The Stretto Principle: Some Thoughts on Fugue as Form

In this article, my objective is to attempt to connect all the simultaneous compositional processes that J. S. Bach combined in order to create the stretto forms inside the Contrapunctus 5 of the Art of Fugue. The analysis offers a perspective by relating four technical elements present in every stretto of the subject; the distance of entry in each voice, the raw material used, the technique of inversion and the position of dux and comes.

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The First Mirror inside the Contrapunctus 6 of the Art of Fugue by Johann Sebastian Bach (BWV 1080, 6)1

Alevizos¹

2020

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Johann Sebastian Bach had already elaborated the tool of double inversion, inside the Contrapunctus “in stylo francese” of the Art of Fugue. However, the counterpoint tool of double inversion is typical for the two later pairs of fugues BWV 1080, 12-13 a, b. After an examination of the global asset of the Contrapunctus 6, a particular attention is shown to the technique of inversion (mirror) in relation to fugues 12 and 13. Consequently a brief, but methodical, analysis succeeds to demonstrate the existence of totally symmetrical thematic phases inside Contrapunctus 6. The existence of double inversion inside an earlier Contrapunctus can indicate the level of premeditated elaboration in the whole work. Additionally, it could also suppose a parallel or contiguous time of the compositional process among the BWV 1080, 6, 12 and 13, which could re-impose a new examination of the correct order of the Contrapuncti.

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The Stretto Principle: Some Thoughts on Fugue as Form

Cited by 3 publications

References 8 publications

Computational Music: Analysis of Music Forms

Computational Music: Analysis of Music Forms

Parameters of Stretto Use inside the Contrapunctus 5 of the Art of Fugue by Johann Sebastian Bach (BWV 1080, 5)1

The First Mirror inside the Contrapunctus 6 of the Art of Fugue by Johann Sebastian Bach (BWV 1080, 6)1

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