Q: Is a fugue a style of composition? ¶
A: Yes, and rather than a fixed structure.
Q: Are fugues those for the harpsichord in The Well-Tempered Clavier? ¶
A: Yes, and which many composers and theorists look at as the greatest model of fugue.
Q: Was a fugue originally a genre? ¶
Q: Was a fugue no longer a central or even fully natural mode of musical composition? ¶
Q: Is a fugue that it is not a musical form but rather a technique of composition? ¶
Q: Is a fugue for keyboard and in three voices? ¶
A: Yes, and with regular countersubjects.
Q: Is a fugue not played slowly the ear cannot clearly distinguish the new subject as it is introduced and the effect is missed""? ¶
A: Yes, Mozart then set to writing fugues on his own, mimicking the Baroque style.
Q: Is a fugue separated from the exposition by an episode? ¶
A: Yes, and is in the same key as the original exposition.
Q: Is a fugue a fugue in which the first answer is presented as the subject in inversion? ¶
A: Yes, and the inverted subject continues to feature prominently throughout the fugue.
Q: Is a fugue the most complex of contrapuntal forms? ¶
Q: Is a fugue generally based on a series of imitations of the subject that have been fragmented? ¶
Q: Were fugues incorporated into a variety of musical forms? ¶
Q: Is a fugue totally chromatic? ¶
A: Yes, and with melismatic parts overlaid onto skipping intervals, and use of polyrhythm , 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.