So You Want to Write a Fugue?

Listeners who find themselves intimidated by music that is intellectual or overly intricate will probably cringe at the mere mention of fugue. But such a reaction can be overcome (no therapy required). Fugue is simply a technique, a principle of organizing melodies in order to create structure. In theory, its principles are rather straightforward. First, a melody or theme called a “subject” will be presented, usually by a single voice or instrument. Next, another voice/instrument responds with an exact copy of the subject but centered on a different pitch or key; this answering voice is, not unexpectedly, called the “answer.” A subject and its answer are usually related by the interval of a 5th. In other words, a subject in the key of C major will normally be followed by an answer in the key of G major. This tonal relationship makes fugue quite a bit more complex than a simple canon, which is imitation without change of tonal center.
What makes fugue even more interesting is the countersubject. Because the first voice does not merely cease when the answering voice begins, the composer must craft additional material (called the “countersubject”) that will harmonize or “fit” when sounded simultaneously against the answer. In addition, with better fugue composers, this countersubject will have its own inherent interest, its own integrity, allowing the performer/listener to marvel at the way in which the various themes interact. Now, as mentioned earlier, it is one thing to lay out these principles in theory; it is a far greater challenge to transcend theory to achieve beautiful art within such constraints.

No composer more consistently excelled in crafting fugues than J. S. Bach (1685-1750), whose dozens of three-, four-, and five-voice fugues form the central repertory of the High Baroque. We will hear part of his Art of the Fugue momentarily, in fact. But fugues existed for a century before Bach, and its challenges continue to inspire composers up to the present day. For instance, consider the curious case of Glenn Gould (1932-1982). Noted for his revolutionary recordings of Bach in the 1950s and 60s, as well as his eccentric persona, Gould dabbled in composition himself. By virtue of his pianistic career, Gould understood fugue from the inside-out. It was almost inevitable that he would try penning a few of his own. But rather than take a sober approach to this quite intellectual form, he injected ample whimsy into his creation So You Want to Write a Fugue? (1963) for voices and string quartet. Gould’s own text becomes both creation and critic, offering sage advice on how to go about it. Gradually he progresses to the best advice of all: “Just plunge right in and write one.” Easier said than done!

(c) Jason Stell