| |
| cherubini_counterpoint_and_fugue:on_fugue:on_digression_and_modulation [2018/04/18 15:54] – created brian | cherubini_counterpoint_and_fugue:on_fugue:on_digression_and_modulation [2018/08/11 04:23] (current) – brian |
|---|
| ====== Counterpoint and Fugue (Cherubini): Chapter 9 ====== | ====== On Fugue ====== |
| | |
| ===== On Fugue ===== | |
| ==== On Digression in Fugue ==== | ==== On Digression in Fugue ==== |
| |
| The ''Digression'', or ''Episode'' in a ''Fugue'', is a period composed of fragments of the ''Subject'', or of the ''Counter-Subjects'' (at the composer's own choice), with which imitations and devices are formed, and during which he may modulate, so as to introduce, in other keys, the ''Principal Subject'', the ''Response'', and the ''Counter-Subjects''. | The ''Digression'', or ''Episode'' in a ''Fugue'', is a period composed of fragments of the ''Subject'', or of the ''Counter-Subjects'' (at the composer's own choice), with which imitations and devices are formed, and during which he may modulate, so as to introduce, in other keys, the ''Principal Subject'', the ''Response'', and the ''Counter-Subjects''. |
| |
| The digression may be, according to need, either short of long; and in the course of a ''Fugue'', there should be more than one ''Digression'', each time varying the choice of method in their treatment. When the entire compositoin of a fugue comes to be discussed, the places will be designated where these digressions - to which may be also given the Italian name of ''Andamenti'' - should occur; and at the same time will be shown the manner of combining them. This simple explanation of the ''Digression'', must at present suffice. | The digression may be, according to need, either short of long; and in the course of a ''Fugue'', there should be more than one ''Digression'', each time varying the choice of method in their treatment. When the entire composition of a fugue comes to be discussed, the places will be designated where these digressions - to which may be also given the Italian name of ''Andamenti'' - should occur; and at the same time will be shown the manner of combining them. This simple explanation of the ''Digression'', must at present suffice. |
| |
| ==== On Modulation ==== | ==== On Modulation ==== |
| The ''Accessory'' (or ''Episodical'' conditions) are: the ''Imitations'' formed by ''Fragments of the Subject'', or of the ''Counter-Subject'', and with which are composed the different ''Digressions'' or ''Andamenti'' which should occur in the course of a ''Fugue''. All these elements suffice for the construction of a short and ordinary ''Fugue''. But if, in a composition of this sort, other combinations and devices be introduced, a more-extended and varied while will be the result. It is difficult to determine the number of devices that may be introduced into a ''Fugue''; their choice and amount depend upon the nature of the ''Subject'', of the ''Counter-Subject'', and upon the comparatively experienced skill of the composer. There is no ''Fugue'', which does not differ from another, either by its mode of conduct, or by its combinations; this difference and variation are the effects of fantasy, and of an imagination and invention more or less fertile; industry, the facility it gives, and the experience derived from both, by cultivating the imagination, directs a composer in the choice of ideas and of means for the judicious construction of a ''Fugue''. | The ''Accessory'' (or ''Episodical'' conditions) are: the ''Imitations'' formed by ''Fragments of the Subject'', or of the ''Counter-Subject'', and with which are composed the different ''Digressions'' or ''Andamenti'' which should occur in the course of a ''Fugue''. All these elements suffice for the construction of a short and ordinary ''Fugue''. But if, in a composition of this sort, other combinations and devices be introduced, a more-extended and varied while will be the result. It is difficult to determine the number of devices that may be introduced into a ''Fugue''; their choice and amount depend upon the nature of the ''Subject'', of the ''Counter-Subject'', and upon the comparatively experienced skill of the composer. There is no ''Fugue'', which does not differ from another, either by its mode of conduct, or by its combinations; this difference and variation are the effects of fantasy, and of an imagination and invention more or less fertile; industry, the facility it gives, and the experience derived from both, by cultivating the imagination, directs a composer in the choice of ideas and of means for the judicious construction of a ''Fugue''. |
| |
| Each composer bears - so to speak - his own distinctive mark, in this respect; it is requisite, therefore, to examine and analyse many ''Fugues'' of the best masters, in order to become thoroughly versed in this style of composition. | Each composer bears - so to speak - his own distinctive mark, in this respect; it is requisite, therefore, to examine and analyze many ''Fugues'' of the best masters, in order to become thoroughly versed in this style of composition. |
| |
| The next section provides different examples of ''Fugue'' in two, three, and four parts. These examples, enforced by remarks, will suffice to demonstrate how the plan of a simple and ordinary ''Fugue'' should be constructed; and how that of a ''Fugue'' more extended and more complicated, by the introduction of several devices. | The next section provides different examples of ''Fugue'' in two, three, and four parts. These examples, enforced by remarks, will suffice to demonstrate how the plan of a simple and ordinary ''Fugue'' should be constructed; and how that of a ''Fugue'' more extended and more complicated, by the introduction of several devices. |