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Ivy Dickens
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Ivy Dickens
Gossip Girl character
Kaylee DeFer as Ivy Dickens
First appearance
"The Kids Stay in the Picture"
(episode 4.18)
Last appearance
"New York, I Love You XOXO"
(episode 6.10)
Portrayed by
Kaylee DeFer
Information
Full name
Ivy Dickens
Aliases
former:
Charlotte "Charlie" Rhodes
Occupation
Actress
Beneficiary and socialite
Con artist (former)
Waitress (former)
Family
as Charlie Rhodes:
Carol Rhodes
(mother)
Lillian "Lily" Humphrey
(maternal aunt)
Rufus Humphrey
(maternal uncle)
Serena van der Woodsen
(cousin)
Eric van der Woodsen
(cousin)
Scott Rosson
(cousin)
Richard "Rick" Rhodes
(maternal grandfather)
Celia "CeCe" Rhodes
(maternal grandmother; deceased)
Ivy Dickens (former alias: Charlotte "Charlie" Rhodes) is a fictional character who exclusively appears in the Gossip Girl television adaptation, portrayed by Kaylee DeFer. She first appears in "The Kids Stay in the Picture," initially appearing as Serena's estranged cousin, Charlie Rhodes, whom Serena takes under her wing and introduces to the Upper East Side. The fourth season finale "The Wrong Goodbye," reveals her true identity as Ivy Dickens, a struggling actress and con artist hired by Carol Rhodes to pose as her daughter in order to gain access to the real Charlie Rhodes' trust fund.[1]
DeFer was promoted to series regular for the fifth season in light of cast members Taylor Momsen and Jessica Szohr's departure.[2] She is the newest addition to the female cast of Gossip Girl villains, joining the likes of Georgina Sparks and Juliet Sharp.
Contents
[hide]
1 Television series
1.1 Casting and characterization
1.2 Season 4
1.3 Season 5
1.4 Season 6
2 Reception
3 References
Television series[edit]
Casting and characterization[edit]
Introduced in the fourth season, DeFer was set to join the cast as Carol's daughter and Serena and Eric's cousin, Charlie Rhodes. DeFer's contract with the show also included the possibility of her becoming a series regular for the fifth season.[3] She first auditioned for the role of Raina Thorpe. However, that role went to Tika Sumpter. DeFer was called back for the role of Charlie Rhodes, with the show's writers stating that they were writing something new for her character.[1] DeFer had also previously worked with Gossip Girl executive producers, Stephanie Savage and Joe Lazarov as well as Penn Badgley in The Mountain.[4]
Executive producer Joshua Safran later commented on her introduction and the perception that the character brought to the show. "We always like it when we have new people who are witnessing this world for the first time...For Charlie, it’s like trial by fire. From reading Gossip Girl for the first time or going to your first event, all that stuff we get to do over again in a new way."[5]
Charlie's integration also made her a voice for the audience and critics of Gossip Girl. TV Fanatic warmly welcomed her character, stating that she "good-naturedly mocked the show and its often convoluted plot lines."[6] DeFer would later reveal details behind her character's involvement in the fourth season finale, "As far as I know I’m just in the next five episodes until the season finale, and then I have no idea. But I really hope we get the opportunity to finish what Charlie started as I think it’s going to be a story-line that people will really want to follow." DeFer also states that Charlie is more relatable in comparison to other characters that have appeared in the show. "She is such a real person, not being from that life and what not..."[4]
Season 4[edit]
The character is first introduced in the second half of season four as Charlotte "Charlie" Rhodes, the estranged cousin of Serena and Eric van der Woodsen. Under the guise of Charlie Rhodes, she experiences the world of the Upper East Side, becoming particularly close with Dan Humphrey, though Dan puts a stop to the budding relationship because of his history with Serena. However, upon learning that Vanessa Abrams had intentionally sabotaged a meeting Charlie had organized, Dan allows himself to become closer to Charlie while severing his ties with Vanessa.
The two then begin an awkward relationship which concludes in the season's penultimate episode when Charlie, dressed like Serena, demands that Dan call her by Serena's name. It is later revealed that Charlie suffers from bi-polar disorder and she has stopped taking her medication. She leaves the Upper East Side and meets up with her mother, Carol. In the season's final moments, "Charlie Rhodes" is revealed to be Ivy Dickens, an aspiring actress that Carol hired to gain access to her daughter's trust fund. In her final scene she puts a napkin with Georgina's number in her bag which hints that the two will team up in the fifth season.
With regard to her involvement in the finale, DeFer discussed her character's involvement. "Charlie has a great deal to do with the season finale...but what I am allowed to say is that Charlie does mix it up with every character."[4]
Season 5[edit]
In between the fourth and fifth seasons, after returning to Miami, Ivy moved to Los Angeles with her boyfriend, Max, in order to become an actress. Ivy later runs into Serena at a restaurant that she and her boyfriend both work at and Serena, under the impression that Ivy is Charlie, offers to have Ivy move in with her. Ivy declines, looking for several ways to get out of the situation, but Serena convinces her to move back to New York with her.
After she and Serena return to New York, Charlie overhears that Carol is returning to New York and that Lily refuses to deceive her and she tells Serena that she is leaving. Serena, however, has seen this coming and asks her to return her tickets to a fashion show. When Charlie arrives, she discovers that Serena actually had her take her place as a model. After a conversation with Blair, she decides to stay. Her excitement does not last as she runs into Carol with Lily and Rufus, who had no idea that she had returned. After a confrontation with Carol, Ivy states that the family that Carol hates has been kinder to her than her own and that everything in New York 'sparkles' and she refuses to give that up and that the van der Woodsens would have a problem should it ever come out that Carol had hired her to impersonate Charlie in order to gain access to her trust fund. After this conversation, Carol tells Ivy that she is on her own and that Carol will not help Ivy any more should her real identity ever be discovered before returning to Miami.
Ivy later panics when she learns that she has left her cell phone at the fashion show, as she believes her true identity will be discovered. She is unaware, however, that her phone, along with several others, had been stolen by Nate Archibald and his shrewd boss Diana. After a conversation with Nate about the phone, she offers to help him find the owner in attempt to retrieve it. After she has accomplished this, however, Diana has discovered the connection between Ivy and Charlie and agrees to keep silent as long as Ivy works for her. Under Diana's control, Ivy is forced to procure gossip for Diana's use. She later finds the files that Bart Bass kept on Serena, Lily, Eric and himself, while Nate convinces her to leave them, she does not and in turn hands them over to Diana.
Ivy later competes to become a bridesmaid for Blair in order to get the scoop on her wedding for Diana, where her final task is to secure a kiss from Nate. They later attend the launch party of Diana's revamped 'Spectator' where they use each other to reach their own ends; Ivy to win Blair's bridesmaid spot and Nate to make Diana jealous, unknown to the other. Diana later confronts Ivy and threatens to reveal her secret, while Ivy is adamant that she had no idea that she was the one Nate wanted to make jealous. Diana later reveals to Nate and Ivy that they had been deceiving each other, leaving them angry at one another.
Although Ivy has developed feelings for Nate, Diana has threatened her to stay away from him. This changes, however, when she finds out that Ivy's ex-boyfriend, Max, is in town looking for her and sets up an elaborate plot that very nearly causes her secret to be revealed. Max finds Gossip Girl's website, along with a picture of Ivy under 'Charlie Rhodes'. He tracks Ivy down at the Van der Woodsen loft and Ivy is backed into a corner where she tells Lily and Max that her mother made her change her name to Ivy in order to avoid being used for her money. While discussing this later, Ivy offers Max money to leave town and start his restaurant in Portland, Oregon. When he finds out that Ivy is actually impersonating Charlie Rhodes, he blackmails Ivy into giving him more money than she had originally offered before deciding to stay in town. When Carol and CeCe return to town however, Carol tries to help Ivy out of her trouble with Max by getting CeCe to unlock the rest of Charlie's trust fund, which she does. After Ivy convinces Serena to drop her date with Max on Carol's advice, Max shows up to the party and attempts to out Charlie as Ivy to the rest of the Rhodes/Van der Woodsen family. It is Carol, however, that convinces the family that Max is lying, later telling Ivy that if the family found out what has happened to the real Charlie Rhodes, Ivy wouldn't be the only one out. Carol tells Ivy that she may now leave New York and start a new life with the wealth she now possesses. Ivy, however, tells her that she doesn't care about the wealth and luxury of being a part of the family, and that Carol can have the trust fund, since all she really wants is a family to call her own.
Max continues to threaten Ivy, taking her story to Nate, who has already been warned by the Van der Woodsens. When this fails, Max takes his story to Nate's cousin Trip who is a congressman, on the eve of Charlie's debut into the Upper East Side society. When Max shows up at her party, Ivy sends a blast to Gossip Girl about Blair and Chuck being there as well, sending the paparazzi into the party as well. When Blair and Chuck get into a life-threatening car accident after being tailed by the paparazzi, Ivy confesses to Rufus that she is a fraud, but before he can respond, Lily arrives with news that Blair is awake and responding, but Chuck is not. Overwhelmed with guilt, Ivy calls Carol and asks her to help her leave the Upper East Side for good.
A few weeks later, concerned by Charlie's long absence, Lily hires a private investigator to find her, but the private investigator instead finds the real Charlie Rhodes, who is attending school at Juilliard. When Lily and the "real Charlie" meet, they do not recognize each other and nor do they seem to be aware of each other's existence.
Ivy returns briefly, looking for Lily. She finds Rufus instead, but is told where Lily can be found. Georgina discovers that Ivy is back and blackmails her into attending Nate's party. While at Nate's party, Ivy runs into the real Charlie Rhodes, who goes by the alias 'Lola' and it is revealed that they took the same acting class where they grew up in Florida. Ivy attempts to leave again, but is spotted by Nate, still not knowing the truth about either of them. Nate makes a comment to Charlie about Ivy leading Charlie to get suspicious. When Ivy can finally leave, it is revealed that she has been visiting CeCe the whole time she was away.
CeCe's condition worsens and Ivy is forced to take her to the hospital, where she has a run in with the Van der Woodsens and Carol. When Charlie arrives, Ivy and Carol finally tell the truth about Carol's scheme and Ivy's role in it. Ivy is turned away by the Van der Woodsens. Following this, Ivy turns to Georgina and the two later crash CeCe's wake, during which, through the reading of CeCe's will, Ivy is left everything under her legal name instead of her alias Charlie Rhodes, revealing that CeCe knew about the fact that Ivy isn't her real granddaughter. After this revelation, Ivy kicks Lily and Rufus out of the apartment as it had been paid for by CeCe and was now hers. Ivy throws a party to commemorate the Celia Rhodes Foundation and to gain acceptance in the Upper East Side. She believes she has found an ally in William van der Woodsen after he agrees to persuade people to attend the party in exchange for money, however, it is later revealed he is working with Lily to gather evidence against Ivy to take her to court and contest CeCe's will.
After a courtroom hearing, Ivy loses all of her inheritance after Lily bribes CeCe's nurse to testify against Ivy so she can re-claim Ivy's share of the inheritance. Rufus takes pity on Ivy being without a home and family, and pays for her stay at a hotel. Lily finds this out later on and they fight, and Rufus returns to Brooklyn. Ivy later visits Lily and tries to seek her acceptance, confessing that she really wanted to be part of her family. Lily rejects her but offers her a cheque of 1 million dollars, asking her to leave and never return. Ivy leaves the apartment and tears up the cheque, revealing her confession was genuine. Later, Lily has Carol Rhodes arrested and charged with fraud in order to acquire her share of CeCe's estate for herself. After William van der Woodsen takes pity on Charlie 'Lola' Rhodes, he gives her Carol's share of CeCe's wealth so she can live on.
In the final episode of the season, Lola signs over her entire half of Cece's estate to Ivy and asks her to do one favor in return: Take Lily down in revenge for Carol's imprisonment and her manipulation of events. Ivy accepts, more than happy to help after her rejection.
Season 6[edit]
Ivy looks in on Rufus after Lilly annuls their marriage and the two soon become lovers. However, Ivy is actually sleeping with Lilly's ex-husband William and using Bart in a plot to take down Lilly. When Rufus sees the two kissing (although not seeing William's face), he breaks up with Ivy. Ivy helps Blair in her plans to try and take down Chuck's father and when the man dies, she believes it's finally time she and William come out in public as a couple. However, when she meets William, he is with Lilly and claims to have never met Ivy before. Ivy tries to tell Lilly of their relationship but Lilly doesn't believe her. After Lilly leaves, William informs Ivy he was using her all along to break up Lilly and Rufus so he could finally have Lilly to himself. He coldly informs Ivy nobody wants her around and she should just take her money and leave. In the final scene (set five years later) Ivy has written a book about her experiences that's being made into a movie.
Reception[edit]
The critical reception of the character had been positive until the start of Season 5. During the series fourth season, Charlie became the subject of praise with her successful integration into the Upper East Side. TV Fanatic praised and welcomed her presence on the show.[6] In the episode The Princesses and the Frog, Steve Marsi praised her choice of confronting Vanessa alone, calling her "a natural" at schemes and that "even an outsider can thoroughly outshine an outcast."[7] TV Guide praised the ousting of Vanessa by Charlie, stating that "it didn't take her long to cross over to "the other side"".[8]
Beginning in the fifth season, however, her character began to receive less than favorable reviews. NY Mag and The Baltimore Sun referred to the Charlie/Ivy plot as "ridiculous".[9][10] The Wall Street Journal suggested that the storyline was repetitive, baring too much of a resemblance to the Juliet and Vanessa plot in the previous season.[11] Sharon Tharp of Ology wrote that the Charlie/Ivy plot was predictable and earned "too much screentime".[12][13]
References[edit]
^ Jump up to: a b "Gossip Girl - Season 5 - Kaylee DeFer". CWTelevision. YouTube. 2011-09-23.
Jump up ^ Ausiello, Michael (May 9, 2011). "Gossip Girl Exclusive: Taylor Momsen and Jessica Szohr Not Returning For Season 5". TV Line.
Jump up ^ Ausiello, Michael (March 1, 2011). "Ask Ausiello: Spoilers on Glee, House, Gossip Girl, HIMYM, Modern Family and More!". TV Line. Retrieved March 2, 2011.
^ Jump up to: a b c "We Shine the Spotlight on the Newest GOSSIP GIRL Kaylee DeFer". the TV addict. 2011-04-25.
Jump up ^ Stack, Tim (2011-04-18). "'Gossip Girl' scoop: Meet Serena's cousin, Charlie". EW.com. Archived from the original on 2011-04-18.
^ Jump up to: a b Marsi, Steve (April 25, 2011). "Gossip Girl Review: You and I Are Not Friends". Tv Fanatic. Retrieved April 30, 2011.
Jump up ^ Marsi, Steve (2011-05-03). "Gossip Girl Review: Royal Wedding Dreams, Awful Schemes". TV Fanatic. Retrieved 2011-05-04.
Jump up ^ Ostlie, Ashley (2011-05-03). "Gossip Girl Episode Recap: "The Princesses and the Frog"". TV Guide. Retrieved 2011-05-04.
Jump up ^ Pressler, Jessica (2011-10-04). "Gossip Girl Recap: I’d Hoped Denial Would Last Longer As a Coping Mechanism". NY Magazine. Retrieved 2011-10-14.
Jump up ^ Lefavor, Laura (2011-10-04). "'Gossip Girl' recap: Beauty and the Feast". The Baltimore Sun. Retrieved 2011-10-14.
Jump up ^ Fallik, Dawn (2011-10-03). "‘Gossip Girl’ Season 5, Episode 2, ‘Beauty and The Feast’: TV Recap". The Wall Street Journal. Retrieved 2011-10-14.
Jump up ^ Tharp, Sharon (2011-10-03). "'Gossip Girl' Recap: "The Jewel Of Denial"". Ology. Retrieved 2011-10-14.
Jump up ^ Tharp, Sharon (2011-10-04). "'Gossip Girl' Recap: "Beauty And The Feast"". Ology. Retrieved 2011-10-14.
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Three Days of Snow
From Wikipedia, the free encyclopedia
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The topic of this article may not meet Wikipedia's general notability guideline. Please help to establish notability by citing reliable secondary sources that are independent of the topic and provide significant coverage of it beyond its mere trivial mention. If notability cannot be established, the article is likely to be merged, redirected, or deleted.
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"Three Days of Snow"
How I Met Your Mother episode
Episode no.
Season 4
Episode 13
Directed by
Pamela Fryman
Written by
Matt Kuhn
Production code
4ALH13
Original air date
January 19, 2009
Guest appearance(s)
Cal Gibson (Ryan)
Jordan Masterson (Colin)
Yves Bright (Patrice)
Gita Isak (Rachel Sondheimer)
Ute Werner (Viveka)
Pat Crawford Brown (Thelma)
Eileen Boylan (Melissa)
Amy Gumenick (Amanda)
Marshall Manesh (Ranjit)
Episode chronology
← Previous
"Benefits" Next →
"The Possimpible"
"Three Days of Snow" is the 13th episode in the fourth season of the television series How I Met Your Mother and 77th overall. It originally aired on January 19, 2009.
Contents
[hide]
1 Plot
2 Critical response
3 References
4 External links
Plot[edit]
Ted and Barney set up dates with two young women in a band, planning to meet back at MacLaren's the next night. The next night, with a huge snow storm outside, they sit alone at the bar, waiting for the girls. Barney and Ted beg Carl the bartender to leave them in charge of the bar for the rest of the night, as Carl has charity work. The girls show up with their "band", which is actually the Arizona Tech "Fighting Hens" Marching Band,[1] filling the bar with rowdy college students. After being overwhelmed with bartending, and a call from Carl telling them he was returning, Ted and Barney direct the band upstairs to their apartment to continue partying.
Lily and Marshall reflect on a tradition of Lily bringing a six-pack of beer with her every time she returns from a trip and they decide to end the tradition, but independently change their minds. Marshall gets Robin to drive him to the airport in the midst of a huge snowstorm to pick up Lily, arguing with her about the importance of traditions in relationships. They get trapped on the side of the road after a snow plow covers them in snow, but they eventually get to the airport terminal. When they arrive, Lily is not there. Marshall realizes that that day's lunchtime phone-call ritual between himself and Lily had been in a voicemail Lily had left that her flight was cancelled. Marshall ignored the call because he felt that all of their traditions were slipping away and that it was a natural progression of their relationship to let their rituals die, from the lunchtime phone-call to the New Year's kiss. Lily's plane has been grounded and will arrive in New York City in two days.
After realizing she wants to continue the tradition, Lily tries to find some vintage Seattle beer. Arriving at the airport an hour early, she encounters Ranjit, and they drive to a local liquor store, only to find that the store only has a keg. She does not find Marshall at the airport. Suddenly, airport residents, the "Fighting Hens," start playing marching band instruments to the tune of "Auld Lang Syne," and Marshall greets Lily. Marshall asks if he now has to bring a marching band each time he picks up Lily.
Critical response[edit]
This section needs expansion. You can help by adding to it. (December 2015)
Donna Bowman of The A.V. Club gave the episode an A rating.[2]
Michelle Zoromski of IGN gave the episode 8.3 out of 10, commenting that it was "a good episode" but pointing out a storyline flaw as "you can't take liquids on a plane anymore".[3]
The TV Critic rated the episode 67 out of 100, describing the humour as "decent" and praising the twist at the end.[4]
Cindy McLennan from Television Without Pity gave the episode an A−.[5]
Kirk Beger of Jowl-Plow Magazine rated the episode in 2017 and called #1 of "the greatest How I Met Your Mother of all-time" in his top 100 poll.
References[edit]
Jump up ^ Recap of Three days of Snow at channelguidemagblog Retrieved July 6, 2013
Jump up ^ Grade it (2009-01-19). ""Three Days Of Snow" | How I Met Your Mother | TV Club | TV". The A.V. Club. Retrieved 2012-07-13.
Jump up ^ Zoromski, Michelle (January 20, 2009). "How I Met Your Mother: "Three Days of Snow" Review". IGN. Retrieved June 8, 2014.
Jump up ^ "The TV Critic". tvcritic.org. Retrieved June 8, 2014.
Jump up ^ McLennan, Cindy. "Snow Job". Retrieved June 8, 2014.
External links[edit]
"Three Days of Snow" on IMDb
"Three Days of Snow" at TV.com
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Fugue
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see Fugue (disambiguation).
The six-part fugue in the Ricercar a 6 from The Musical Offering, in the hand of Johann Sebastian Bach
In music, a fugue (/fjuːɡ/ fewg) is a contrapuntal compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches) and which recurs frequently in the course of the composition. It is not to be confused with a fuguing tune, which is a style of song popularized by and mostly limited to early American (i.e. shape note or "Sacred Harp") music and West Gallery music. A fugue usually has three main sections: an exposition, a development and a final entry that contains the return of the subject in the fugue's tonic key. Some fugues have a recapitulation.[1]
In the Middle Ages, the term was widely used to denote any works in canonic style; by the Renaissance, it had come to denote specifically imitative works.[2] Since the 17th century,[3] the term fugue has described what is commonly regarded as the most fully developed procedure of imitative counterpoint.[4]
Most fugues open with a short main theme, the subject,[5] which then sounds successively in each voice (after the first voice is finished stating the subject, a second voice repeats the subject at a different pitch, and other voices repeat in the same way); when each voice has entered, the exposition is complete. This is often followed by a connecting passage, or episode, developed from previously heard material; further "entries" of the subject then are heard in related keys. Episodes (if applicable) and entries are usually alternated until the "final entry" of the subject, by which point the music has returned to the opening key, or tonic, which is often followed by closing material, the coda.[6][7] In this sense, a fugue is a style of composition, rather than a fixed structure.
The form evolved during the 18th century from several earlier types of contrapuntal compositions, such as imitative ricercars, capriccios, canzonas, and fantasias.[8] The famous fugue composer Johann Sebastian Bach (1685–1750) shaped his own works after those of Johann Jakob Froberger (1616–1667), Johann Pachelbel (1653–1706), Girolamo Frescobaldi (1583–1643), Dieterich Buxtehude (c. 1637–1707) and others.[8] With the decline of sophisticated styles at the end of the baroque period, the fugue's central role waned, eventually giving way as sonata form and the symphony orchestra rose to a dominant position.[9] Nevertheless, composers continued to write and study fugues for various purposes; they appear in the works of Wolfgang Amadeus Mozart (1756–1791)[9] and Ludwig van Beethoven (1770–1827),[9] as well as modern composers such as Dmitri Shostakovich (1906–1975).[10]
Contents
[hide]
1 Etymology
2 Musical outline
2.1 Exposition
2.2 Episode
2.3 Development
2.4 Example and analysis
2.5 False entries
2.6 Counter-exposition
2.7 Stretto
2.8 Final entries and coda
3 Types
3.1 Simple fugue
3.2 Double (triple, quadruple) fugue
3.3 Counter-fugue
3.4 Permutation fugue
3.5 Fughetta
4 History
4.1 Middle Ages and Renaissance
4.2 Baroque era
4.3 Classical era
4.3.1 Haydn
4.3.2 Mozart
4.3.3 Beethoven
4.4 Romantic era
4.5 20th century
4.6 Outside classical music
5 Discussion
5.1 Musical form or texture
5.2 Perceptions and aesthetics
6 References
7 Sources
8 Further reading
9 External links
Etymology[edit]
The English term fugue originated in the 16th century and is derived from the French word fugue or the Italian fuga. This in turn comes from Latin, also fuga, which is itself related to both fugere ("to flee") and fugare ("to chase").[11] The adjectival form is fugal.[12] Variants include fughetta (literally, "a small fugue") and fugato (a passage in fugal style within another work that is not a fugue).[6]
Musical outline[edit]
A fugue begins with the exposition and is written according to certain predefined rules; in later portions the composer has more freedom, 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.[13] The various entries may or may not be separated by episodes.
What follows is a chart displaying a fairly typical fugal outline, and an explanation of the processes involved in creating this structure.
Example of key and entry structure in a three-voice Baroque fugue
Exposition
First mid-entry
Second
mid-entry
Final entries in tonic
Tonic
Dom.
T
(D-redundant entry)
Relative maj/min
Dom. of rel.
Subdom.
T
T
Soprano
S CS1 C
o
d
e
t
t
a CS2 A E
p
i
s
o
d
e CS1 CS2 E
p
i
s
o
d
e S E
p
i
s
o
d
e CS1 Free
counterpoint C
o
d
a
Alto
A CS1 CS2 S CS1 CS2 S CS1
Bass
S CS1 CS2 A CS1 CS2 S
S = subject; A = answer; CS = countersubject; T = tonic; D = dominant
Exposition[edit]
Further information: Exposition (music)
A fugue begins with the exposition of its subject in one of the voices alone in the tonic key.[14] After the statement of the subject, a second voice enters and states the subject with the subject transposed to another key (usually the dominant or subdominant), which is known as the answer.[15][16] To make the music run smoothly, it may also have to be altered slightly. When the answer is an exact copy of the subject to the new key, with identical intervals to the first statement, it is classified as a real answer; if the intervals are altered to maintain the key it is a tonal answer.[14]
Example of a tonal answer in J.S. Bach's Fugue No. 16 in G Minor, BWV 861, from the Well-Tempered Clavier, Book 1. ( Listen )
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.
A tonal answer is usually called for when the subject begins with a prominent dominant note, or where there is a prominent dominant note very close to the beginning of the subject.[14] To prevent an undermining of the music's sense of key, this note is transposed up a fourth to the tonic rather than up a fifth to the supertonic. Answers in the subdominant are also employed for the same reason.[17]
While the answer is being stated, the voice in which the subject was previously heard continues with new material. If this new material is reused in later statements of the subject, it is called a countersubject; if this accompanying material is only heard once, it is simply referred to as free counterpoint.
The interval of a fifth inverts to a fourth (dissonant) and therefore cannot be employed in invertible counterpoint, without preparation and resolution.
The countersubject is written in invertible counterpoint at the octave or fifteenth.[18] The distinction is made between the use of free counterpoint and regular countersubjects accompanying the fugue subject/answer, because in order for a countersubject to be heard accompanying the subject in more than one instance, it must be capable of sounding correctly above or below the subject, and must be conceived, therefore, in invertible (double) counterpoint.[14][19]
In tonal music, invertible contrapuntal lines must be written according to certain rules because several intervallic combinations, while acceptable in one particular orientation, are no longer permissible when inverted. For example, when the note "G" sounds in one voice above the note "C" in lower voice, the interval of a fifth is formed, which is considered consonant and entirely acceptable. When this interval is inverted ("C" in the upper voice above "G" in the lower), it forms a fourth, considered a dissonance in tonal contrapuntal practice, and requires special treatment, or preparation and resolution, if it is to be used.[20] The countersubject, if sounding at the same time as the answer, is transposed to the pitch of the answer.[21] Each voice then responds with its own subject or answer, and further countersubjects or free counterpoint may be heard.
When a tonal answer is used, it is customary for the exposition to alternate subjects (S) with answers (A), however, in some fugues this order is occasionally varied: e.g., see the SAAS arrangement of Fugue No. 1 in C Major, BWV 846, from J.S. Bach's Well-Tempered Clavier, Book 1. A brief codetta is often heard connecting the various statements of the subject and answer. This allows the music to run smoothly. The codetta, just as the other parts of the exposition, can be used throughout the rest of the fugue.[22]
The first answer must occur as soon after the initial statement of the subject as possible; therefore the first codetta is often extremely short, or not needed. In the above example, this is the case: the subject finishes on the quarter note (or crotchet) B♭ of the third beat of the second bar which harmonizes the opening G of the answer. The later codettas may be considerably longer, and often serve to (a) develop the material heard so far in the subject/answer and countersubject and possibly introduce ideas heard in the second countersubject or free counterpoint that follows (b) delay, and therefore heighten the impact of the reentry of the subject in another voice as well as modulating back to the tonic.[23]
The exposition usually concludes when all voices have given a statement of the subject or answer. In some fugues, the exposition will end with a redundant entry, or an extra presentation of the theme.[14] Furthermore, in some fugues the entry of one of the voices may be reserved until later, for example in the pedals of an organ fugue (see J.S. Bach's Fugue in C major for Organ, BWV 547).
Episode[edit]
Further information: Section (music)
Further entries of the subject follow this initial exposition, either immediately (as for example in Fugue No. 1 in C major, BWV 846 of the Well-Tempered Clavier) or separated by episodes.[14] Episodic material is always modulatory and is usually based upon some element heard in the exposition.[7][14] Each episode has the primary function of transitioning for the next entry of the subject in a new key,[14] and may also provide release from the strictness of form employed in the exposition, and middle-entries.[24] André Gedalge states that the episode of the fugue is generally based on a series of imitations of the subject that have been fragmented.[25]
Development[edit]
Further information: Musical development
Further entries of the subject, or middle entries, occur throughout the fugue. They must state the subject or answer at least once in its entirety, and may also be heard in combination with the countersubject(s) 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 as in the exposition; rather, it is usually heard with at least one of the countersubjects and/or other free contrapuntal accompaniments.
Middle-entries tend to occur at pitches other than the initial. As shown in the typical structure above, these are often closely-related keys such as the relative dominant and subdominant, although the key structure of fugues varies greatly. In the fugues of J.S. Bach, the first middle-entry occurs most often in the relative major or minor 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, Buxtehude and Pachelbel), middle entries in keys other than the tonic and dominant tend to be the exception, and non-modulation the norm. One of the famous examples of such non-modulating fugue occurs in Buxtehude's Praeludium (Fugue and Chaconne) in C, BuxWV 137.
When there is no entrance of the subject and answer material, the composer can develop the subject by altering the subject. This is called an episode,[26] often by inversion, although the term is sometimes used synonymously with middle-entry and may also describe the exposition of completely new subjects, as in a double fugue for example (see below). In any of the entries within a fugue, the subject may be altered, by inversion, retrograde (a less common form where the entire subject is heard back-to-front) and diminution (the reduction of the subject's rhythmic values by a certain factor), augmentation (the increase of the subject's rhythmic values by a certain factor) or any combination of them.[14]
Example and analysis[edit]
The excerpt below, bars 7–12 of J.S. Bach's Fugue No. 2 in C minor, BWV 847, from the Well-Tempered Clavier, Book 1 illustrates the application of most of the characteristics described above. The fugue is for keyboard and in three voices, with regular countersubjects.[7][27] 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 sequence, in the form of an accompanied canon at the fourth.[24] Arrival in E♭ major is marked by a quasi perfect cadence 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 mode.[28]
Visual Analysis of J.S. Bach's Fugue No. 2 in C minor, BWV 847, from the Well-Tempered Clavier, Book 1 (bars 7–12)( Listen )
False entries[edit]
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.[17]
Example of a false answer in J.S. Bach's Fugue No. 2 in C minor, BWV 847, from the Well-Tempered Clavier, Book 1. 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 quarter-note.
Counter-exposition[edit]
The counter-exposition is a second exposition. However, there are only two entries, and the entries occur in reverse order.[29] The counter-exposition in a fugue is separated from the exposition by an episode and is in the same key as the original exposition.[29]
Stretto[edit]
Sometimes counter-expositions or the middle entries take place in stretto, 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.[30]
Example of stretto fugue in a quotation from Fugue in C major by Johann Caspar Ferdinand Fischer 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 stretto, the answer already takes place in the tenor voice, on the third quarter note of the first bar, therefore coming in "early". listen (help·info)
Only one entry of the subject must be heard in its completion in a stretto. However, a stretto in which the subject/answer is heard in completion in all voices is known as stretto maestrale or grand stretto.[31] Strettos may also occur by inversion, augmentation and diminution. A fugue in which the opening exposition takes place in stretto form is known as a close fugue or stretto fugue (see for example, the Gratias agimus tibi and Dona nobis pacem choruses from J.S. Bach's Mass in B Minor).[32]
Final entries and coda[edit]
The closing section of a fugue often includes one or two counter-expositions, and possibly a stretto, in the tonic; sometimes over a tonic or dominant pedal note. Any material that follows the final entry of the subject is considered to be the final coda and is normally cadential.[7]
Types[edit]
Simple fugue[edit]
A simple fugue has only one subject, and does not utilize invertible counterpoint.[33]
Double (triple, quadruple) fugue[edit]
A double fugue has two subjects that are often developed simultaneously. Similarly, a triple fugue has three subjects.[34][35] There are two kinds of double fugue: (a) a fugue in which the second subject is presented simultaneously with the subject in the exposition (e.g. as in Kyrie Eleison of Mozart's Requiem in D minor), and (b) a fugue in which the second subject has its own exposition at some later point, and the two subjects are not combined until later (see for example, Fugue No. 14 in F♯ minor from Bach's Well-Tempered Clavier Book 2, or more famously, Bach's "St. Anne" Fugue in E♭ major, BWV 552, a triple fugue for organ.)[34][36]
Counter-fugue[edit]
A counter-fugue is a fugue in which the first answer is presented as the subject in inversion (upside down), and the inverted subject continues to feature prominently throughout the fugue.[37] Examples include Contrapunctus V through Contrapunctus VII, from Bach's The Art of Fugue.[38]
Permutation fugue[edit]
Permutation fugue describes a type of composition (or technique of composition) in which elements of fugue and strict canon are combined.[39] 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 invertible counterpoint. (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).
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 amount 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 opening chorus of J.S. Bach's cantata, Himmelskönig, sei willkommen, BWV182.
Permutation fugues differ from conventional fugue in that there are no connecting episodes, nor statement of the themes in related keys.[39] So for example, the fugue of Bach's Passacaglia and Fugue in C minor, BWV 582 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.[40]
Fughetta[edit]
A fughetta 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 Beethoven's Diabelli Variations Op. 120.
History[edit]
Middle Ages and Renaissance[edit]
The term fuga was used as far back as the Middle Ages, but was initially used to refer to any kind of imitative counterpoint, including canons, which are now thought of as distinct from fugues.[41] Prior to the 16th century, fugue was originally a genre.[42] 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 fantasias, ricercares and canzonas.
"Fugue" as a theoretical term first occurred in 1330 when Jacobus of Liege wrote about the fuga in his Speculum musicae.[43] The fugue arose from the technique of "imitation", where the same musical material was repeated starting on a different note.
Gioseffo Zarlino, a composer, author, and theorist in the Renaissance, was one of the first to distinguish between the two types of imitative counterpoint: fugues and canons (which he called imitations).[42] Originally, this was to aid improvisation, but by the 1550s, it was considered a technique of composition. The Renaissance composer Giovanni Pierluigi da Palestrina (1525?–1594) wrote masses using modal counterpoint and imitation, and fugal writing became the basis for writing motets as well.[44] 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.
Baroque era[edit]
It was in the Baroque period that the writing of fugues became central to composition, in part as a demonstration of compositional expertise. Fugues were incorporated into a variety of musical forms. Jan Pieterszoon Sweelinck, Girolamo Frescobaldi, Johann Jakob Froberger and Dieterich Buxtehude all wrote fugues,[45] and George Frideric Handel included them in many of his oratorios. Keyboard suites from this time often conclude with a fugal gigue. Domenico Scarlatti has only a few fugues among his corpus of over 500 harpsichord sonatas. The French overture featured a quick fugal section after a slow introduction. The second movement of a sonata da chiesa, as written by Arcangelo Corelli and others, was usually fugal.
The Baroque period also saw a rise in the importance of music theory. Some fugues during the Baroque period were pieces designed to teach contrapuntal technique to students.[46] The most influential text was Johann Joseph Fux's Gradus Ad Parnassum ("Steps to Parnassus"), which appeared in 1725.[47] This work laid out the terms of "species" of counterpoint, and offered a series of exercises to learn fugue writing.[48] Fux's work was largely based on the practice of Palestrina's modal fugues.[49] Mozart studied from this book, and it remained influential into the nineteenth century. Haydn, for example, taught counterpoint from his own summary of Fux and thought of it as the basis for formal structure.
Bach's most famous fugues are those for the harpsichord in The Well-Tempered Clavier, which many composers and theorists look at as the greatest model of fugue.[50] The Well-Tempered Clavier 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 prelude or toccata. The Art of Fugue, BWV 1080, is a collection of fugues (and four canons) 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 C.P.E. Bach and through the theorist Friedrich Wilhelm Marpurg (1718–1795) whose Abhandlung von der Fuge ("Treatise on the fugue", 1753) was largely based on J.S. Bach's work.
Classical era[edit]
During the Classical era, the fugue was no longer a central or even fully natural mode of musical composition.[51] Nevertheless, both Haydn and Mozart had periods of their careers in which they in some sense "rediscovered" fugal writing and used it frequently in their work.
Haydn[edit]
Joseph Haydn was the leader of fugal composition and technique in the Classical era.[4] Haydn's most famous fugues can be found in his "Sun" Quartets (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 String Quartet, Op. 50 No. 4 (1787). Some of the earliest examples of Haydn's use of counterpoint, however, are in three symphonies (No. 3, No. 13, and No. 40) that date from 1762–63. The earliest fugues, in both the symphonies and in the Baryton trios, exhibit the influence of Joseph Fux's treatise on counterpoint, Gradus ad Parnassum (1725), which Haydn studied carefully.
Haydn's second fugal period occurred after he heard, and was greatly inspired by, the oratorios 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 The Creation and The Seasons, as well as several of his later symphonies, including No. 88, No. 95, and No. 101.
Mozart[edit]
Wolfgang Amadeus Mozart studied counterpoint when young with Padre Martini in Bologna. However, the major impetus to fugal writing for Mozart was the influence of Baron Gottfried van Swieten 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 also encouraged him to transcribe various works for other combinations of instruments. Mozart was evidently fascinated by these works, and wrote a set of transcriptions for string trio of fugues from Bach's Well-Tempered Clavier, introducing them with preludes of his own.
In a letter to his sister, dated in Vienna on April 20, 1782, Mozart recognizes that he had not written anything in this form, but moved by the interest of Constance he composed one piece, which is sent with the letter. He begs her sister does not let anybody to 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 andante maestoso 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".[52] Mozart then set to writing fugues on his own, mimicking the Baroque style. These included the fugues for String Quartet, K. 405 (1782) and a Fugue in C Minor K. 426 for two pianos (1783). Later, Mozart incorporated fugal writing into his opera Die Zauberflöte and the finale of his Symphony No. 41.
Fugal passage from the finale of Mozart's Symphony No. 41 (Jupiter).
The parts of the Requiem he completed also contain several fugues (most notably the Kyrie, and the three fugues in the Domine Jesu;[53] he also left behind a sketch for an Amen fugue which, some believe[who?], would have come at the end of the Sequentia).
Beethoven[edit]
Ludwig van Beethoven was familiar with fugal writing from childhood, as an important part of his training was playing from The Well-Tempered Clavier. During his early career in Vienna, 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 Eroica Symphony (1805). Beethoven incorporated fugues in his sonatas, and reshaped the episode's purpose and compositional technique for later generations of composers.[54]
Nevertheless, fugues did not take on a truly central role in Beethoven's work until his late period. The finale of Beethoven's Hammerklavier Sonata 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 Cello Sonata, Op. 102 No. 2 is a fugue, and there are fugal passages in the last movements of his Piano Sonatas in A major, Op. 101 and A♭ major Op. 110. According to Charles Rosen (1971, p. 503) "With the finale of 110, Beethoven re-conceived the significance of the most traditional elements of fugue writing."[55]
Fugal passages are also found in the Missa Solemnis and all movements of the Ninth Symphony, except the third . A massive, dissonant fugue forms the finale of his String Quartet, Op. 130 (1825); the latter was later published separately as Op. 133, the Große Fuge ("Great Fugue"). However, it is the fugue that opens Beethoven's String Quartet in C♯ minor, Op. 131 that several commentators regard as one of the composer's greatest achievements. Joseph Kerman (1966, p. 330) calls it "this most moving of all fugues".[56] J.W.N. Sullivan (1927, p. 235) hears it as "the most superhuman piece of music that Beethoven has ever written."[57] Philip Radcliffe (1965, p. 149) says "[a] bare description of its formal outline can give but little idea of the extraordinary profundity of this fugue ."[58]
Beethoven, Quartet in C♯ minor, Op. 131, opening fugal exposition. Listen
Romantic era[edit]
By the beginning of the Romantic era, fugue writing had become specifically attached to the norms and styles of the Baroque. Felix Mendelssohn wrote many fugues inspired by his study of the music of J.S. Bach. Franz Liszt's Piano Sonata in B minor (1853) contains a powerful fugue, demanding incisive virtuosity from its player:
Liszt Piano Sonata Fugue subject. Link to passage
Giuseppe Verdi included a whimsical example at the end of his opera Falstaff and his setting of the Requiem Mass contained two (originally three) choral fugues.[citation needed] Anton Bruckner and Gustav Mahler also included them in their respective symphonies. The finale of Mahler's Symphony No. 5 features a "fugue-like"[59] passage early in the movement, though this is not actually an example of a fugue.
20th century[edit]
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.[51]
The second movement of Maurice Ravel's piano suite Le Tombeau de Couperin (1917) is a fugue that Roy Howat (200, p. 88) describes as having "a subtle glint of jazz".[60] Béla Bartók's Music for Strings, Percussion and Celesta (1936) opens with a slow fugue that Pierre Boulez (1986, pp. 346–47) regards as "certainly the finest and most characteristic example of Bartók's subtle style... probably the most timeless 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."[61]
Igor Stravinsky also incorporated fugues into his works, including the Symphony of Psalms and the Dumbarton Oaks 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.[62] It employs a double fugue with two distinct subjects, the first beginning in C and the second in E♭. Techniques such as stretto, sequencing, and the use of subject incipits are frequently heard in the movement.
Olivier Messiaen, writing about his Vingt regards sur l'enfant-Jésus (1944) wrote of the sixth piece of that collection, "Par Lui tout a été fait" ("By Him were all things made"):
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 Art of Fugue and the fugue from Beethoven's Opus 106 (the Hammerklavier sonata) have nothing to do with the academic fugue. Like those great models, this one is an anti-scholastic fugue.[63]
György Ligeti wrote a five-part double fugue[clarification needed] for his Requiem's second movement, the Kyrie, in which each part (SMATB) is subdivided in four-voice "bundles" that make a canon.[not in citation given] The melodic material in this fugue is totally chromatic, with melismatic (running) parts overlaid onto skipping intervals, and use of polyrhythm (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.[64] According to Tom Service, in this work, Ligeti
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 'micro-polyphony': 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.[65]
Benjamin Britten used a fugue in the final part of The Young Person's Guide to the Orchestra (1946). The Henry Purcell's theme is triumphantly cited at the end making it a choral fugue.[66]
Canadian pianist and musical thinker Glenn Gould composed So You Want to Write a Fugue?, a full-scale fugue set to a text that cleverly explicates its own musical form.[67]
Outside classical music[edit]
Fugues (or fughettas/fugatos) have been incorporated into genres outside Western classical music. Several examples exist within jazz, such as Bach goes to Town, composed by the Welsh composer Alec Templeton and recorded by Benny Goodman in 1938, and Concorde composed by John Lewis and recorded by the Modern Jazz Quartet in 1955.
A few examples also exist within progressive rock, such as the central movement of "The Endless Enigma" by Emerson, Lake & Palmer and "On Reflection" by Gentle Giant.
Discussion[edit]
Musical form or texture[edit]
A widespread view of the fugue is that it is not a musical form but rather a technique of composition.[68]
The Austrian musicologist Erwin Ratz argues that the formal organization of a fugue involves not only the arrangement of its theme and episodes, but also its harmonic structure.[69] In particular, the exposition and coda tend to emphasize the tonic key, 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.
Thus it is to be noted that while certain related keys 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♭ major from book one of the Well Tempered Clavier explores the relative minor, the supertonic and the subdominant. 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 György Ligeti's Requiem, Witold Lutosławski works), use panchromatic, or even denser, harmonic spectra.
Perceptions and aesthetics[edit]
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."[70] In presenting Bach's fugues as among the greatest of contrapuntal works, Peter Kivy points out that "counterpoint itself, since time out of mind, has been associated in the thinking of musicians with the profound and the serious"[71] and argues that "there seems to be some rational justification for their doing so."[72]
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, Nicola Vicentino, for example, suggests that:
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.[73]
References[edit]
Jump up ^ Benward, Bruce (1985). Music in Theory and Practice. 2 (3rd ed.). Dubuque: Wm. C. Brown Publishers. p. 45. ISBN 0-697-03633-2.
Jump up ^ "Fugue [Fr. fugue; Ger. Fuge; Lat., It., Sp., fuga]." The Harvard Dictionary of Music (Cambridge: Harvard University Press, 2003), "credo Reference". Retrieved 2008-05-06.
Jump up ^ Paul Walker. "Fugue". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required) for discussion of the changing use of the term throughout Western music history.
^ Jump up to: a b Ratner 1980, p. 263
Jump up ^ Gedalge 1964, p. 7
^ Jump up to: a b "Fugue", The Concise Oxford Dictionary of Music, fourth edition, ed. Michael Kennedy (Oxford and New York: Oxford University Press, 1996). ISBN 0-19-280037-X "Oxford Reference Online, subscription access". Retrieved 2007-03-16.
^ Jump up to: a b c d Paul Walker. "Fugue, §1: A classic fugue analysed". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required)
^ Jump up to: a b Paul Walker. "Fugue". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required)
^ Jump up to: a b c Paul Walker. "Fugue, §6: Late 18th century". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required)
Jump up ^ Paul Walker. "Fugue, §8: 20th century". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required)
Jump up ^ "Fugue, n." The Concise Oxford English Dictionary, eleventh edition, revised, ed. Catherine Soanes and Angus Stevenson (Oxford and New York: Oxford University Press, 2006). "Oxford Reference Online, subscription access". Retrieved 2007-03-16.
Jump up ^ "Fugal, adj." The Concise Oxford English Dictionary, eleventh edition, revised, ed. Catherine Soanes and Angus Stevenson (Oxford and New York: Oxford University Press, 2006). "Oxford Reference Online, subscription access". Retrieved 2007-03-16.
Jump up ^ Gedalge 1964, p. 70
^ Jump up to: a b c d e f g h i G. M. Tucker and Andrew V. Jones, "Fugue", in The Oxford Companion to Music, ed. Alison Latham (Oxford and New York: Oxford University Press, 2002). ISBN 0-19-866212-2 "Oxford Reference Online, subscription access". Retrieved 2007-03-16.
Jump up ^ Gedalge 1964, p. 12
Jump up ^ Morris, R. O. (1958). Contrapuntal Technique in the Sixteenth Century. London: Oxford University Press. p. 47.
^ Jump up to: a b Verrall 1966, p. 12
Jump up ^ Gedalge 1964, p. 59
Jump up ^ "Invertible Counterpoint" The Oxford Companion to Music, ed. Alison Latham (Oxford and New York: Oxford University Press, 2002) "Oxford Reference Online, subscription access". Retrieved 2007-03-16.
Jump up ^ Drabkin, William. "Invertible Counterpoint". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required)
Jump up ^ Gedalge 1964, p. 61
Jump up ^ Gedalge 1964, pp. 71–72
Jump up ^ Paul Walker, "Fugue, §1: A Classic Fugue Analysed" "Grove Music Online". Retrieved 2007-02-18.
^ Jump up to: a b Verrall 1966, p. 33
Jump up ^ Gedalge 1964
Jump up ^ Paul Walker. "Counter-exposition". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required)
Jump up ^ Bach, Johann Sebastian (1997). "Fuge Nr. 2". In Heinemann, Ernst-Günter. Das Wohltemperierte Klavier I. Munich: G. Henle Verlag.
Jump up ^ Dreyfus, Laurence (1996). "Figments of the Organicist Imagination". Bach and the Patterns of Invention. Cambridge, Mass., and London: Harvard University Press. p. 178.
^ Jump up to: a b Gedalge 1964, p. 108
Jump up ^ Paul Walker. "Stretto (i)". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required)
Jump up ^ Verrall 1966, p. 77
Jump up ^ Paul Walker. "Stretto (i)". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required)
Jump up ^ Paul Walker. "Fugue, §5: The golden age". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required)
^ Jump up to: a b Paul Walker. "Double Fugue". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required)
Jump up ^ "double fugue" The Oxford Companion to Music, Ed. Alison Latham, Oxford University Press, 2002, "Oxford Reference Online, subscription access". Retrieved 2007-03-29.
Jump up ^ "Double Fugue", The Concise Oxford Dictionary of Music, fourth edition, ed. Michael Kennedy (Oxford and New York: Oxford University Press, 1996) "Oxford Reference Online, subscription access". Retrieved 2007-03-29.
Jump up ^ Paul Walker. "Counter-fugue". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required)
Jump up ^ Bach, Johann Sebastian (1992). Dörffel, Alfred, ed. The Art of Fugue & A Musical Offering. Courier Dover. p. 56. ISBN 978-0-486-27006-7.
^ Jump up to: a b Paul Walker. "Permutation Fugue". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required)
Jump up ^ Walker 1992, p. 56
Jump up ^ Walker 2000, p. 7
^ Jump up to: a b Walker 2000, pp. 9–10
Jump up ^ Mann 1960, p. 9
Jump up ^ Perkins, Leeman L. (1999). Music in the Age of the Renaissance. New York: W. W. Norton & Company. pp. 880–81.
Jump up ^ Walker 2000, p. 165
Jump up ^ Schulenberg, David (2001). Music of the Baroque. New York: Oxford University Press. p. 243.
Jump up ^ Walker 2000, p. 316
Jump up ^ Walker 2000, p. 317
Jump up ^ Mann 1960, p. 53
Jump up ^ Walker 2000, p. 2
^ Jump up to: a b Graves 1962, p. 64
Jump up ^ Letters of Mozart. New york: Dorset Press. 1986. p. 195.
Jump up ^ Ratner 1980, p. 266
Jump up ^ Graves 1962, p. 65
Jump up ^ Rosen, C. (1971) The Classical Style. London, Faber.
Jump up ^ Kerman, J. (1966), The Beethoven Quartets. Oxford University Press
Jump up ^ Sullivan, J.W.N. (1927) Beethoven. London, Jonathan Cape
Jump up ^ Radcliffe, P. (1965) Beethoven's String Quartets. London, Hutchinson.
Jump up ^ Floros, C. (1997, p. 135) Gustav Mahler: The Symphonies, trans. Wicker. Amadeus Press.
Jump up ^ Howat, R. (2000) "Ravel and the Piano" in Mawer, D. (ed.) The Cambridge Companion to Ravel. Cambridge University Press.
Jump up ^ Boulez, P. (1986) Orientations. London, Faber.
Jump up ^ Graves 1962, p. 67
Jump up ^ Notes to Vingt Regards sur l'Enfant Jésus. Translator not indicated. Erato Disques S.A. 4509-91705-2, 1993. Compact Disc.
Jump up ^ Eric Drott, "Lines, Masses, Micropolyphony: Ligeti's Kyrie and the 'Crisis of the Figure'". Perspectives of New Music 49, no. 1 (Winter 2011): 4–46. Citation on 10.
Jump up ^ Service, T. (2017)“Chasing a Fugue”, Radio Broadcast on 26 November http://www.bbc.co.uk/programmes/b07jhvgp accessed 28 November 2017.
Jump up ^ https://goodmorningbritten.wordpress.com/2013/10/18/listening-to-britten-the-young-persons-guide-to-the-orchestra-op-34/
Jump up ^ Bazzana, Kevin (2004). Wondrous Strange: The Life and Art of Glenn Gould. New York: Oxford University Press. ISBN 0-19-517440-2. OCLC 54687539.
Jump up ^ Tovey, Donald Francis (1962). Essays in Music Analysis Volume I: Symphonies. London: Oxford University Press. p. 17.
Jump up ^ Ratz 1951, Chapter 3
Jump up ^ Ratz 1951, p. 259
Jump up ^ Kivy 1990, p. 206
Jump up ^ Kivy 1990, p. 210
Jump up ^ Mann 1965, p. 16
Sources[edit]
Gedalge, André (1964) [1901]. Traité de la fugue [Treatise on Fugue]. trans. A. Levin. Mattapan: Gamut Music Company. OCLC 917101.
Graves, William L., Jr. (1962). Twentieth Century Fugue. Washington, D.C.: The Catholic University of America Press. OCLC 480340.
Kivy, Peter (1990). Music Alone: Philosophical Reflections on the Purely Musical Experience. Ithaca: Cornell University Press. ISBN 0-8014-2331-7.
Mann, Alfred (1960). The Study of Fugue. London: Oxford University Press.
Mann, Alfred (1965). The Study of Fugue. New York: W. W. Norton & Company.
Ratner, Leonard G. (1980). Classic Music: Expression, Form, and Style. London: Collier Macmillan Publishers. ISBN 9780028720203. OCLC 6648908.
Ratz, Erwin (1951). Einführung in die Musikalische Formenlehre: Über Formprinzipien in den Inventionen J. S. Bachs und ihre Bedeutung für die Kompositionstechnik Beethovens [Introduction to Musical Form: On the Principles of Form in J. S. Bach's Inventions and their Import for Beethoven's Compositional Technique] (first edition with supplementary volume ed.). Vienna: Österreichischer Bundesverlag für Unterricht, Wissenschaft und Kunst.
Verrall, John W. (1966). Fugue and Invention in Theory and Practice. Palo Alto: Pacific Books. OCLC 1173554.
Walker, Paul (1992). The Origin of Permutation Fugue. New York: Broude Brothers Limited.
Walker, Paul Mark (2000). Theories of Fugue from the Age of Josquin to the Age of Bach. Eastman studies in music. 13. Rochester: University of Rochester Press. ISBN 9781580461504. OCLC 56634238.
Further reading[edit]
Horsley, Imogene (1966). Fugue: History and Practice. New York/London: Free Press/Collier-Macmillan.
External links[edit]
Look up fugue in Wiktionary, the free dictionary.
Wikisource has the text of the 1911 Encyclopædia Britannica article Fugue.
Downloadable PDFs of J.S. Bach's Well-Tempered Clavier on Mutopia
Fugues of the Well-Tempered Clavier (viewable in Adobe Flash or Shockwave)
Theory on fugues
Fugues and Fugue Sets
Analyses of J.S. Bach's Well-Tempered Clavier with accompanying recordings
"Fugue". The American Cyclopædia. 1879.
Video Visualization of Bach's "Little" Fugue in G minor, Organ
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https://d-nb.info/gnd/4155614-8

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values: Category:All articles with specifically marked weasel-worded phrases

values: Category:Articles with specifically marked weasel-worded phrases from January 2018

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values: Category:Wikipedia articles needing clarification from January 2016

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values: Category:Articles with failed verification from January 2016

values: Category:Wikipedia articles incorporating a citation from The American Cyclopaedia with a Wikisource reference

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values: Category:Wikipedia articles with GND identifiers

values: Discussion about edits from this IP address [ctrl-alt-n]

values: A list of edits made from this IP address [ctrl-alt-y]

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/wiki/Fugue
View the content page [ctrl-alt-c]
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Edit this page [ctrl-alt-e]
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values: Find background information on current events

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Load a random article [ctrl-alt-x]
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https://ast.wikipedia.org/wiki/Fuga
Fuga – Asturian
ast
ast
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https://az.wikipedia.org/wiki/Fuqa
Fuqa – Azerbaijani
az
az
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https://ca.wikipedia.org/wiki/Fuga
Fuga – Catalan
ca
ca
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https://cs.wikipedia.org/wiki/Fuga
Fuga – Czech
cs
cs
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https://da.wikipedia.org/wiki/Fuga
Fuga – Danish
da
da
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https://et.wikipedia.org/wiki/Fuuga
Fuuga – Estonian
et
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interlanguage-link interwiki-et
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values: Φούγκα – Greek

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https://es.wikipedia.org/wiki/Fuga
Fuga – Spanish
es
es
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https://eo.wikipedia.org/wiki/Fugo
Fugo – Esperanto
eo
eo
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interlanguage-link interwiki-eo
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https://eu.wikipedia.org/wiki/Fuga
Fuga – Basque
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eu
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https://fr.wikipedia.org/wiki/Fugue
Fugue – French
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fr
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https://gl.wikipedia.org/wiki/Fuga
Fuga – Galician
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gl
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https://lb.wikipedia.org/wiki/Fugue
Fugue – Luxembourgish
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interlanguage-link interwiki-lb
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https://lt.wikipedia.org/wiki/Fuga
Fuga – Lithuanian
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interlanguage-link interwiki-lt
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https://hu.wikipedia.org/wiki/F%C3%BAga
Fúga – Hungarian
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hu
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interlanguage-link interwiki-hu
display: none;

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https://nl.wikipedia.org/wiki/Fuga
Fuga – Dutch
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nl
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interlanguage-link interwiki-nl
display: none;

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interlanguage-link interwiki-ja
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https://no.wikipedia.org/wiki/Fuge
Fuge – Norwegian
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interlanguage-link interwiki-no
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https://nn.wikipedia.org/wiki/Fuge
Fuge – Norwegian Nynorsk
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interlanguage-link interwiki-nn
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https://uz.wikipedia.org/wiki/Fuga
Fuga – Uzbek
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https://pt.wikipedia.org/wiki/Fuga
Fuga – Portuguese
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Fugue – Simple English
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https://sk.wikipedia.org/wiki/F%C3%BAga
Fúga – Slovak
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interlanguage-link interwiki-sk
display: none;

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https://sl.wikipedia.org/wiki/Fuga
Fuga – Slovenian
sl
sl
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interlanguage-link interwiki-sl
display: none;

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interlanguage-link interwiki-ckb
display: none;

values: Фуга (музика) – Serbian

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interlanguage-link interwiki-sr
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interlanguage-link interwiki-sh
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https://fi.wikipedia.org/wiki/Fuuga
Fuuga – Finnish
fi
fi
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interlanguage-link interwiki-fi
display: none;

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https://sv.wikipedia.org/wiki/Fuga
Fuga – Swedish
sv
sv
interlanguage-link-target

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interlanguage-link interwiki-sv
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https://tr.wikipedia.org/wiki/F%C3%BCg
Füg – Turkish
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tr
interlanguage-link-target

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interlanguage-link interwiki-uk
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interlanguage-link interwiki-vi
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https://vo.wikipedia.org/wiki/Fuge
Fuge – Volapük
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values: All languages (initial selection from common choices by you and others)

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