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Mirror Fugue
A mirror fugue is a fugue, or rather two fugues, one of which is the mirror image of the other. It is as though a mirror were placed above or below an existing fugue, producing inversions of each interval in each part, as well as inverting the position of the parts within the texture, so that, for example, the topmost part in one fugue is inverted to produce the lowest part in the other. This is well demonstrated by the two four-part fugues of Contrapunctus 12 in ''The Art of Fugue''. The two three-part fugues of Contrapunctus 13 exhibit a similar relationship to each other, but this cannot strictly be called a mirror fugue, since the position of each inverted part is not itself inverted in the texture, SAB becoming not BAS, but BSA.Boyd, Malcolm. ''Oxford Composer Companions: J.S. Bach'', Oxford University Press, 1999, p. 296 See also *Fugue In music, a fugue () is a contrapuntal compositional technique in two or more voices, built on a subject (a musical theme) that is i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fugue
In music, a fugue () 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. 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. Since the 17th century, the term ''fugue'' has described what is commonly regarded as the most fully developed procedure of imitative counterpoint. Most fugues open with a short ma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Inversion (interval)
In music theory, an inversion is a type of change to intervals, chords, voices (in counterpoint), and melodies. In each of these cases, "inversion" has a distinct but related meaning. The concept of inversion also plays an important role in musical set theory. Intervals An interval is inverted by raising or lowering either of the notes by one or more octaves so that the positions of the notes reverse (i.e. the higher note becomes the lower note and vice versa). For example, the inversion of an interval consisting of a C with an E above it (the third measure below) is an E with a C above it – to work this out, the C may be moved up, the E may be lowered, or both may be moved. : The tables to the right show the changes in interval quality and interval number under inversion. Thus, perfect intervals remain perfect, major intervals become minor and vice versa, and augmented intervals become diminished and vice versa. (Doubly diminished intervals become doubly augmented ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Art Of Fugue
''The Art of Fugue'', or ''The Art of the Fugue'' (german: Die Kunst der Fuge, links=no), BWV 1080, is an incomplete musical work of unspecified instrumentation by Johann Sebastian Bach. Written in the last decade of his life, ''The Art of Fugue'' is the culmination of Bach's experimentation with monothematic instrumental works. This work consists of fourteen fugues and four canons in D minor, each using some variation of a single principal subject, and generally ordered to increase in complexity. "The governing idea of the work", as put by Bach specialist Christoph Wolff, "was an exploration in depth of the contrapuntal possibilities inherent in a single musical subject." The word "contrapunctus" is often used for each fugue. Sources Mus. ms. autogr. P 200 The earliest extant source of the work is an autograph manuscript possibly written from 1740 to 1746, usually referred by its call number as Mus. ms. autogr. P 200 in the Berlin State Library. Bearing the title ''Die ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fugue
In music, a fugue () 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. 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. Since the 17th century, the term ''fugue'' has described what is commonly regarded as the most fully developed procedure of imitative counterpoint. Most fugues open with a short ma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mirror Canon
The mirror canon (also called a canon by contrary motion) is a type of canon which involves the leading voice being played alongside its own inversion (i.e. upside-down). The realisation from the 'closed' (unrealised) form can be effected by placing the page in front of a mirror, thus upside down, and beginning with the already progressing first voice. The Canon a 2 'Quaerendo invenietis' from J. S. Bach's ''The Musical Offering'', BWV 1079, is a fine example of the process. In its original closed form, the alto clef and an upside-down bass clef indicate both the mirror procedure and the appropriate pitches of the voices for the purpose of realisation. A spectacular example of contrapuntal ingenuity can be found in the double canon that forms the trio section of Mozart's Serenade for Wind Octet in C, K. 388. Here a pair of oboes and a pair of bassoons unfold two mirror canons at the same time. Erik Smith sees this as "a perfect example of Mozart's use of academic means, canon, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
