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Contrapunctus 17 - Bach*, Bernard Lagacé - The Art Of The Fugue & Other Late Works (CD)

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  1. Start studying LG Contrapunctus 1, from the Art of Fugue. Learn vocabulary, terms, and more with flashcards, games, and other study tools.
  2. Nov 19,  · Art of the Fugue & Other Late Organ Works by Bach, Lagace, Bernard () Format: Audio CD See all 3 formats and editions Hide other formats and editions.
  3. The first Contrapunctus from J. S. Bach's Art of Fugue, performed by Kimiko Ishizaka, with an animated graphical score. FAQ Q: Please tell me more about this.
  4. By Johann Sebastian Bach / arr. David Marlatt. 5 Trumpets & Bass Clef Instrument Score & Parts. This, the first fugue from the famous Art of the Fugue, has been arranged here for 5 trumpets and a bass clef instrument (bass trumpet or baritone) The fugue, with its contrapuntal lines, works well for a like-instrument ensemble such as a trumpetCategory: Brass-Cornet (Trumpet) Quintet.
  5. The Art of Fugue, monothematic cycle of approximately 20 fugues written in the key of D minor, perhaps for keyboard instrument, by Johann Sebastian Bach. The work reveals Bach’s preoccupation with counterpoint and the canon. Learn more about the composition and its history.
  6. The Art of the Fugue (Die Kunst der Fuge BWV ) is one of the great monothematic works of Bach. It is based on this theme: With this theme Bach writes 14 fugues (one was unfinished) and 4 canons: (Contrapunctus VIII to XI) Contrapunctus VIII Contrapunctus IX Contrapunctus X Contrapunctus XI.
  7. With the Art of Fugue, a veritable Bible of fugal techniques and expression, Bach produced a monumental edifice. (The idea of fugue, for the uninitiated, is that of a musical form which deals with a number of voices all discoursing on shared thematic material, a “subject,” in much the same way debates focus on a subject.).
  8. Listen to Contrapunctus 1 from the Art of the Fugue by J. S. Bach.A Fugue has a single theme called the ‘subject ’ which is stated in one voice (monophonically) at the very beginning. This first entrance of the subject is followed by imitative entrances in each of the other voices, one after the other. Our example is a four-voiced fugue, so you can hear each of the entrances of the subject.