MUS 1207 · Counterpoint: The Fugue

Led by J.S. Bach Simulacrum

The culmination of the counterpoint curriculum. Two-part fugue first, then four. Bach is the destination, not the starting point.

1. Module 1

   What a Fugue Is

   Led by J.S. Bach Simulacrum

   The question

   A fugue is a procedure, not a form. The "exposition, episode, middle entries, stretto, final entry" description is what tends to happen when the procedure is applied — not a template to fill in. What does the subject's character have to do with the shape of the fugue it generates?

   Outcome

   The student can describe the fugue as a procedure and map its structural components in a given example.

   Sub-units

   1. ○ 1.1 Analyse the Procedure Open this unit → ✓ ↻
   Begin the course → Print certificate of completion
2. Module 2

   The Two-Part Fugue First

   Led by J.S. Bach Simulacrum

   The question

   Leo wrote two-part fugal solfeggi. Bach wrote two-part fugues in the WTC. A student who can write a good two-part fugue understands the procedure. A student who attempts four parts without mastering two is attempting architecture without knowing how to lay a wall.

   Outcome

   The student can write a complete two-part fugue exposition: subject, answer, countersubject.

   Sub-units

   1. ○ 2.1 Write a Two-Part Exposition Open this unit → ✓ ↻
   Open this module → Print certificate of completion
3. Module 3

   The Subject and Its Potential

   Led by J.S. Bach Simulacrum

   The question

   The subject is everything. A bad subject makes a bad fugue because the subject is the fugue. What makes a subject good for fugal treatment — and how do you find out if it has enough potential before committing to it?

   Outcome

   The student can write three original subjects and evaluate each for contrapuntal potential.

   Sub-units

   1. ○ 3.1 Three Subjects Open this unit → ✓ ↻
   Open this module → Print certificate of completion
4. Module 4

   Double Counterpoint

   Led by J.S. Bach Simulacrum

   The question

   In double counterpoint at the octave, either melody can appear above or below the other without creating forbidden parallels. Why is this necessary for fugue — and what does a well-written double counterpoint pair multiply?

   Outcome

   The student can write a subject and countersubject that inverts correctly at the octave.

   Sub-units

   1. ○ 4.1 Write a Double Counterpoint Pair Open this unit → ✓ ↻
   Open this module → Print certificate of completion
5. Module 5

   The Fugue as Culmination

   Led by J.S. Bach Simulacrum

   The question

   In Paris, the fugue class assumed fluent counterpoint. In Naples, the fugue was the final form students worked toward through years of solfeggio, partimento, and free counterpoint. What has had to be in place before a student can write a fugue worth writing?

   Outcome

   The student can write a complete two-part fugue and map the full counterpoint curriculum that made it possible.

   Sub-units

   1. ○ 5.1 Final Essay: The Fugue as Culmination Open this unit → ✓ ↻
   2. ○ 5.2 Write a Complete Two-Part Fugue Open this unit → ✓ ↻
   Open this module → Print certificate of completion