On 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 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
The method that has been for some time employed for direction in the choice of modulations, consists in being regulated by the Diatonic Scale
of the key in which the composition is, without modulating into chords alien to this same key. Thus, we may modulate:
- into the
Dominant
- into the
Sub-dominant
, of which the keys are naturally major - into the
Second
- into the
Mediant
(orThird
) - and into the
Sixth
, of which the keys are naturally minor
We cannot modulate into the Seventh
or leading-tone, because its fifth is not naturally perfect. That which has been here laid down, applies to the scale of the major key.
When a piece is in question, that is to be composed in a minor key, these are the methods of modulating:
- into the
Sub-dominant
- into the
Dominant
, of which the keys are naturally minor - into the
Mediant
- and into the
Sixth
, of which the keys are naturally major.
We cannot modulate into the Second
, because its fifth is not naturally perfect; and modulating into the Seventh
should also be avoided.
Modern composers have held themselves exempt from observing, in their compositions, this simple and rational method of modulating, adopting in its stead, a much-more free, and frequently incoherent one. But if such derivations are tolerated in modern works, it is essential, and it is even expressly recommended, not to follow these erratic courses, with regard to a style of composition so severe as that of Fugue
.
Thus, when a Fugue
is in a Major
key, the key into which we should modulate first, is that of the Dominant with its Major Third
; then:
- into the
Sixth
, the relative minor key of the principal key - into the major key of the
Sub-dominant
- the minor key of the
Second
- and to the
Mediant
(also minor)
And then return to the key of the Dominant
, in order to proceed to the conclusion, which should be in the principal key.
It is permitted, in the course of a Fugue
in a Major Key
, to change the principal key into the minor; but this permutation should be employed only for a few moments, and merely to bring in a suspension on the Dominant
, in order afterwards to attack the Principal Major Key
.
When a Fugue
is in a minor key, the first modulation is into the Mediant Major Key
, which is the Relative of the Principal Key
; then we modulate alternately either into the Dominant
minor key, or into the Sixth Major Key
, or into the Sub-dominant
minor key, or into the Seventh Major Key
; and lastly, by means of one of these keys, return to the principal key. That we may terminate in the like way with the Fugue
in a Major Key
, the minor principal key may be changed into major, under the conditions that were shown with regard to the Fugue
in a Major Key
.
This is what refers to the modulation of a piece. The chief difficulty in the art of modulating, is the choice of the chords in their succession, in order to go from one key into another, in a manner that shall be natural and suitable to the one into which we are passing; and so that there shall be nothing in these transitions to hurt the ear or the taste.
Experience, that practice alone can give, will smooth those difficulties to which the want of both gives rise.
On the Entire Composition of a Fugue
Having passed in review all that relates to the elements of a fugue, there remains but to treat of its entire composition. It has been already said, that the indispensable conditions of a Fugue
are:
- the
Subject
- the
Response
- the
Counter-Subject
- and the
Stretto
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 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.