In many fugues, the subject in one voice is constantly accompanied in another voice by a different melodic idea called a(n) Countersubject.
A countersubject is because the word suggests, a melodic concept-any melodic concept, whether or not no longer it recurs-which appears as a. counterpoint to the difficulty of a fugue.
A noteworthy subcategory of fugue is the kind primarily based on a cantus firmus. An example is a double fugue at the beginning of Bach's St. Matthew ardor, already referred to, which incorporates extensively spaced terms of the chorale melody.
A fugue starts off evolving with the exposition of its situation in one of the voices alone in the tonic key. After the declaration of the challenge, a 2nd voice enters and states the concern with the challenge transposed to another key commonly the dominant or subdominant.
An episode is any passage that does not consist of the entire situation. Episodes use reasons and fragments from the first part of the fugue, often in sequences. within the middle phase of the fugue, entries and episodes may also alternate, a pairing of issue count number and cause development passages.
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