ROSE-HULMAN INSTITUTE OF TECHNOLOGY DEPARTMENT OF MUSIC
ANALYSIS OF J.S. BACH’S Little Fugue in g minor, BWV 578
By GEORGE CARPENTER
An analysis submitted to Professor Gary Turner In partial fulfillment of the requirements for Music Theory II: Applications Spring Quarter
A major difficulty in the study of fugue is the diversity found among fugues. Nineteenth century formal structures do not also apply adequately to a fugue beyond the general three-part structure: exposition, departure from tonic, return to tonic. Keeping that in mind, this report will discuss the typical anatomy of a fugue and delve briefly into the analysis of J.S. Bach’s Fugue in g minor, BWV 578. A fugue generally consists of a series of expositions and developments, with no predetermined number of either. A fugue first begins with an exposition that introduces the subject with at least one answer and possibly countersubject(s). In BWV 578, we can see that Bach opens the exposition with the introduction of a four-and-a-half measure subject in g minor, as seen below. The subject appears first in the soprano voice and provides the primary melodic and rhythmic material that is used throughout the fugue.
Figure 1: Subject of BWV 578 Little Fugue in G Minor
This subject consists of two parts: a “head” and a “tail.” The head consists of the first two measures that utilize melodic and rhythmic qualities that attract attention. These two measures make up a phrase that ends with a half cadence, leading into the tail. The tail consists of a two-and-a-half measure phrase that ends with an authentic cadence. This second phrase is far more static than the first, in that it repeats a melodic pattern consisting of similar scale degrees. Starting on measure beat 5.3, a half measure link leads into the introduction of the first fugal answer, beginning on measure beat 6.1 and appearing in alto voice (figure 2, below). Because the answer imitates the melodic and rhythmic qualities of the subject, it also exhibits a “head” and “tail.” Studying the intervallic relationship between the subject and answer, we can determine that the answer is a copy of the subject merely transposed to the dominant key of d minor. Thus, the answer can be classified as real. In addition, during the answer the soprano voice provides a countersubject.
Figure 2: First Fugal Answer (real, in dominant d minor)
Following the first fugal answer, there is a slight digression, beginning on measure beat 10.3 and lasting for a length of two measures. This digression delays the introduction of the second fugal answer, which begins on measure beat 12.3 rather than the beginning of the measure as seen in the subject and first fugal answer. This answer returns to the key of g minor, indicating it is a tonal answer. It is the repetition of the subject merely an octave lower in the tenor voice. The intervals have been adjusted appropriately to allow for this. Yet another half measure of digression leads into the third and final answer in the bass voice. This answer returns to the dominant key of d minor, indicating it is a real answer. The end of the answer concludes the exposition and leads to a developmental episode at measure beat 22.1. The episode begins with a suspension of a pitch in the bass that is alternately consonant and then dissonant, known as a pedal point. This episode departs from the subject for a length of three measures, building up to a restatement of the subject in the tenor voice. The subject is then transferred to the soprano voice in measure 26. After another short episode, the alto plays the subject in the relative key of Bb major. The subject is again answered by the tenor in measure 34. This leads into yet another developmental episode beginning on measure beat 37.3. The subject returns once more on measure beat 41.1, still in the key of Bb major. The subject in the bass is answered by the alto, leading into an episodic digression in measure beat 45.3. However, when the subject is restated on measure beat 50.3, it is voiced by the soprano in c minor. The subject/answer is followed by one last episode, leading into the final statement of the subject. This time, however, the subject returns to the tonic key of g minor. The fugue concludes on a G major chord, instead of g minor. For a complete annotated score of J.S. Bach’s Little Fugue in g Minor, please see the attached pages.
