paul (2001). "Fugue". In <a href="/wiki/Stanley_Sadie" title="Stanley Sadie">Sadie, Stanley</a>; <a href="/wiki/John_Tyrrell_(musicologist)" title="John Tyrrell (musicologist)">Tyrrell, John</a> (eds.). <i><a href="/wiki/The_New_Grove_Dictionary_of_Music_and_Musicians" title="The New Grove Dictionary of Music and Musicians">The New Grove Dictionary of Music and Musicians</a></i> (2nd ed.). London: <a href="/wiki/Macmillan_Publishers" title="Macmillan Publishers">Macmillan Publishers</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-56159-239-5" title="Special:BookSources/978-1-56159-239-5"><bdi>978-1-56159-239-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Fugue&rft.btitle=The+New+Grove+Dictionary+of+Music+and+Musicians&rft.place=London&rft.edition=2nd&rft.pub=Macmillan+Publishers&rft.date=2001&rft.isbn=978-1-56159-239-5&rft.aulast=Walker&rft.aufirst=Paul&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span>‎</span> </li> <li id="cite_note-egg-11"><span class="mw-cite-backlink">^ <a href="#cite_ref-egg_11-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-egg_11-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-egg_11-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWalker2001" class="citation encyclopaedia cs1">Walker, Paul (2001). "Fugue, §6: Late 18th century". In <a href="/wiki/Stanley_Sadie" title="Stanley Sadie">Sadie, Stanley</a>; <a href="/wiki/John_Tyrrell_(musicologist)" title="John Tyrrell (musicologist)">Tyrrell, John</a> (eds.). <i><a href="/wiki/The_New_Grove_Dictionary_of_Music_and_Musicians" title="The New Grove Dictionary of Music and Musicians">The New Grove Dictionary of Music and Musicians</a></i> (2nd ed.). London: <a href="/wiki/Macmillan_Publishers" title="Macmillan Publishers">Macmillan Publishers</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-56159-239-5" title="Special:BookSources/978-1-56159-239-5"><bdi>978-1-56159-239-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Fugue%2C+%C2%A76%3A+Late+18th+century&rft.btitle=The+New+Grove+Dictionary+of+Music+and+Musicians&rft.place=London&rft.edition=2nd&rft.pub=Macmillan+Publishers&rft.date=2001&rft.isbn=978-1-56159-239-5&rft.aulast=Walker&rft.aufirst=Paul&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span>‎</span> </li> <li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWalker2001" class="citation encyclopaedia cs1">Walker, Paul (2001). "Fugue, §8: 20th century". In <a href="/wiki/Stanley_Sadie" title="Stanley Sadie">Sadie, Stanley</a>; <a href="/wiki/John_Tyrrell_(musicologist)" title="John Tyrrell (musicologist)">Tyrrell, John</a> (eds.). <i><a href="/wiki/The_New_Grove_Dictionary_of_Music_and_Musicians" title="The New Grove Dictionary of Music and Musicians">The New Grove Dictionary of Music and Musicians</a></i> (2nd ed.). London: <a href="/wiki/Macmillan_Publishers" title="Macmillan Publishers">Macmillan Publishers</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-56159-239-5" title="Special:BookSources/978-1-56159-239-5"><bdi>978-1-56159-239-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Fugue%2C+%C2%A78%3A+20th+century&rft.btitle=The+New+Grove+Dictionary+of+Music+and+Musicians&rft.place=London&rft.edition=2nd&rft.pub=Macmillan+Publishers&rft.date=2001&rft.isbn=978-1-56159-239-5&rft.aulast=Walker&rft.aufirst=Paul&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span>‎</span> </li> <li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text">"Fugal, <i>adj</i>." <i>The Concise Oxford English Dictionary</i>, eleventh edition, revised, ed. Catherine Soanes and Angus Stevenson (Oxford and New York: Oxford University Press, 2006). <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t23.e22149">"Oxford Reference Online, subscription access"</a>. <i>www.oxfordreference.com</i><span class="reference-accessdate">. Retrieved <span class="nowrap">16 March</span> 2007</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.oxfordreference.com&rft.atitle=Oxford+Reference+Online%2C+subscription+access&rft_id=http%3A%2F%2Fwww.oxfordreference.com%2Fviews%2FENTRY.html%3Fsubview%3DMain%26entry%3Dt23.e22149&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span><sup class="noprint Inline-Template"><span style="white-space: nowrap;">[<i><a href="/wiki/Wikipedia:Link_rot" title="Wikipedia:Link rot"><span title=" Dead link tagged April 2020">permanent dead link</span></a></i><span style="visibility:hidden; color:transparent; padding-left:2px">‍</span>]</span></sup></span> </li> <li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text"><a href="#CITEREFGedalge1964">Gedalge 1964</a>, p. 70</span> </li> <li id="cite_note-oxfcomp-15"><span class="mw-cite-backlink">^ <a href="#cite_ref-oxfcomp_15-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-oxfcomp_15-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-oxfcomp_15-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-oxfcomp_15-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-oxfcomp_15-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-oxfcomp_15-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-oxfcomp_15-6"><sup><i><b>g</b></i></sup></a> <a href="#cite_ref-oxfcomp_15-7"><sup><i><b>h</b></i></sup></a> <a href="#cite_ref-oxfcomp_15-8"><sup><i><b>i</b></i></sup></a></span> <span class="reference-text"> G. M. Tucker and Andrew V. Jones, "Fugue", in <i>The Oxford Companion to Music</i>, ed. Alison Latham (Oxford and New York: Oxford University Press, 2002). <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-866212-2" title="Special:BookSources/0-19-866212-2">0-19-866212-2</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLatham2011" class="citation book cs1">Latham, Alison (2011). <a rel="nofollow" class="external text" href="http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t114.e2723"><i>Oxford Reference Online, subscription access</i></a>. Oxford University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-957903-7" title="Special:BookSources/978-0-19-957903-7"><bdi>978-0-19-957903-7</bdi></a><span class="reference-accessdate">. Retrieved <span class="nowrap">16 March</span> 2007</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Oxford+Reference+Online%2C+subscription+access&rft.pub=Oxford+University+Press&rft.date=2011&rft.isbn=978-0-19-957903-7&rft.aulast=Latham&rft.aufirst=Alison&rft_id=http%3A%2F%2Fwww.oxfordreference.com%2Fviews%2FENTRY.html%3Fsubview%3DMain%26entry%3Dt114.e2723&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></span> </li> <li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text"><a href="#CITEREFGedalge1964">Gedalge 1964</a>, p. 12</span> </li> <li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMorris1958" class="citation book cs1">Morris, R. O. (1958). <i>Contrapuntal Technique in the Sixteenth Century</i>. London: Oxford University Press. p. 47.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Contrapuntal+Technique+in+the+Sixteenth+Century&rft.place=London&rft.pages=47&rft.pub=Oxford+University+Press&rft.date=1958&rft.aulast=Morris&rft.aufirst=R.+O.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></span> </li> <li id="cite_note-Verrall-1966-p12-18"><span class="mw-cite-backlink">^ <a href="#cite_ref-Verrall-1966-p12_18-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Verrall-1966-p12_18-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFVerrall1966">Verrall 1966</a>, p. 12</span> </li> <li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text"><a href="#CITEREFGedalge1964">Gedalge 1964</a>, p. 59</span> </li> <li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text">"Invertible Counterpoint" <i>The Oxford Companion to Music</i>, ed. Alison Latham (Oxford and New York: Oxford University Press, 2002) <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLatham2011" class="citation book cs1">Latham, Alison (2011). <a rel="nofollow" class="external text" href="http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t114.e3465"><i>Oxford Reference Online, subscription access</i></a>. Oxford University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-957903-7" title="Special:BookSources/978-0-19-957903-7"><bdi>978-0-19-957903-7</bdi></a><span class="reference-accessdate">. Retrieved <span class="nowrap">16 March</span> 2007</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Oxford+Reference+Online%2C+subscription+access&rft.pub=Oxford+University+Press&rft.date=2011&rft.isbn=978-0-19-957903-7&rft.aulast=Latham&rft.aufirst=Alison&rft_id=http%3A%2F%2Fwww.oxfordreference.com%2Fviews%2FENTRY.html%3Fsubview%3DMain%26entry%3Dt114.e3465&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></span> </li> <li id="cite_note-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-21">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDrabkin2001" class="citation encyclopaedia cs1">Drabkin, William (2001). "Invertible Counterpoint". In <a href="/wiki/Stanley_Sadie" title="Stanley Sadie">Sadie, Stanley</a>; <a href="/wiki/John_Tyrrell_(musicologist)" title="John Tyrrell (musicologist)">Tyrrell, John</a> (eds.). <i><a href="/wiki/The_New_Grove_Dictionary_of_Music_and_Musicians" title="The New Grove Dictionary of Music and Musicians">The New Grove Dictionary of Music and Musicians</a></i> (2nd ed.). London: <a href="/wiki/Macmillan_Publishers" title="Macmillan Publishers">Macmillan Publishers</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-56159-239-5" title="Special:BookSources/978-1-56159-239-5"><bdi>978-1-56159-239-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Invertible+Counterpoint&rft.btitle=The+New+Grove+Dictionary+of+Music+and+Musicians&rft.place=London&rft.edition=2nd&rft.pub=Macmillan+Publishers&rft.date=2001&rft.isbn=978-1-56159-239-5&rft.aulast=Drabkin&rft.aufirst=William&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span>‎</span> </li> <li id="cite_note-22"><span class="mw-cite-backlink"><b><a href="#cite_ref-22">^</a></b></span> <span class="reference-text"><a href="#CITEREFGedalge1964">Gedalge 1964</a>, p. 61</span> </li> <li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text"><a href="#CITEREFGedalge1964">Gedalge 1964</a>, pp. 71–72</span> </li> <li id="cite_note-24"><span class="mw-cite-backlink"><b><a href="#cite_ref-24">^</a></b></span> <span class="reference-text">Paul Walker, "Fugue, §1: A Classic Fugue Analysed" <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.grovemusic.com/shared/views/article.html?section=music.51678.1">"Grove Music Online"</a>. <i>www.grovemusic.com</i><span class="reference-accessdate">. Retrieved <span class="nowrap">18 February</span> 2007</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.grovemusic.com&rft.atitle=Grove+Music+Online&rft_id=http%3A%2F%2Fwww.grovemusic.com%2Fshared%2Fviews%2Farticle.html%3Fsection%3Dmusic.51678.1&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></span> </li> <li id="cite_note-Verrall_1966_33-25"><span class="mw-cite-backlink">^ <a href="#cite_ref-Verrall_1966_33_25-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Verrall_1966_33_25-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFVerrall1966">Verrall 1966</a>, p. 33</span> </li> <li id="cite_note-26"><span class="mw-cite-backlink"><b><a href="#cite_ref-26">^</a></b></span> <span class="reference-text"><a href="#CITEREFGedalge1964">Gedalge 1964</a></span> </li> <li id="cite_note-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-27">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWalker2001" class="citation encyclopaedia cs1">Walker, Paul (2001). "Counter-exposition". In <a href="/wiki/Stanley_Sadie" title="Stanley Sadie">Sadie, Stanley</a>; <a href="/wiki/John_Tyrrell_(musicologist)" title="John Tyrrell (musicologist)">Tyrrell, John</a> (eds.). <i><a href="/wiki/The_New_Grove_Dictionary_of_Music_and_Musicians" title="The New Grove Dictionary of Music and Musicians">The New Grove Dictionary of Music and Musicians</a></i> (2nd ed.). London: <a href="/wiki/Macmillan_Publishers" title="Macmillan Publishers">Macmillan Publishers</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-56159-239-5" title="Special:BookSources/978-1-56159-239-5"><bdi>978-1-56159-239-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Counter-exposition&rft.btitle=The+New+Grove+Dictionary+of+Music+and+Musicians&rft.place=London&rft.edition=2nd&rft.pub=Macmillan+Publishers&rft.date=2001&rft.isbn=978-1-56159-239-5&rft.aulast=Walker&rft.aufirst=Paul&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span>‎</span> </li> <li id="cite_note-28"><span class="mw-cite-backlink"><b><a href="#cite_ref-28">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBach1997" class="citation book cs1">Bach, Johann Sebastian (1997). "Fuge Nr. 2". In Heinemann, Ernst-Günter (ed.). <i>Das Wohltemperierte Klavier I</i>. Munich: G. Henle Verlag.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Fuge+Nr.+2&rft.btitle=Das+Wohltemperierte+Klavier+I&rft.place=Munich&rft.pub=G.+Henle+Verlag&rft.date=1997&rft.aulast=Bach&rft.aufirst=Johann+Sebastian&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></span> </li> <li id="cite_note-29"><span class="mw-cite-backlink"><b><a href="#cite_ref-29">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDreyfus1996" class="citation book cs1"><a href="/wiki/Laurence_Dreyfus" title="Laurence Dreyfus">Dreyfus, Laurence</a> (1996). "Figments of the Organicist Imagination". <i>Bach and the Patterns of Invention</i>. Cambridge, Massachusetts, and London: Harvard University Press. p. 178.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Figments+of+the+Organicist+Imagination&rft.btitle=Bach+and+the+Patterns+of+Invention&rft.place=Cambridge%2C+Massachusetts%2C+and+London&rft.pages=178&rft.pub=Harvard+University+Press&rft.date=1996&rft.aulast=Dreyfus&rft.aufirst=Laurence&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></span> </li> <li id="cite_note-Gedalge-1964-p108-30"><span class="mw-cite-backlink">^ <a href="#cite_ref-Gedalge-1964-p108_30-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Gedalge-1964-p108_30-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFGedalge1964">Gedalge 1964</a>, p. 108</span> </li> <li id="cite_note-ReferenceA-31"><span class="mw-cite-backlink">^ <a href="#cite_ref-ReferenceA_31-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-ReferenceA_31-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWalker2001" class="citation encyclopaedia cs1">Walker, Paul (2001). "Stretto (i)". In <a href="/wiki/Stanley_Sadie" title="Stanley Sadie">Sadie, Stanley</a>; <a href="/wiki/John_Tyrrell_(musicologist)" title="John Tyrrell (musicologist)">Tyrrell, John</a> (eds.). <i><a href="/wiki/The_New_Grove_Dictionary_of_Music_and_Musicians" title="The New Grove Dictionary of Music and Musicians">The New Grove Dictionary of Music and Musicians</a></i> (2nd ed.). London: <a href="/wiki/Macmillan_Publishers" title="Macmillan Publishers">Macmillan Publishers</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-56159-239-5" title="Special:BookSources/978-1-56159-239-5"><bdi>978-1-56159-239-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Stretto+%28i%29&rft.btitle=The+New+Grove+Dictionary+of+Music+and+Musicians&rft.place=London&rft.edition=2nd&rft.pub=Macmillan+Publishers&rft.date=2001&rft.isbn=978-1-56159-239-5&rft.aulast=Walker&rft.aufirst=Paul&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span>‎</span> </li> <li id="cite_note-32"><span class="mw-cite-backlink"><b><a href="#cite_ref-32">^</a></b></span> <span class="reference-text"><a href="#CITEREFVerrall1966">Verrall 1966</a>, p. 77</span> </li> <li id="cite_note-sim-33"><span class="mw-cite-backlink"><b><a href="#cite_ref-sim_33-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWalker2001" class="citation encyclopaedia cs1">Walker, Paul (2001). "Fugue, §5: The golden age". In <a href="/wiki/Stanley_Sadie" title="Stanley Sadie">Sadie, Stanley</a>; <a href="/wiki/John_Tyrrell_(musicologist)" title="John Tyrrell (musicologist)">Tyrrell, John</a> (eds.). <i><a href="/wiki/The_New_Grove_Dictionary_of_Music_and_Musicians" title="The New Grove Dictionary of Music and Musicians">The New Grove Dictionary of Music and Musicians</a></i> (2nd ed.). London: <a href="/wiki/Macmillan_Publishers" title="Macmillan Publishers">Macmillan Publishers</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-56159-239-5" title="Special:BookSources/978-1-56159-239-5"><bdi>978-1-56159-239-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Fugue%2C+%C2%A75%3A+The+golden+age&rft.btitle=The+New+Grove+Dictionary+of+Music+and+Musicians&rft.place=London&rft.edition=2nd&rft.pub=Macmillan+Publishers&rft.date=2001&rft.isbn=978-1-56159-239-5&rft.aulast=Walker&rft.aufirst=Paul&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span>‎</span> </li> <li id="cite_note-x-34"><span class="mw-cite-backlink">^ <a href="#cite_ref-x_34-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-x_34-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWalker2001" class="citation encyclopaedia cs1">Walker, Paul (2001). "Double Fugue". In <a href="/wiki/Stanley_Sadie" title="Stanley Sadie">Sadie, Stanley</a>; <a href="/wiki/John_Tyrrell_(musicologist)" title="John Tyrrell (musicologist)">Tyrrell, John</a> (eds.). <i><a href="/wiki/The_New_Grove_Dictionary_of_Music_and_Musicians" title="The New Grove Dictionary of Music and Musicians">The New Grove Dictionary of Music and Musicians</a></i> (2nd ed.). London: <a href="/wiki/Macmillan_Publishers" title="Macmillan Publishers">Macmillan Publishers</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-56159-239-5" title="Special:BookSources/978-1-56159-239-5"><bdi>978-1-56159-239-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Double+Fugue&rft.btitle=The+New+Grove+Dictionary+of+Music+and+Musicians&rft.place=London&rft.edition=2nd&rft.pub=Macmillan+Publishers&rft.date=2001&rft.isbn=978-1-56159-239-5&rft.aulast=Walker&rft.aufirst=Paul&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span>‎</span> </li> <li id="cite_note-35"><span class="mw-cite-backlink"><b><a href="#cite_ref-35">^</a></b></span> <span class="reference-text">"double fugue" <i>The Oxford Companion to Music</i>, Ed. Alison Latham, Oxford University Press, 2002, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLatham2011" class="citation book cs1">Latham, Alison (2011). <a rel="nofollow" class="external text" href="http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t114.e2059"><i>Oxford Reference Online, subscription access</i></a>. Oxford University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-957903-7" title="Special:BookSources/978-0-19-957903-7"><bdi>978-0-19-957903-7</bdi></a><span class="reference-accessdate">. Retrieved <span class="nowrap">29 March</span> 2007</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Oxford+Reference+Online%2C+subscription+access&rft.pub=Oxford+University+Press&rft.date=2011&rft.isbn=978-0-19-957903-7&rft.aulast=Latham&rft.aufirst=Alison&rft_id=http%3A%2F%2Fwww.oxfordreference.com%2Fviews%2FENTRY.html%3Fsubview%3DMain%26entry%3Dt114.e2059&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></span> </li> <li id="cite_note-36"><span class="mw-cite-backlink"><b><a href="#cite_ref-36">^</a></b></span> <span class="reference-text">"Double Fugue", <i>The Concise Oxford Dictionary of Music</i>, fourth edition, ed. Michael Kennedy (Oxford and New York: Oxford University Press, 1996) <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKennedyKennedy2007" class="citation book cs1">Kennedy, Michael; Kennedy, Joyce Bourne (2007). <a rel="nofollow" class="external text" href="http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t76.e2780"><i>Oxford Reference Online, subscription access</i></a>. Oxford University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-920383-3" title="Special:BookSources/978-0-19-920383-3"><bdi>978-0-19-920383-3</bdi></a><span class="reference-accessdate">. Retrieved <span class="nowrap">29 March</span> 2007</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Oxford+Reference+Online%2C+subscription+access&rft.pub=Oxford+University+Press&rft.date=2007&rft.isbn=978-0-19-920383-3&rft.aulast=Kennedy&rft.aufirst=Michael&rft.au=Kennedy%2C+Joyce+Bourne&rft_id=http%3A%2F%2Fwww.oxfordreference.com%2Fviews%2FENTRY.html%3Fsubview%3DMain%26entry%3Dt76.e2780&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></span> </li> <li id="cite_note-37"><span class="mw-cite-backlink"><b><a href="#cite_ref-37">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWalker2001" class="citation encyclopaedia cs1">Walker, Paul (2001). "Counter-fugue". In <a href="/wiki/Stanley_Sadie" title="Stanley Sadie">Sadie, Stanley</a>; <a href="/wiki/John_Tyrrell_(musicologist)" title="John Tyrrell (musicologist)">Tyrrell, John</a> (eds.). <i><a href="/wiki/The_New_Grove_Dictionary_of_Music_and_Musicians" title="The New Grove Dictionary of Music and Musicians">The New Grove Dictionary of Music and Musicians</a></i> (2nd ed.). London: <a href="/wiki/Macmillan_Publishers" title="Macmillan Publishers">Macmillan Publishers</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-56159-239-5" title="Special:BookSources/978-1-56159-239-5"><bdi>978-1-56159-239-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Counter-fugue&rft.btitle=The+New+Grove+Dictionary+of+Music+and+Musicians&rft.place=London&rft.edition=2nd&rft.pub=Macmillan+Publishers&rft.date=2001&rft.isbn=978-1-56159-239-5&rft.aulast=Walker&rft.aufirst=Paul&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span>‎</span> </li> <li id="cite_note-38"><span class="mw-cite-backlink"><b><a href="#cite_ref-38">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBach1992" class="citation book cs1">Bach, Johann Sebastian (1992). <a href="/wiki/Alfred_D%C3%B6rffel" title="Alfred Dörffel">Dörffel, Alfred</a> (ed.). <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/artoffuguemusica00joha"><i>The Art of Fugue & A Musical Offering</i></a></span>. Courier Dover. p. <a rel="nofollow" class="external text" href="https://archive.org/details/artoffuguemusica00joha/page/56">56</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-486-27006-7" title="Special:BookSources/978-0-486-27006-7"><bdi>978-0-486-27006-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Art+of+Fugue+%26+A+Musical+Offering&rft.pages=56&rft.pub=Courier+Dover&rft.date=1992&rft.isbn=978-0-486-27006-7&rft.aulast=Bach&rft.aufirst=Johann+Sebastian&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fartoffuguemusica00joha&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></span> </li> <li id="cite_note-39"><span class="mw-cite-backlink"><b><a href="#cite_ref-39">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPaul_M._Walker2001" class="citation encyclopaedia cs1">Paul M. Walker (2001). "Counter-fugue". <i>Grove Music Online</i>. <a href="/wiki/Oxford_University_Press" title="Oxford University Press">Oxford University Press</a>. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1093%2Fgmo%2F9781561592630.article.06689">10.1093/gmo/9781561592630.article.06689</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Counter-fugue&rft.btitle=Grove+Music+Online&rft.pub=Oxford+University+Press&rft.date=2001&rft_id=info%3Adoi%2F10.1093%2Fgmo%2F9781561592630.article.06689&rft.au=Paul+M.+Walker&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></span> </li> <li id="cite_note-perm-40"><span class="mw-cite-backlink">^ <a href="#cite_ref-perm_40-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-perm_40-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWalker2001" class="citation encyclopaedia cs1">Walker, Paul (2001). "Permutation Fugue". In <a href="/wiki/Stanley_Sadie" title="Stanley Sadie">Sadie, Stanley</a>; <a href="/wiki/John_Tyrrell_(musicologist)" title="John Tyrrell (musicologist)">Tyrrell, John</a> (eds.). <i><a href="/wiki/The_New_Grove_Dictionary_of_Music_and_Musicians" title="The New Grove Dictionary of Music and Musicians">The New Grove Dictionary of Music and Musicians</a></i> (2nd ed.). London: <a href="/wiki/Macmillan_Publishers" title="Macmillan Publishers">Macmillan Publishers</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-56159-239-5" title="Special:BookSources/978-1-56159-239-5"><bdi>978-1-56159-239-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Permutation+Fugue&rft.btitle=The+New+Grove+Dictionary+of+Music+and+Musicians&rft.place=London&rft.edition=2nd&rft.pub=Macmillan+Publishers&rft.date=2001&rft.isbn=978-1-56159-239-5&rft.aulast=Walker&rft.aufirst=Paul&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span>‎</span> </li> <li id="cite_note-41"><span class="mw-cite-backlink"><b><a href="#cite_ref-41">^</a></b></span> <span class="reference-text"><a href="#CITEREFWalker1992">Walker 1992</a>, p. 56</span> </li> <li id="cite_note-42"><span class="mw-cite-backlink"><b><a href="#cite_ref-42">^</a></b></span> <span class="reference-text">Boyd, Malcolm. <i>Oxford Composer Companions: J.S. 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New York: Oxford University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-517440-2" title="Special:BookSources/0-19-517440-2"><bdi>0-19-517440-2</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/54687539">54687539</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Wondrous+Strange%3A+The+Life+and+Art+of+Glenn+Gould&rft.place=New+York&rft.pub=Oxford+University+Press&rft.date=2004&rft_id=info%3Aoclcnum%2F54687539&rft.isbn=0-19-517440-2&rft.aulast=Bazzana&rft.aufirst=Kevin&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fwondrousstrangel00bazz&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></span> </li> <li id="cite_note-74"><span class="mw-cite-backlink"><b><a href="#cite_ref-74">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=BAIlVCStp3c">"Fugue for Tinhorns - Guys and Dolls (1955) - YouTube"</a>. <i><a href="/wiki/YouTube" title="YouTube">YouTube</a></i>. 2 December 2016.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=YouTube&rft.atitle=Fugue+for+Tinhorns+-+Guys+and+Dolls+%281955%29+-+YouTube&rft.date=2016-12-02&rft_id=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DBAIlVCStp3c&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></span> </li> <li id="cite_note-75"><span class="mw-cite-backlink"><b><a href="#cite_ref-75">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKeller2006" class="citation book cs1">Keller, Hans (2006). <i>Film Music and Beyond</i>. London: Plumbago Books. p. 167.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Film+Music+and+Beyond&rft.place=London&rft.pages=167&rft.pub=Plumbago+Books&rft.date=2006&rft.aulast=Keller&rft.aufirst=Hans&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></span> </li> <li id="cite_note-76"><span class="mw-cite-backlink"><b><a href="#cite_ref-76">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTovey1962" class="citation book cs1">Tovey, Donald Francis (1962). <i>Essays in Music Analysis Volume I: Symphonies</i>. London: Oxford University Press. p. 17.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Essays+in+Music+Analysis+Volume+I%3A+Symphonies&rft.place=London&rft.pages=17&rft.pub=Oxford+University+Press&rft.date=1962&rft.aulast=Tovey&rft.aufirst=Donald+Francis&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></span> </li> <li id="cite_note-77"><span class="mw-cite-backlink"><b><a href="#cite_ref-77">^</a></b></span> <span class="reference-text"><a href="#CITEREFRatz1951">Ratz 1951</a>, Chapter 3</span> </li> <li id="cite_note-78"><span class="mw-cite-backlink"><b><a href="#cite_ref-78">^</a></b></span> <span class="reference-text"><a href="#CITEREFRatz1951">Ratz 1951</a>, p. 259</span> </li> <li id="cite_note-Kivy-79"><span class="mw-cite-backlink"><b><a href="#cite_ref-Kivy_79-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKivy1990">Kivy 1990</a>, p. 206</span> </li> <li id="cite_note-80"><span class="mw-cite-backlink"><b><a href="#cite_ref-80">^</a></b></span> <span class="reference-text"><a href="#CITEREFKivy1990">Kivy 1990</a>, p. 210</span> </li> <li id="cite_note-81"><span class="mw-cite-backlink"><b><a href="#cite_ref-81">^</a></b></span> <span class="reference-text"><a href="#CITEREFMann1965">Mann 1965</a>, p. 16</span> </li> </ol></div></div> <div class="mw-heading mw-heading2"><h2 id="Sources">Sources</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=32" title="Edit section: Sources"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGedalge1964" class="citation book cs1"><a href="/wiki/Andr%C3%A9_Gedalge" title="André Gedalge">Gedalge, André</a> (1964) [1901]. <i>Traité de la fugue</i> [<i>Treatise on Fugue</i>]. trans. A. Levin. Mattapan: Gamut Music Company. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/917101">917101</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Trait%C3%A9+de+la+fugue&rft.place=Mattapan&rft.pub=Gamut+Music+Company&rft.date=1964&rft_id=info%3Aoclcnum%2F917101&rft.aulast=Gedalge&rft.aufirst=Andr%C3%A9&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGraves1962" class="citation book cs1">Graves, William L. Jr. (1962). <i>Twentieth Century Fugue</i>. Washington, D.C.: The Catholic University of America Press. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/480340">480340</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Twentieth+Century+Fugue&rft.place=Washington%2C+D.C.&rft.pub=The+Catholic+University+of+America+Press&rft.date=1962&rft_id=info%3Aoclcnum%2F480340&rft.aulast=Graves&rft.aufirst=William+L.+Jr.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKivy1990" class="citation book cs1"><a href="/wiki/Peter_Kivy" title="Peter Kivy">Kivy, Peter</a> (1990). <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/musicalonephilos00kivy"><i>Music Alone: Philosophical Reflections on the Purely Musical Experience</i></a></span>. Ithaca: Cornell University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8014-2331-7" title="Special:BookSources/0-8014-2331-7"><bdi>0-8014-2331-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Music+Alone%3A+Philosophical+Reflections+on+the+Purely+Musical+Experience&rft.place=Ithaca&rft.pub=Cornell+University+Press&rft.date=1990&rft.isbn=0-8014-2331-7&rft.aulast=Kivy&rft.aufirst=Peter&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fmusicalonephilos00kivy&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMann1960" class="citation book cs1"><a href="/wiki/Alfred_Mann_(musicologist)" title="Alfred Mann (musicologist)">Mann, Alfred</a> (1960). <i>The Study of Fugue</i>. London: Oxford University Press.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Study+of+Fugue&rft.place=London&rft.pub=Oxford+University+Press&rft.date=1960&rft.aulast=Mann&rft.aufirst=Alfred&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMann1965" class="citation book cs1">Mann, Alfred (1965). <i>The Study of Fugue</i>. New York: <a href="/wiki/W._W._Norton_%26_Company" title="W. W. Norton & Company">W. W. Norton & Company</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Study+of+Fugue&rft.place=New+York&rft.pub=W.+W.+Norton+%26+Company&rft.date=1965&rft.aulast=Mann&rft.aufirst=Alfred&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRatner1980" class="citation book cs1"><a href="/wiki/Leonard_Ratner" title="Leonard Ratner">Ratner, Leonard G.</a> (1980). <i>Classic Music: Expression, Form, and Style</i>. London: Collier Macmillan Publishers. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780028720203" title="Special:BookSources/9780028720203"><bdi>9780028720203</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/6648908">6648908</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Classic+Music%3A+Expression%2C+Form%2C+and+Style&rft.place=London&rft.pub=Collier+Macmillan+Publishers&rft.date=1980&rft_id=info%3Aoclcnum%2F6648908&rft.isbn=9780028720203&rft.aulast=Ratner&rft.aufirst=Leonard+G.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRatz1951" class="citation book cs1"><a href="/wiki/Erwin_Ratz" title="Erwin Ratz">Ratz, Erwin</a> (1951). <i>Einführung in die Musikalische Formenlehre: Über Formprinzipien in den Inventionen J. S. Bachs und ihre Bedeutung für die Kompositionstechnik Beethovens</i> [<i>Introduction to Musical Form: On the Principles of Form in J. S. Bach's Inventions and their Import for Beethoven's Compositional Technique</i>] (first edition with supplementary volume). Vienna: Österreichischer Bundesverlag für Unterricht, Wissenschaft und Kunst.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Einf%C3%BChrung+in+die+Musikalische+Formenlehre%3A+%C3%9Cber+Formprinzipien+in+den+Inventionen+J.+S.+Bachs+und+ihre+Bedeutung+f%C3%BCr+die+Kompositionstechnik+Beethovens&rft.place=Vienna&rft.pub=%C3%96sterreichischer+Bundesverlag+f%C3%BCr+Unterricht%2C+Wissenschaft+und+Kunst&rft.date=1951&rft.aulast=Ratz&rft.aufirst=Erwin&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFVerrall1966" class="citation book cs1">Verrall, John W. (1966). <i>Fugue and Invention in Theory and Practice</i>. Palo Alto: Pacific Books. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/1173554">1173554</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Fugue+and+Invention+in+Theory+and+Practice&rft.place=Palo+Alto&rft.pub=Pacific+Books&rft.date=1966&rft_id=info%3Aoclcnum%2F1173554&rft.aulast=Verrall&rft.aufirst=John+W.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWalker1992" class="citation book cs1">Walker, Paul (1992). <i>The Origin of Permutation Fugue</i>. New York: Broude Brothers Limited.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Origin+of+Permutation+Fugue&rft.place=New+York&rft.pub=Broude+Brothers+Limited&rft.date=1992&rft.aulast=Walker&rft.aufirst=Paul&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWalker2000" class="citation book cs1">Walker, Paul Mark (2000). <i>Theories of Fugue from the Age of Josquin to the Age of Bach</i>. Eastman studies in music. Vol. 13. Rochester: University of Rochester Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781580461504" title="Special:BookSources/9781580461504"><bdi>9781580461504</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/56634238">56634238</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Theories+of+Fugue+from+the+Age+of+Josquin+to+the+Age+of+Bach&rft.place=Rochester&rft.series=Eastman+studies+in+music&rft.pub=University+of+Rochester+Press&rft.date=2000&rft_id=info%3Aoclcnum%2F56634238&rft.isbn=9781580461504&rft.aulast=Walker&rft.aufirst=Paul+Mark&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></li></ul> <div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=33" title="Edit section: Further reading"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation book cs1">Horsley, Imogene (1966). <i>Fugue: History and Practice</i>. New York/London: Free Press/Collier-Macmillan.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Fugue%3A+History+and+Practice&rft.place=New+York%2FLondon&rft.pub=Free+Press%2FCollier-Macmillan&rft.date=1966&rft.aulast=Horsley&rft.aufirst=Imogene&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation book cs1"><a href="/wiki/Joseph_Kerman" title="Joseph Kerman">Kerman, Joseph</a> (2015). <i>The Art of Fugue: Bach Fugues for Keyboard, 1715–1750</i>. University of California Press. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<span class="id-lock-free" title="Freely accessible"><a rel="nofollow" class="external text" href="https://doi.org/10.1525%2Fluminos.1">10.1525/luminos.1</a></span>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780520962590" title="Special:BookSources/9780520962590"><bdi>9780520962590</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Art+of+Fugue%3A+Bach+Fugues+for+Keyboard%2C+1715%E2%80%931750&rft.pub=University+of+California+Press&rft.date=2015&rft_id=info%3Adoi%2F10.1525%2Fluminos.1&rft.isbn=9780520962590&rft.aulast=Kerman&rft.aufirst=Joseph&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></li></ul> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fugue&action=edit&section=34" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output .side-box{margin:4px 0;box-sizing:border-box;border:1px solid #aaa;font-size:88%;line-height:1.25em;background-color:var(--background-color-interactive-subtle,#f8f9fa);display:flow-root}.mw-parser-output .side-box-abovebelow,.mw-parser-output .side-box-text{padding:0.25em 0.9em}.mw-parser-output .side-box-image{padding:2px 0 2px 0.9em;text-align:center}.mw-parser-output .side-box-imageright{padding:2px 0.9em 2px 0;text-align:center}@media(min-width:500px){.mw-parser-output .side-box-flex{display:flex;align-items:center}.mw-parser-output .side-box-text{flex:1;min-width:0}}@media(min-width:720px){.mw-parser-output .side-box{width:238px}.mw-parser-output .side-box-right{clear:right;float:right;margin-left:1em}.mw-parser-output .side-box-left{margin-right:1em}}</style><style data-mw-deduplicate="TemplateStyles:r1237033735">@media print{body.ns-0 .mw-parser-output .sistersitebox{display:none!important}}@media screen{html.skin-theme-clientpref-night .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}</style><div class="side-box side-box-right plainlinks sistersitebox"><style data-mw-deduplicate="TemplateStyles:r1126788409">.mw-parser-output .plainlist ol,.mw-parser-output .plainlist ul{line-height:inherit;list-style:none;margin:0;padding:0}.mw-parser-output .plainlist ol li,.mw-parser-output .plainlist ul li{margin-bottom:0}</style> <div class="side-box-flex"> <div class="side-box-image"><span class="noviewer" typeof="mw:File"><a href="/wiki/File:Wiktionary-logo-en-v2.svg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/9/99/Wiktionary-logo-en-v2.svg/40px-Wiktionary-logo-en-v2.svg.png" decoding="async" width="40" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/99/Wiktionary-logo-en-v2.svg/60px-Wiktionary-logo-en-v2.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/99/Wiktionary-logo-en-v2.svg/80px-Wiktionary-logo-en-v2.svg.png 2x" data-file-width="512" data-file-height="512" /></a></span></div> <div class="side-box-text plainlist">Look up <i><b><a href="https://en.wiktionary.org/wiki/Special:Search/fugue" class="extiw" title="wiktionary:Special:Search/fugue">fugue</a></b></i> in Wiktionary, the free dictionary.</div></div> </div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1235681985"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1237033735"><div class="side-box side-box-right plainlinks sistersitebox"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1126788409"> <div class="side-box-flex"> <div class="side-box-image"><span class="noviewer" typeof="mw:File"><a href="/wiki/File:Wikisource-logo.svg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/38px-Wikisource-logo.svg.png" decoding="async" width="38" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/57px-Wikisource-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/76px-Wikisource-logo.svg.png 2x" data-file-width="410" data-file-height="430" /></a></span></div> <div class="side-box-text plainlist"><a href="/wiki/Wikisource" title="Wikisource">Wikisource</a> has the text of the <a href="/wiki/Encyclop%C3%A6dia_Britannica_Eleventh_Edition" title="Encyclopædia Britannica Eleventh Edition">1911 <i>Encyclopædia Britannica</i></a> article "<span style="font-weight:bold;"><a href="https://en.wikisource.org/wiki/1911_Encyclop%C3%A6dia_Britannica/Fugue" class="extiw" title="wikisource:1911 Encyclopædia Britannica/Fugue">Fugue</a></span>".</div></div> </div> <ul><li><a rel="nofollow" class="external text" href="http://www.mutopiaproject.org/cgibin/make-table.cgi?collection=bachwtk&preview=1">Score</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20060907171111/http://www.mutopiaproject.org/cgibin/make-table.cgi?collection=bachwtk&preview=1">Archived</a> 7 September 2006 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, J. S. Bach's <i><a href="/wiki/The_Well-Tempered_Clavier" title="The Well-Tempered Clavier">The Well-Tempered Clavier</a></i>, <a href="/wiki/Mutopia_Project" title="Mutopia Project">Mutopia Project</a></li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20160526061053/http://www2.nau.edu/tas3/wtc/wtc.html">Fugues of the Well-Tempered Clavier</a> (viewable in Adobe <a rel="nofollow" class="external text" href="http://bach.nau.edu/clavier/nature/fugues/Fugue01.html">Flash</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20190225055221/http://bach.nau.edu/clavier/nature/fugues/Fugue01.html">Archived</a> 25 February 2019 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> or <a rel="nofollow" class="external text" href="https://web.archive.org/web/20100210191546/http://www2.nau.edu/tas3/wtc.html">Shockwave</a>)</li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20060707181130/http://www.kunstderfuge.com/theory.htm">Theory on fugues</a></li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20050524204651/http://www.hannotte.net/Fugues.htm">Fugues and fugue sets</a></li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20190920224914/http://www.bachwelltemperedclavier.org/">Analyses of J. S. Bach's <i>Well-Tempered Clavier</i> with accompanying recordings</a></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation encyclopaedia cs1"><span class="cs1-ws-icon" title="s:The American Cyclopædia (1879)/Fugue"><a class="external text" href="https://en.wikisource.org/wiki/The_American_Cyclop%C3%A6dia_(1879)/Fugue">"Fugue" </a></span>. <i><a href="/wiki/The_American_Cyclop%C3%A6dia" class="mw-redirect" title="The American Cyclopædia">The American Cyclopædia</a></i>. 1879.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Fugue&rft.btitle=The+American+Cyclop%C3%A6dia&rft.date=1879&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFugue" class="Z3988"></span></li> <li><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=ddbxFi3-UO4"><span class="plainlinks">Visualization of Bach's "Little" Fugue in G minor, organ</span></a> on <a href="/wiki/YouTube_video_(identifier)" class="mw-redirect" title="YouTube video (identifier)">YouTube</a></li> <li><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=h2lfznaDMsY&t=119s"><span class="plainlinks">Analyses of J. S. 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