Fugue FAQs:


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?

A: Yes.

Q: Was a fugue no longer a central or even fully natural mode of musical composition?

A: Yes.

Q: Is a fugue that it is not a musical form but rather a technique of composition?

A: Yes.

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?

A: Yes.

Q: Is a fugue generally based on a series of imitations of the subject that have been fragmented?

A: Yes.

Q: Were fugues incorporated into a variety of musical forms?

A: Yes.

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.