Fugue

The interval of a fifth inverts to a fourth (dissonant) and therefore cannot be employed in invertible counterpoint, without preparation and resolution.

Visual Analysis of J.S. Bach's Fugue no. 2 in C minor, BWV 847, from the Well-Tempered Clavier, Book 1(bars 7–12)( Listen )

Example of a false answer in J. S. Bach's Fugue no. 2 in C minor, BWV 847, from the Well-Tempered Clavier, Book 1. This passage is bars 6/7, at the end of the codetta before the first entry of the third voice, the bass, in the exposition. The false entry occurs in the alto, and consists of the head of the subject only, marked in red. It anticipates the true entry of the subject, marked in blue, by one quarter-note.

In music, a fugue (/fjuːɡ/ FEWG) 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. A fugue usually has three 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.

单词	Tonal answer
释义	Tonal answer 英语百科 Fugue In music, a fugue (/fjuːɡ/ FEWG) 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. A fugue usually has three 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.
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Tonal answer

Fugue