How to Write A Fugue?

Question

I am having trouble composing a fugue. I would like someone competent in fugue writing or knowledgable about fugues to suggest resources I can consult to improve for the particular problems I am having. Let me list what I can do so I don't get responses about the following topics: I am skilled in counterpoint. I also can construct fugue themes that sound very nice. I am also skilled at varying melodies so I can easily create similar or different melodies to give a piece variety and flair. I can also create accompaniments for typical two-part sonata form. My problem is this: I don't know when to introduce changes or variations to the theme for fugues. Fugues involve multiple voices playing off of each other and it is this dynamic that I can't seem to nail. Bach has this amazing ability to have a four part fugue where voices move seamlessly in and out. This is the effect I want to achieve. Summary in one sentence: I am looking for resources that can help me improve my ability to introduce new voices/parts into my work seemlessly. Thanks!

Answer 1

Advanced counterpoint is easily one of the most complicated forms of composition! Developing thematic material in a way that feels organic is difficult, especially if your aim is to travel harmonically to the most distant reaches possible - like Bach does in most of his fugues. After you have established your subject and introduced all of your voices with answers in the exposition, it is time to develop the material a little more. Firstly, answers to the primary subject can evolve slightly in order to maintain the organic feel of the piece. Also, your countersubject - or your counterpoint material designed to accompany your subject - will have good material for development. The key to development are employing smaller portions of your subject (or counter) - this can be as simple as a three-note rhythmic pattern or a two or three note motive drawn directly from your subject. Bach uses this technique all the time. In the well-tempered clavier there are frequently episodes of harmonic and thematic development employing repeated small motives branching off into who-knows-where (harmonically speaking). Try opening up the score for the well-tempered clavier and analyzing the fugues a bit, keeping an eye out for those smaller motives which are repeated over and over in sequence, moving us from harmony to harmony. Suddenly, after effectively taking us through the circle of fifths the subject will re-enter and remind us where we came from and that we have arrived at a new harmony (if only for a moment), and to prepare for the next episode. Great composers understand this very well - that the SIMPLER the motive, the easier it is to develop. For example, Beethoven's thematic cells frequently consist of two or three notes - making it very easy for him to evolve organically within the piece. So try this: pick a SMALL motive from your subject, accompany it with a "counter" motive and use them to travel between harmonies in your development. This way it won't seem like you are just composing filler - it is an intentional decision that is organic but makes it easier than trying to stuff an entire theme into developmental sections! Plus it keeps things fresh up until you reintroduce your subject (or variation on the subject) at each episode. Also, try tackling three voices before going headlong into a four or five voice bonanza. Bach has plenty of three-part fugues so there is no shame in it!