| Fugue Diagram | Fugue Glossary Theory Things William Wieland | ||||||||||||||||||||||||||||||||||||||||||||||||||||||
Begin by writing numbers across the top of a blank sheet of paper to mark measures and write S A B or S A T B down the left margin to indicate the voices.
(Allow space between the systems for analytical notes.)
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Identify complete subjects with S__________________ Identify complete answers with A__________________ Label the answer(s) as tonal or real. If the fugue has a countersubject, identify complete countersubjects with CS - - - - - - - - - - - - - - - Label any inverted subjects or countersubjects as inverted. If the subject or countersubject is broken into motives, identify them with lower case letters and define those letters. For example, what exactly is your motive a? Indicate where the exposition ends. If the exposition has a bridge, mark it. After the exposition, note any stretto and/or sequences. Note the principle modulations. (Look for pervasive accidentals, or lack thereof, as well as important authentic cadences.) Describe the form of the entire fugue. Do episodes alternate with expositions? Does the fugue resemble sonata form? | |||||||||||||||||||||||||||||||||||||||||||||||||||||||