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| ====== Counterpoint and Fugue (Cherubini): Chapter 9 ====== | ====== On Fugue ====== |
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| ===== On Fugue ===== | |
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| The word **Fugue** (//Fuga//) is ancient. It is to be found in the old composers' works; but they did not apply it in the same sense as it is used nowadays. They called it by this name, counterpoints in imitation, whereof the cantilenas of plain-song furnished the themes, and in which canons are occasionally to be met with. In the present day, the name of //fugue// has been given to a developed and regular composition, unknown to ancient composers, and which, indeed, could not be known to them, since their tonal system did not assort with what we call //tonal fugue// - as will be seen farther on. ((See what is said on this point by Padre Martini, in his treatise on Counterpoint.)) | The word **Fugue** (//Fuga//) is ancient. It is to be found in the old composers' works; but they did not apply it in the same sense as it is used nowadays. They called it by this name, counterpoints in imitation, whereof the cantilenas of plain-song furnished the themes, and in which canons are occasionally to be met with. In the present day, the name of //fugue// has been given to a developed and regular composition, unknown to ancient composers, and which, indeed, could not be known to them, since their tonal system did not assort with what we call //tonal fugue// - as will be seen farther on. ((See what is said on this point by Padre Martini, in his treatise on Counterpoint.)) |
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| The indispensable conditions of fugue are: | The indispensable conditions of fugue are: |
| * the //subject// | * the //Subject// |
| * the //response// | * the //Response// |
| * the //counter-subject// | * the //Counter-subject// |
| * and the //stretto// | * and the //Stretto// |
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| There may be added to these conditions that of the //pedal//, which is almost always employed in a fugue of any extent. | There may be added to these conditions that of the //pedal//, which is almost always employed in a fugue of any extent. |
| Here is the example of a subject of proper dimension: | Here is the example of a subject of proper dimension: |
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| {{ :cherubini_counterpoint_and_fugue:09-ex189.png?800 |}} | {{ :cherubini_counterpoint_and_fugue:ex189-1.png?800 |}} |
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| {{ :cherubini_counterpoint_and_fugue:09-ex189.mp3 | :cherubini_counterpoint_and_fugue:09-ex189.ogg |}} | {{ :cherubini_counterpoint_and_fugue:ex189.mp3 | :cherubini_counterpoint_and_fugue:ex189.ogg |}} |
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| The subject being conceived, the entire fugue should - so to speak - be comprised in its extent, and in that of the ''Counter-Subject'' which serves as its auxillary. | The subject being conceived, the entire fugue should - so to speak - be comprised in its extent, and in that of the ''Counter-Subject'' which serves as its auxiliary. |
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| The ''Subject'' may also be called ''Proposition'', ''Antecedent'' or ''Guide''; and the parts which succeed it may be called ''Responses'', ''Answers'', or ''Consequents''. | The ''Subject'' may also be called ''Proposition'', ''Antecedent'' or ''Guide''; and the parts which succeed it may be called ''Responses'', ''Answers'', or ''Consequents''. |
| The composer is at liberty to choose whichever part he pleases, wherein to propose his subject. The ancient composers, however, were accustomed to observe the following method: When a subject commenced with the octave of the ''Tonic'', and then descended upon the ''Dominant'', they took the highest part in which to propose it, in order that the response which was to descend from the ''Dominant'' to the ''Tonic'' might be made by a lower part. | The composer is at liberty to choose whichever part he pleases, wherein to propose his subject. The ancient composers, however, were accustomed to observe the following method: When a subject commenced with the octave of the ''Tonic'', and then descended upon the ''Dominant'', they took the highest part in which to propose it, in order that the response which was to descend from the ''Dominant'' to the ''Tonic'' might be made by a lower part. |
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| | {{ :cherubini_counterpoint_and_fugue:ex190-1.png?800 |}} |
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| {{ :cherubini_counterpoint_and_fugue:09-ex190.png?800 |}} | {{ :cherubini_counterpoint_and_fugue:ex190.mp3 | :cherubini_counterpoint_and_fugue:ex190.ogg |}} |
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| {{ :cherubini_counterpoint_and_fugue:09-ex190.mp3 | :cherubini_counterpoint_and_fugue:09-ex190.ogg |}} | |
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| On the other hand, when the subject commenced by the ''Tonic'', and then ascended towards the ''Dominant'', they chose, for the same reason, the lowest part for proposing the subject, in order that the response, which from the ''Dominant'' was to ascend to the ''Octave of the Tonic'', should be made by a higher part. | On the other hand, when the subject commenced by the ''Tonic'', and then ascended towards the ''Dominant'', they chose, for the same reason, the lowest part for proposing the subject, in order that the response, which from the ''Dominant'' was to ascend to the ''Octave of the Tonic'', should be made by a higher part. |
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| | {{ :cherubini_counterpoint_and_fugue:ex191-1.png?800 |}} |
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| {{ :cherubini_counterpoint_and_fugue:09-ex191.png?800 |}} | {{ :cherubini_counterpoint_and_fugue:ex191.mp3 | :cherubini_counterpoint_and_fugue:ex191.ogg |}} |
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| {{ :cherubini_counterpoint_and_fugue:09-ex191.mp3 | :cherubini_counterpoint_and_fugue:09-ex191.ogg |}} | |
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| The method of the ancient composers, just shown, is not of indispensable observance; it is simply a rational and judicious plan, well suited to the distribution of the parts in reference to the nature of the subject. | The method of the ancient composers, just shown, is not of indispensable observance; it is simply a rational and judicious plan, well suited to the distribution of the parts in reference to the nature of the subject. |
| The ''Response'', ''Answer'', or ''Consequent'', immediately follows the subject; it should be in all respects similar to this latter, but in another key. It will be explained, farther on, in what key, or at what interval from the subject it should be, when the different kinds of fugue are discussed. It may be said, that the ''Response'' decides the particular kind and nature of the fugue. | The ''Response'', ''Answer'', or ''Consequent'', immediately follows the subject; it should be in all respects similar to this latter, but in another key. It will be explained, farther on, in what key, or at what interval from the subject it should be, when the different kinds of fugue are discussed. It may be said, that the ''Response'' decides the particular kind and nature of the fugue. |
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| {{ :cherubini_counterpoint_and_fugue:09-ex192.png?800 |}} | {{ :cherubini_counterpoint_and_fugue:ex192-1.png?800 |}} |
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| {{ :cherubini_counterpoint_and_fugue:09-ex192.mp3 | :cherubini_counterpoint_and_fugue:09-ex192.ogg |}} | {{ :cherubini_counterpoint_and_fugue:ex192.mp3 | :cherubini_counterpoint_and_fugue:ex192.ogg |}} |