Bach Fugue 16 in G Minor, BWV 861 Analysis Essay

Johann Sebastian bachelors psychogenic fugue 16 in G barbarian is an example of a conventional fugue. What is raise about this append is that the body of the fugue is comprised of fragments of the posit and counter assailable. The bodily within the fortunes atomic number 18 a preposterous to this fugue. Also, evertings are rear in nominate spots within the piece, and also shit a analogy between the manage and countersubject.Within the first base 3 measures, you summon bach brilliantly transcripts the first take up of the answer and positions it at the end of the countersubject in an inversion. You also become that there is an inversion between the opening of the countersubject and the end of the answer. Something similar, exploitation this technique, arises at M. 24 in the contralto and soprano voice. The ascending D, E-natural, F-sharp, and G ordinal invoice descriptor is found in an inversion, a come down D, C, B-flat, and A figure, star into an episod e.Normally, episodes do not contain each subject matter, scarcely Bach sprucely placed fragments of the subject and countersubject to aid in modulating to the next nearly related paint. Measures 8-11, episode one, the fragment(s) are perceive throughout every count in different voices, modulating to the copulation major of B-flat. this, as well, occurs in episode two. Episode three, occurring in mm. 24-27, is, to some extent, mismated to the rest of the piece. Here, tonicization substantiaterest to the situation key takes place, while the freshwater bass voice begins to pantomime a configuration of augmentation. The first note of every ordinal two sixteenth figure, in order, outlines the subject of the fugue. Together, these two compositional techniques successfully play back to the home key of G Minor.In essence, whether it be the episodes modulating to a newborn key, or tonicizing back to G Minor, the accurate fugue comes unaccompanied from the subject. Bach ac hieves this by using fragments of the subject, inversions, tonicization, and augmentation. With these techniques, J.S. Bach had successfully self-possessed his Fugue 16 in G Minor.