The Main Theme Of A Fugue Is Called The

In the intricate world of music, a fugue stands out as a complex yet deeply satisfying form of composition. At its heart lies a central musical idea that serves as the foundation upon which the entire structure is built. This fundamental theme, the very essence of a fugue, is called the subject.

Delving into the Subject: The Cornerstone of a Fugue

The subject isn't merely a melody; it's a carefully crafted musical statement, typically short and memorable, designed to be recognized and transformed throughout the piece. Think of it as the protagonist in a musical narrative, constantly reappearing in different guises and contexts as the story unfolds. Its character is crucial, influencing the overall mood and direction of the fugue.

Characteristics of a Compelling Subject

Distinct Melodic Contour: A well-defined subject usually possesses a unique melodic shape, making it easily distinguishable even when altered. This contour often features a balance of stepwise motion and leaps, creating both smoothness and interest.
Rhythmic Identity: The rhythm of the subject is equally important. It should be distinctive and contribute to the overall character of the melody. A memorable rhythmic pattern helps the listener identify the subject even when the pitches are modified.
Harmonic Implications: While the subject is primarily a melodic line, it also implies a specific harmonic progression. This harmonic underpinning provides a framework for the development of the fugue, guiding the composer's choices in terms of harmony and counterpoint.
Brevity: Subjects are generally concise, allowing for flexibility in development and combination with other musical ideas. A shorter subject can be more easily manipulated and woven into the contrapuntal texture.
Memorability: A good subject sticks in the listener's mind. Its inherent musicality and clear structure should make it easily recognizable and contribute to the overall coherence of the fugue.

The Subject's Role in Defining the Fugue

The subject dictates the character of the entire fugue. Its melodic, rhythmic, and harmonic qualities set the stage for everything that follows. A somber subject will likely lead to a more introspective and serious fugue, while a lively and energetic subject will result in a more vibrant and playful composition.

The Exposition: Unveiling the Subject

The exposition is the opening section of a fugue, where the subject is first introduced in each voice. It's a crucial stage, as it establishes the musical material and sets the contrapuntal framework for the rest of the piece.

How the Subject is Presented in the Exposition

Initial Statement: The fugue typically begins with a single voice presenting the subject in its entirety. This initial statement is clear and unaccompanied, allowing the listener to fully absorb the melody and its inherent characteristics.
Answer: Once the first voice has completed the subject, a second voice enters with the answer. The answer is a modified version of the subject, usually transposed to the dominant key (a perfect fifth above or a perfect fourth below the original key). This transposition creates harmonic tension and propels the music forward.
Real vs. Tonal Answer: The answer can be either a real answer or a tonal answer. A real answer is an exact transposition of the subject, while a tonal answer involves slight modifications to maintain the proper harmonic relationship within the key. These modifications typically occur when the subject contains a strong tonic-dominant relationship.
Countersubject: While the second voice presents the answer, the first voice often continues with a contrasting melody called the countersubject. The countersubject is designed to complement the subject and answer, creating a contrapuntal texture. It may be used consistently throughout the fugue or appear only sporadically.
Subsequent Entries: After the first two voices have presented the subject and answer, the remaining voices enter one by one, alternating between the subject and answer. Each voice adds to the complexity of the texture, creating a rich and interwoven tapestry of sound.
Codetta: Between the entries of the subject and answer, short transitional passages called codettas may be used to modulate between keys or to provide a brief respite from the dense contrapuntal texture.
Order of Entries: The order in which the voices enter can vary, but it's common to start with the highest or lowest voice and then proceed inwards. This creates a sense of balance and allows the listener to clearly hear each voice as it enters.

The Importance of the Exposition

The exposition is arguably the most important section of a fugue. It not only introduces the subject but also establishes the contrapuntal relationships that will govern the entire piece. A well-crafted exposition sets the stage for a compelling and engaging fugue, while a poorly constructed exposition can lead to confusion and a lack of coherence.

Development: Transforming the Subject

Following the exposition, the fugue enters the development section, where the composer explores the various possibilities inherent in the subject. This is where the true artistry of fugue writing shines, as the composer manipulates the subject in ingenious ways to create new and interesting musical textures.

Common Techniques Used in the Development

Fragmentation: The subject can be broken down into smaller fragments and used as motives for further development. These fragments can be combined, inverted, or otherwise altered to create new musical ideas.
Inversion: The subject can be inverted, meaning that all the intervals are reversed. For example, an ascending interval becomes a descending interval of the same size. Inversion can create a sense of novelty and surprise, while still maintaining a connection to the original subject.
Retrograde: The subject can be played backwards, starting with the last note and ending with the first. Retrograde is a more subtle transformation than inversion, but it can still add a sense of complexity and sophistication.
Augmentation: The subject can be augmented, meaning that the duration of each note is lengthened. Augmentation can create a sense of grandeur and weightiness.
Diminution: The subject can be diminished, meaning that the duration of each note is shortened. Diminution can create a sense of urgency and excitement.
Stretto: The subject and answer can be overlapped, with one voice entering before the previous voice has finished. Stretto creates a sense of intensity and builds towards a climax.
Episode: Episodes are sections of music that do not contain a complete statement of the subject. They often use motives derived from the subject or countersubject and serve to modulate between keys or to provide a contrast to the denser contrapuntal texture.
False Entry: A false entry occurs when a voice begins to state the subject but then abandons it before completing the phrase. This can create a sense of anticipation and suspense.

The Role of Modulation

Modulation plays a crucial role in the development section of a fugue. By moving to different keys, the composer can create harmonic interest and explore new relationships between the subject and answer. Common key relationships include the dominant, subdominant, and relative major or minor.

Recapitulation: Returning to the Subject

The recapitulation is the final section of a fugue, where the subject returns in its original form and in the tonic key. This provides a sense of closure and reinforces the central musical idea of the piece.

How the Recapitulation Provides Closure

Return to the Tonic Key: The most important aspect of the recapitulation is the return to the tonic key. This creates a sense of resolution and stability after the harmonic excursions of the development section.
Complete Statements of the Subject: In the recapitulation, the subject is typically presented in its entirety and in its original form. This allows the listener to reconnect with the familiar melody and to appreciate its significance within the overall structure of the fugue.
Pedal Point: A pedal point is a sustained note, usually in the bass, that provides a harmonic foundation for the other voices. Pedal points are often used in the recapitulation to create a sense of stability and to emphasize the return to the tonic key.
Final Cadence: The fugue typically ends with a strong and definitive cadence in the tonic key. This provides a final sense of closure and leaves the listener with a feeling of satisfaction.

Variations in the Recapitulation

While the recapitulation generally involves a return to the original subject and key, there can be variations in how this is achieved. For example, the subject may be presented in a different voice than in the exposition, or it may be combined with new countermelodies.

Examples of Iconic Fugue Subjects

To truly appreciate the importance of the subject in a fugue, it's helpful to examine some iconic examples from the repertoire.

Johann Sebastian Bach: The Master of the Fugue

Johann Sebastian Bach is widely regarded as the master of the fugue, and his works provide countless examples of compelling and well-crafted subjects.

The Well-Tempered Clavier: This collection of preludes and fugues in all 24 major and minor keys is a testament to Bach's mastery of counterpoint. Each fugue features a unique subject that perfectly captures the character of the key.
The Art of Fugue: This unfinished masterpiece is a comprehensive exploration of fugal techniques. It features a single subject that is transformed in a variety of ingenious ways throughout the work.
Toccata and Fugue in D Minor, BWV 565: While the authenticity of this work has been questioned, the iconic fugue subject is instantly recognizable and has become a staple of the organ repertoire.

Other Notable Examples

Dmitri Shostakovich: 24 Preludes and Fugues, Op. 87: Inspired by Bach's Well-Tempered Clavier, Shostakovich's collection is a modern masterpiece of fugal writing. The subjects are often angular and dissonant, reflecting the composer's unique harmonic language.
Ludwig van Beethoven: Große Fuge, Op. 133: Originally conceived as the finale to Beethoven's String Quartet No. 13, the Große Fuge is a monumental and challenging work. Its subject is fragmented and transformed in a dizzying array of ways.
Wolfgang Amadeus Mozart: Requiem, Kyrie: The Kyrie from Mozart's Requiem is a powerful and dramatic fugue. Its subject is characterized by its ascending leaps and its mournful character.

The Countersubject: A Secondary Theme

While the subject is the primary thematic material, many fugues also feature a countersubject. This is a recurring melodic idea that is designed to be played in counterpoint with the subject.

Characteristics of a Good Countersubject

Contrasting Melodic Contour: The countersubject should have a melodic contour that contrasts with that of the subject. This creates a more interesting and engaging contrapuntal texture.
Rhythmic Independence: The rhythm of the countersubject should also be distinct from that of the subject. This helps to differentiate the two melodies and to create a sense of rhythmic interplay.
Harmonic Compatibility: The countersubject should be harmonically compatible with the subject, creating a pleasing and coherent harmonic texture.
Recurring Presence: A true countersubject should appear consistently throughout the fugue, accompanying the subject whenever it is present.

The Role of the Countersubject

The countersubject adds depth and complexity to the fugal texture. It provides a contrasting melodic line that complements the subject and enhances the overall musical interest.

Real vs. Tonal Answers: Maintaining Harmonic Balance

As mentioned earlier, the answer is a modified version of the subject that is typically transposed to the dominant key. However, the transposition may not always be exact. There are two types of answers: real answers and tonal answers.

Real Answer

A real answer is an exact transposition of the subject. This means that all the intervals are preserved exactly as they were in the original subject. Real answers are typically used when the subject does not contain a strong tonic-dominant relationship.

Tonal Answer

A tonal answer is a modified transposition of the subject. This means that some of the intervals may be altered to maintain the proper harmonic relationship within the key. Tonal answers are typically used when the subject contains a strong tonic-dominant relationship. The alteration usually involves changing the dominant note in the subject to the tonic note in the answer, or vice versa. This ensures that the answer does not create an undesirable modulation back to the tonic key.

Why Tonal Answers are Necessary

Tonal answers are necessary to maintain harmonic balance within the fugue. Without them, the constant transposition to the dominant key could lead to a sense of harmonic instability and a weakening of the tonic key.

Fugue vs. Other Contrapuntal Forms

The fugue is just one of many contrapuntal forms in music. Other common contrapuntal forms include the canon, the invention, and the chorale prelude.

Canon

A canon is a contrapuntal form in which a melody is imitated exactly by one or more voices after a short delay. The imitating voices follow the leader voice note for note, creating a strict and predictable texture.

Invention

An invention is a short contrapuntal piece, typically for two or three voices, that explores a single musical idea. Inventions are less strict than fugues and typically do not have a formal exposition, development, and recapitulation.

Chorale Prelude

A chorale prelude is an organ composition based on a chorale melody. The chorale melody is typically presented in the soprano voice, while the other voices provide a contrapuntal accompaniment.

Differences from Fugue

The main difference between the fugue and these other contrapuntal forms is its structure and complexity. Fugues are typically longer and more complex than canons or inventions, and they have a more clearly defined structure. While chorale preludes are based on pre-existing melodies, fugues are typically based on original subjects.

Conclusion: The Subject as the Heart of the Fugue

In conclusion, the subject is the heart and soul of a fugue. It's the fundamental musical idea that serves as the foundation for the entire composition. A well-crafted subject is memorable, distinctive, and full of potential for development. By understanding the characteristics of a good subject and how it is used throughout the fugue, we can gain a deeper appreciation for this complex and rewarding musical form. The subject's journey through exposition, development, and recapitulation is what gives the fugue its unique character and enduring appeal.