Bach S Fugues Brook Sampson

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OUTLINE ANALYSIS
OF EACH ,OF
J.
BACH'S
(IN 'THE ''DAS
WOHLTEMPERIBTE CLAVIER")
BY
BROOK SAMPSON,
MUS.
RA.C.,
OXON.; F.R.C.O.
Copyright.
Price ( Paper cov/er ) lf6'net.
(Cloth cover) 21-
LONDON:
THE VINCENT MUSIC COMPANY, LIMITED,

60,
BERNERS STREET,
,
W.
OUTLINE ANALYSIS
OF EACH OF
J.
S.
BACH'S
FORTY-EIGHT
(IN
BY
FUGUES
THE "DAS WOHLTEMPERIRTE CLAVIER")
BROOK SAMPSON,
MUS. BAG., OXON.; F.R.C.O.
Copyright.
Price (Paper cover) lj6 net.
(Cloth cover) 2j-
LONDON:
THE VINCENT MUSIC COMPANY,

60,
LIMITED,
BERNERS STREET,
W.
PREFACE.
rpUE
student,
following outline analysis of each fugue is intended to provide the
first
stage upon
which a more or
less
complete
analysis, according to the requirements of each
can he worked out hy referring to "
Digest of the Analyses of J.
S.
Bach's
Forty-eight Fugues."
These fugues form part of the
collection
of Preludes and
Fugues so well known as
"the 48," and named Das Wohltemperirte Klavier
(the Well- Tempered Clavier).
The term " Well Tempered,"

instruments, which was
in
refers to a
to
system of tuning the clavier and other keyed

then
prevailing
opposition
the
system.
The musicians
of
that time (eighteenth century) began to feel that changes of key

therefore
must be more extended,

temperament system,"
in this
they wished to have
their
claviers tuned on the " equal

in
which allowed a performer to play

system,
first
any
key.
Bach thoroughly believed
new
and composed a Prelude and Fugue

This
first
in every
major and minor key, forming the

set of
volume of twenty-four.
set
was completed in 1722, and a second
twenty-four about the year 1744.

Sir
Hubert Parry
in his
most interesting book
entitled "
The Story
of the
Development
Clavier'
of a Great
"The Personality," says:

Clavier)
adoption of this
name 'Das Wohltemperirte
(Well
Tempered
by Bach, was a public and deliberate recognition of a radical

scales, of
it
change in the construction of European
such pre-eminent importance, that

art
it
is
no exaggeration to say,
impossible."
that
without
modern musical
would have been absolutely
The
following extract from the periodical
named
will
be interesting to
article
many
" Old
in our
readers of
The Organist and Choirmaster
will
remember an
which appeared
columns some years ago, describing a

professional friends) to Miss Eliza
in those days
visit of
the (then) three Editors (with several other
Wesley
at Islington.
That lady had
in her possession
Bach's own autograph of the
Second Volume (with the exception of a few
pages).
editors
This
of the
it
MS. belonged
48;
to
her
father,
Samuel Wesley, one

it
of the
to the
earliest
English
and
after
Miss Wesley's death,
was sent
British
Museum,
where
can now be seen."
DEFINITIONS.
Some of these definitions are taken from articles in " Grove's Dictionary of Music," by the kind permission of the publishers (Messrs. Macmillan), or from "Fugue," by E. Prout (Augener), or "A Digest of the Analyses of J. S. Bach's Forty-Eigbt Fugues," by BrookSampson
(Vincent).
The technical terms. Subject and Answer, are used with a restricted meaning, because many of the tables, groups and lists in the Digest have special reference to them as representmg
something
(a)
deiinite, viz.
Subject
the phrase upon which the Fugue Exposition (the Tonic form of the phrase).
is
founded, and as
it
appears in the
(b)
Ans'nrer the phrase as it appears in answer to the Subject in the Exposition Dominant, sometimes the Subdominant, form of the phrase).
is
(the
(c)
Theme
the general term applied to the various forms which the phrase (Subject) Fugue, such as entries on degrees of the scale other than Tonic or Dominant ; entries in other kevs the phrase in augmentation the phrase in diminution ; the phrase by inverse movement.
afterwal-ds takes in the
;
The
Scale.
technical
)
names
of the degrees of the scale are
Degrees of the
Technical
Abbreviations.
2
Supertonic.
St.
3
Mediant.
4
Subdominant.
Sd.
scale,
)
I
Tonic.
Dominant.
Submediant.
T.
M.
Dom.
which
is
Sm.
In a minor key, the key of the minor seventh of the Relative Major key, is abbreviated Mi. 7.
the dominant of the
Exposition
is that part of the Fugue during which the voices make their first entries in succession, and which extends as far as the conclusion of the Subject or Answer (as the case may be), by the voice that enters last (E. Pbout, Fugue).
Counter-Exposition
This is really a second Expositioii in the same two keys as the first, but with imnortant differences. For instance, the voices which before had the Subject now have the Answer, and vice versa and that frequently the Answer leads and the Sometimes the Counter-Exposition is only partial. Subject replies.
,-
Figure
is any short succession of notes, either as melody or a group of chords, which produces It is, in fact, the shortest complete idea in a single, complete and distinct impression.
music
example from Fugue 2
(j
ub'j,
go* ' ^
j
*_i
fl
which
is
used 50 times in
the Fugue; example from
Fugue 29
@*t
"'
,l
^^
ised 111 times
Phrase
is
work
one of the smallest items in the divisions which distinguish the form of a musical example from Fugue 29
:
figure.
figure.

DEFINITIONS.
Counter-Subject.
Wten the Subject of a Fugue has been proposed by one voice, it is usual for the Answer, which is taken up by another voice, io be accompanied by the former with a Counterpoint sufficiently recognisable as a definite subject to take its part in the development of the Fugue, and this is called the Counter- Subject
:
Answer.
rw
(C.S.)
,ri
c=z
from Fugue
2.
Counter-Subject
Inversion.
This word bears, in musical terminology, five different significations: (I) to (II) to chords; (III) a Pedal Point is described as inverted, when the sustained note, instead of being placed in the Bass, is transferred to an upper part and the characteristic note (whether sustained or reiterated) forms no part of the harmony, which remains wholly unafi'ected, either by its presence or removal. (IV) Counterpoint is said to be inverted when the upper part is placed beneath the lower, or vice versa for instance, the extract above, from Fugue 2, the C.S. is below the Ans., whereas here the two phrases are inverted
intervals;
,-
may
two parts are invertible it is called double counterpoint, and the inversion take place at any interval, thus giving rise to fourteen different species of Double Counterpoint, viz., in the Second, Third, Fourth, Fifth, Sixth, Seventh, Eighth, Ninth, Tenth, Eleventh, Twelfth, Thirteenth, Fourteenth and Fifteenth, either above or below.
When
three=part writing is so constructed as to be completely invertible, that is, part in turn will make an effective Bass, while the other two standing above it may still change places, the result is called triple counterpoint. Whereas double counterpoint offers only two possibilities the original and its inversion, triple has six the original and five different inversions and obviously the addition of a fourth invertible part making quadruple counterpoint will give exactly four times the six versions of triple, viz., twenty-four, etc. (V) In Counterpoint, the term inversion is also used to signify the repetition of a phrase or passage with reversed intervals, or, as it is sometimes called, by contrary motion (see Examples, pp. 17-20, Section I).
When
when each
N.B. When double, triple and quadruple counterpoint are referred stood that transposition may or may not have taken place.
to, it is
to be under-
Coda
tail, and the term is applied, in a Fugue, to that portion of music and construction), which comes at the end to close the composition in a satisfactory manner.
is
the Italian for a
(variable in length
Codetta
is
the diminutive of Coda, and

it is
is
also variable in length
difference is, that
applied, in a
Fugue,
between different entries, &c.
(Plural
Codette).
to the portions of
and construction, but the music which serve as links
Episode in
a Fugue an Episode is a portion of the music in which the principal subject does not appear in a complete form, or not even alluded to in many examples, but is founded upon some material taken from the accompanying counterpoints, or from the
Codette, &c.
Stretto--to draw
close. In a Fugue a Stretto is two (necessarily in different voices) in " close " imitation.
or
more
(Plural
entries
Stretti).
of the
Theme
OUTLINE ANALYSIS
OF EACH OF
J.
S.
BACH'S FORTY-EIGHT FUGUES.

(DAS
WOHLTEMPERIRTE KLAVIER.)
BROOK SAMPSON.
FUGUE
Bars 1-7, '.]Exposition
^\
major.
OUTLINE ANALYSIS.
1-2
Sub.
(1), Alto.
2-4
Real Ans.
(2), Treble.
4-5
Ans.
(3),
5-7
Snb.
(4), Bass.
Tenor.
7-8
Bars 7-10, OocNTEE Exposition
Bars:
9-10
)
h
U
Strbtto
I-
(Sub. (5), Treble. "1 Ans. (6), Tenor.
Codetta
I.
Ans.
(7),
Alto.
10-12
bTRETTO StrettoIIjTh.(9),Alto. ^^_ ^g^^ g^^g I
1
12-13
Th. (10), Tenor.
I
13-14 Codetta II.

Cadence
in
A minor.
Bars:
(
14-16
Th. (14), part only. Treble.")
''''(")' ^1*"j^^
I
16-19
Stretto
bTRBTTO iii Strbtto III-
^j2), Tenor.
IV
Th. (13), Bass.
Sub. (15), Treble. Ans. (16), Alto. ' Th. (17), Tenor. Th. (18), Bass.
Bars
19-20
Stketto VTh. (20), Alto. Th. (19), Tenor,
part of Th. (21), Bass.
20-23
stretto VI Stretto VI- l*"SI
(22), Treble.
Th. (23), Tenor.
Bars
:-
23-24
Codetta III (Cadence in C).
(
24-26
Th. (25), Alto,
26-27
Conclusion.
Strbtto VII-
part of (26), Treble. iSub. (24), Tenor.
Over a Tonic Pedal.
KEYS OF ENTRIES OF THE THEME.

Themb. Keys.
1
I |
2
I
6-6
8-9
10
11-141
15-18
I
19-21
22-23 24-26
CtoGGtoO
Subject.
ICtoG
Ami. C toG
Answer.
to
D mi. D mi. to G
\
C
I-
Ez
&
-a
There are two
entries of the
Answer
in succession in the Exposition,
irregular, because the third voice to enter generally has the Subject.
which is somewhat There are seven Stretti
no Episode, and only three short Codette.
DETAILS IN THE DIGEST

(3,
and
7), p. 177;
;
pp. 870-373
Exposition, p. 91 Stretti, pp. 336-338; other entries of the Theme Codetta I, p. 200; II and III, p. 299; Tabulated Plans of Construction, Keys, &c., 194-195. Plan with two changes, p. 387.
;
OUTLINE ANALYSIS OF BiCHS FORTY-filGltt
FtJGttES.
FUGUE
2^
minor.
OUTLINE ANALYSIS OP BACh's FORTV-EtGHT FUQtJES.
Subject.
^^ fMsa =F^^^^^;tirrx^:x^zr^ m^^
H=5^^
There is one extra entry of the Answer (4) after the Exposition, following which the Submediant (Relative Minor) key is selected for the next entry of the Theme (5). There are two Counter-Subjects. No Stretto.
DETAILS TN THE DIGEST. Exposition,

Episodes, pp. 225, 269, 270, 271
;
Keys, pp. 194, 195.
p. 36; Theme and Counter-Subjects, pp. 142-144; Coda, p. 864; Plans of Construction (tabulated), pp. 370-373; Tables of Plan -with one change of key, p. 387.
/
FUGUE
Bars 1-17,)
iT
4^
sharp minor.
OUTLINE ANALYSIS.
1-4 4-7
1
7-10
<^>'
1
10-12
1
12-14
14-17
E,^,o
Bars:
-1
"M''
%i"i
19-22
(6),
'"iuf
1 J
00..
I.
f "taVe"b1;.**'1 S^.
25-28
Tenor
] )
17-19 Cod jj
I
22-25
Tenor
Real Ans.
\
Sabdom. Ai Ans.
I.
(7),
(First extra entry).
(Second 6 id extra entry).
Sub. (8), Alto (Third extra entry).
Bars:
28-29
Cod. III. Th.
29-32
(9), Bass.
32-35
Sub. (10), Alto.
35-38
Sub. (11), Tenor.
38-41
Ans. (12), Alto.
Bars: Bars:
Bars:
41-44
Ep.
1.
44-47
Snb. (13), 2nd Treble.
47-48
Cod. IV.
48-51
Ans. (14), 1st Treble.
51-^4
Ans. (15), Tenor.
54-57
Th. (16), 2nd Treble.
57-58
Cod. V.
59-62
Sub. (17), Ist Treble.
62-65
Ep. II.
66-68
Th. (18), Ist Treble.
68-73
Ep. III.
73-76
Sub. (19), Bass.
76-79
Sub. (20), Ist Treble.
79-80.
Cod. VI.
8r-84
Sub. (21), Tenor.
Bars:Bars:
84-85^
Cod. VII.
85-88
Ans. (22), Alto.
89-92
Sub. (23), 1st Treble.
92-93
Cod. VIII.
94-100
Stretto
100-103
Sub. (28), Tenor.
-{
Th. (24), 1st Treble; also (26). Th. (25), 2nd Treble. Th. (27), Bass.
Bars: 103-106
Ep. IV.
107-109
Sub. (29), 1st Treble (on Dominant Pedal).
110-115
Part of Th. in 2nd Treble (on Tonic Pedal).

Theme. Keys. Theme. Keys.
1
C#mi.
10
,
Gf mi., C| mi. C t mi. P# mi. C

11
5 t mi.
15
G# mi. Pf mi. Of mi.

16
B
19-21 $ mi.
12
13
14
E
22
C$
mi.
G#mi.
Ctmi.
P#
mi.
Ft mi A
28 29
17
18
C#
mi.
I
D I mi.
Theme. Keys.
23
F#
mi.
C$
mi.
Stretto I. C#mi., E, B, C*mi.
30
on Tonic Pedal.
C#mi.
Ctmi.

OUTLINE ANALYSIS OF BACh's FORTY-EIGHT FUGtmS.
Real Answer.
fa.
J.
Snbdominant Ans.
HSîli^
Subject.
-ft-
iti
12
1^
o rJ
13
14
Two Counter-Subjects,
introduced after the Exposition, are prominent features in this fugue
First Counter-Subject enters in bar 35.
^-iA=^
Second Counter-Subject enters in bar 48. ._ .^. .^. |,. -si-
mu.
48
49
five parts
50
Answer
This Fugue is one of the two fugues in are used (see above).
forming part of the 48.
Two
forms of
into
DETAILS IN THE DIGEST. Exposition, p. 93, also the three extra entries. The four portions which the fugue may be divided are shown on pp. 163-167 Theme and Counter-Subjects, pp. 164-167
;
Stretto, p. 167, also p. 352;
Codetta and Episodes, pp. 242-
5, 262.
Plan with three changes of key,
p. 387.
FUGUE
Bars 1-6,
\ ._
5*,
major.
OUTLINE ANALYSIS.
1-2
Sub. (1), Bass.
2-3
Real Ans. (2) Tenor.
3-4
Cod.
I.
4-0
Sub.
(3),
5-6
Alto.
Exposition)
Ans. (4) Treble.
Bars
6-7 Cod II.

12-13
Sub.
7-8
Sub.
(6)
8-9
Th.
(6), Treble.
9-11
Ep.
I.
11-12
Th.
(7),
Bass (extra entry).
Treble.
Bars
:-
13-14
Th.
(9),
14-15
Th. (10), Tenor.
15-16
Th. (11) Bass.
(8), Alto.
Treble.
Bars
16-17
Cod. Ill (Cadence in
minor).
17-27. Episode and Coda.

Theme.
Keys.
1
1
DVTLlNE ANALYSIS OF BACh's FORTY-EtGHT FUGUES.
FUGUE
6^
D minor.
OUTLINE ANALYSIS.
Bars 1-8,
)
._
1-2
Sub.
(1),
3_5
Real Ans.
(2),
5_6
Alto.
6-8
I.
Exposition;
Treble.
Cod.
Sub.
(3),
Bass.
Bars
8-10
Th.
(4), Treble.
10-12
Ep.
I.
13-16
OTRETTo Stretto
I1
fTh.
^
(5),
Treble.
Alto.
j^
^g^^ inverted,
Bars:
16-17
17-20
Sx.II-l,,TJ.(8XA..o.j
20-21
21-25
C...n.
Bars
<,.,
,,.,_(^^Tt.(IO,>v.d,T.b,..
25-27
Ep. II.
27-31
Stretto IVTh. (12), inverted. Treble. Th. (13), direct, Alto. Th. (14), inverted, Bass.
31-33
Ep. III.
B ars
:-
33-34
Th. (15) part only,)
in Alto.
)
34-36
36-39
g.^^^^ y__ .( STRETTO V
^^^
Th. (17), inverted, part only in Alto. \ j ^jg^^ ^^^^
^ Ep. IV.
Bars
39-42
&TRBTT0 VI Stretto VI'"'''
42-44
(18),' Alto.
i |^jj_ ^^^^^
g^gg
Coda.
I

Theme.
Keys.
1
j
4
mi.
6-6
7-8
9-11
mi.
A mi. D
TfiEME.
mi.
I
On Dom.
14
chord of
mi.
mi.
On Dom.
chord of
mi.
12-13
15
I
Keys.
Dmi.
mi.,
G mi.
D ml.
16 mi.
17-18
mi.
Subject.
iil^^3
-3^3=^ ^1
and inverted:
The Theme
Bars 12,
is
used in the direct form
(as above),
5^5^^
^^^^^m
DETAILS IN THE DIGEST. Exposition,
pp. 137, 138;
Stretti, pp. 328, 329:
;
13.
Bars 14-16.
E3E
J^--1^
I-
^^Vt^-^^""^^'
p. 32; bars 11-22 with the inversion, bars 32-41 on the Plans of Construction of the 48 are tabulated on pp. y70-373;
Tables of Keys, pp. 194, 195
Plan with two changes of Key,
p. 387.
OUTLINE ANALYSIS OF BACH'S FORTY-EIGHT FUGUES.
FUGUE
Bars 1-7,
)
T,
flat
major.
OUTLINE ANALYSIS.
Exposition)
. '
OtJTLlNE ANALYSIS OP BACh's FORTY -EIGHT FUGUES.
Bars
:-
47-50
50-62
Strbtto
62-54
StrettoV j^jjTh.(18)^,Jreble.j ^^^ y

Bars
:
VI
56-57
Th. (21), Treble, Th. (20), Alto.

iTh. (19), BasB.
part of
Th.
54-56
Stretto VII
Th. (24), Treble. Th. (23), Alto.
[Th. (22), BasB.
part of Th.
57-60
Sub. (25), Treble.
Cod VI.
Bars
60-61
61-67
Th. (28), Treble.
Cod VII.
Bars
Stretto VIII-
Th. (26), Alto. Th. (27), Bass
(in
augmentation).
67-72
5TRETT0
72-75
Th. (32), Alto.
IX
Th. (31), Treble. Th. (30), Alto (in augmentation).

iTh. (29), Bass.
Bars
75-77

OtJTLtNE ANALYSIS OP BACH*S FORTV-ETGHl' FtJGtlES.
FUGUE
Bars 1-5, | Exposition
J
9^
E major.
2-3
3-5
Treble.
outliine analysis.
1-2
Sub.
(1),
Alto.
Real Ans.
(2),
Sub.
(3),
Bass.
Bars:
6-6
Bp.
I.
6-8
Sub.
(4),
7-9
Ans.
(5), Alto.
9-10
Cod. II. Ans.
9-11
(6), Bass.
Treble.
Bars
11-12
Ep. II. Th.
12-13
(7),
13-16
Ep. III.
16-17
Th.
(8),
Treble.
Alto.
Bars
17-19
Ep. IV.
Sub.
19-20
(9),
20-21
Th. (10), Treble.
21-22
Sub. (11), Alto.
Bass.
Bars
22-26
Ep. V.
25-26
Sub. (12), Treble.
26-29 Coda

Theme.
Keys.
1
10
E,
II
12
C|mi.
C$
mi.
C#
mi.
Subject.
life
No
Stretto.
iÊÊ
;
'-*- azt:
DETAILS IN THE DIGKST.Exposition, p.

and Episodes, pp. 252-254; Plans, pp. 370-373
change of Key,
p. 387.
62; Theme and Counter-Subject, pp. 139, 140; Codetta Tables of Keys, pp. 194, 195; included in Plan with one
FUGUE
Bars 1-6, Exposition]
}
10^ E minor.
OUTLINE ANALYSIS.
._
'
1-3
Sub.
(1),
3-6
Real Ans.
(2),
Treble.
Bass.
Bars
:-
5-11
Ep.
I.
11-13
Th.
(3), Treble.
13-15
Th.
(4), Bass.
16-20
Ep.
II.
20-22
Th.
(5), Bass.
22-24
Th.
(6), Treble.
Bars
:-
24-30
Bp. III.
30-32
Th.
(7),
32-34
Th.
(8), Treble.
34-38
Ep. IV.
39-42
Bass.
Coda
(reference to Sub.).

Theme.
OUTLINE ANALYSIS OF BACH's FORTY-EIGHT FUGUES.
FUGUE
Bars 1-13,
Exposition
113,
F major
4-8
OUTLINE ANALYSIS.
]]
1-4
Sub. (1) Alto,
8-9
Cod.
II.
9-13
Sub. (3) Bass.
Tonal Ans.
(2) Treble.
Bars 13-31,
13-17
J
17-21
Sub. (4) Treble.
21-25
Ans. (5) Alto.
25-31
Strbtto
Counter Exposition
Bars:
Ep.
I.
Sub. (7) Alto, Sub. (6) Bass.
31-36
Ep. II.
36-44
fTh. (8) Treble.
44-46
Cod. V.
46-54
Stretto IIITh. (i3)Treble. Th. (12) Alto.
iTh. (11) Bass.
Strbtto II
I
Th. (9) Alto, Th. (10) Bass.
B ars
54-56
Cod VI.
56-65
Ep. III.
64-68
Stretto IV(Th. (14) Tn 14) Treble. Alto. Th. (15) Alto, 1
1
68-72
Coda.
J

Thbub. Keys.
1
P
entries of the
F
Theme
5 F,
6,7
St. II.
St. III.
St.
IV.
Dmi.
G mi.
BP,
There are three
in St. II in
minor, and three iu St. Ill in
G minor.
Subject,
i^j
^
il^îiil^îll
There
are four extra entries following the Exposition.

Exposition, p. 60 four extra eutries, p. 60 Stretti, pp. 332-333 Episodes, p. 256 and pp. 227, 228; Plans, pp. 370-373; Tables of Keys, Included in the Plan with one change of key, p. 387.
;
DETAILS IN THE DIGEST

Codette, pp. 227
and
302.
pp. 194, 195.
FUGUE
1-4
"
^2\
F minor.
7-10
OUTLINE ANALYSIS.
Bars 1-16.
ExPOSITI Exposition
)
4-7
Tonal Ans.
(2), Alto.
10-13
Cod.
I.
13-16
Sub.
(4), Treble.
Sub.
(1),
Tenor.
Sub.
(3), Bass,
Bars
16-19
Ep.
I.
19-22
Ans.
(5),
22-27
Ep.
II.
27-30
Sub.
(6), Baas.
30-34
Ep. III.
34-37
Th.
(7), Alto.
Tenor.
Bars
37-40
Ep. IV. Th.
40-43
(8),
43-47
Ep. V.
47-49
Ans.
(9), Treble.
50-53
Ep. VI.
63-56
Sub. (10), Bass.
56-58
Coda.
Tenor.

Thbme.
Keys.
1
5
mi.
10
Fmi.
Omi.
Fmi.
mi.
Fmi.
Afe
Cmi.
Fmi.
Subject.
illoEE
^^ ^
--P
î-
^J ^1
in the Exposition.
This fugue and No. 14 are the two fugues in which the Subject appears twice in succession There are two extra entries. Answer and Subject before the entry of the Theme (7) in the Relative Major key.
p. 88; Episodes, pp. 265, 256, 263, 264 Codette, p. 255 Keys, pp. 194, 195; Plan with one change of Key, p. 387.
;
Theme and
;
p. 174;
Coda,
p. 364;
Counter-Subjects, pp. 145-147, also Plans, pp. 370-373; Tables of
No
Stretto.

10
OUTLINE ANALYSIS OF BACn's FORTY-BIGHT FUGUES.
FUGUE
Bars 1-7,
Exposition
1 f
13',
F sharp major.
3-5
Tonal Ans.
(2), Alto.
OUTLINE ANALYSIS.
1-3
Sub.
(1), Treble.
Bars
7-11
Bp.
I.
11-13
Sub.
(4), Treble.
18-15
Ep. II.
Bars
17-20
Ep. III.
20-22
Th.
(6), Bass.
22-28
Ep. IV.
Bars
30-31
Ep. V.
31-33
Sub.
(8), Treble.

Theme.
D$mi.
OUTLINE ANALYSIS OF BAOH's FOBTT-BIGHT FUGUES.
11
in the Exposition.
This fague and No. 12 are the two fugues in which the Subject appears twice in succession The Theme inverted is used twice. No Stretto.
p. 90; Theme and Counter-Subject, pp. Episodes, pp. 229, 256; Plans, pp. S70-373; Tables of Keys, pp. 194-195.

Codette^ pp. 228, 229
;
110-111;
FUGUE
Bars 1-15,
Exposition
]
15^
major.
OUTLINE ANALYSIS.
1- Sub.
.
1-5
(1), Treble.
59
Real Ans.
(2), Alto.
911
Cod.
I.
11-15
Snb.
(3), Bass.
Bars
15-20
Ep.
1.
20-24
Th. (4) inverted, Alto.
24r-28 Th. (5) inverted. Treble.
28-31
Th. (6) inverted, Bass.
Bars:
31-38
Kf. II.
88-42
Th.
(7), Treble.
42^8
Cod. II.
43-46
Th. (8) inverted, Alto.
Bars:
47-51
Ep. III.
51-54 Treble Sx.I-{Th.^9)A Treble;

(10), Bass, iucomplete
54-60
Ep. IV.
St. IIf
60-64
Th. (12), Treble. li.(12),' Th. (11), Alto. "IT
Bars: 64-69
Ep. V.
69-73
(Th. (13) inverted,
78-77
Ep. VI.
St. Ill
77-82
Th. (16), Treble. Th. (14) inverted, Alto Th. (15), Bass.
82-86
Coda.
KEYS OF ENTKIES OP THE THEME.

Theme.
Keys.
1
3
I
8
I
9-10
11-12
Emi.jG.Emi.i Bmi.
13 G, 0,
S. III.
(14^16)
Subject.
Theme
Inverted,
Bars 24-26.
Theme
inverted.
HEISj
^t;
=ra=
^^ ^^
a
-^-T^
This is one of the twelve fugues in which the Theme is used by inverse movement. There are three entries in this form immediately "after the Exposition, and four more during There are nine entries of the Theme in the direct form, and the two forms, direct the fugue. and inverted, are used together in Stretto III. New figures in the Treble and Alto, bar 9, are inverted in two ways, in bar 10, and these figures are much used in the succeeding Episodes.
p. 42; Stretti, p. 333; Theme and Counter-Subject, Episodes, pp. 276-278; Table XXXVII, Episodes Classified in Ten Groups (Group VIII); Plans, pp. 370-373; Tables of Keys, pp. 194, 195, also Table XLVa, p. 371; Table XXX,
p.
DETAILS IN THE DIGEST.-Expoeition,

Codette and
p. 106.
112;
Group
I,

12
OUTLINE ANALYSIS OF BACH
S
FORTY-BIGHT FUGUES.
FUGUE
Bars 1-8,
Exposition
16*,
minor.
OUTLINE ANALYSIS.
]
)
1-2
Sub.
(1), Alto.
2-4
Tonal Ans.
(2),
4-5
Treble.
5-6
I.
6-8
Bass.
Cod.
Sub.
(3),
Ans.
(4),
Tenor.
Bars
8-12
Ep.
I.
12-13
Th.
(5), Alto.
13-15
Th.
(6), Bass.
15-16
Th.
(7),
16-17
Cod.
II.
Treble.
Bars
17-19
19-20
Ep. II.
20-21
Th. (10), Bass.
21-23
Th. (11), Treble.
23-24
Sub. (12), Alto.
StrbttoI j^,j''''^gj^)^^^]'-[
Bars:
24^28
Ep. III.
28-30
fSub. (13), Treble.
)
30-31
Ep. IV.
31-33
Sub. (16), Alto.
33-34
Sub. (17), Tenor.
Stretto II-
Sub. (14), Tenor. Sub. (15), Bass.

Theme.
Keys.
i
3
I
I
G mi. D mi G mi. D mi.
OUTLINE ANAL'XSIS OF BAOH'B FOETY-BIGHT FUGUES.
13

Thbmb.
1
T4
OUTLINE ANALYSIS OF BACh's FORTY- EIGHT FUGUES.
FUGUE
19^
major.
OUTLINE ANALYSIS.
Bars 1-6,
)
._
'
Exposition}
OUTLINE ANALYSIS OF BACh's FORTY-EIGHT FUGUES.

Baxs:-
15
46-48
Ep. II.
48-52
SxRETToV-iTh.(i7)..-vd..Alto._ Th. (18), invd. Tenor
52-63
OOD.
!
VII
-r
(half close in G).
Bars
53-56
OTRETTO V 1
I
56-57
g^^^
rJ,^^
^jg^^ ^^^^_
Cod. VIII.
J
Bars
:-
57-60
60-62
Cod. IX.
62-63
Stretto
STRETToVn--]Th(
(21), invd. Treble I h. (22), invd. Alto.
VIII-
Part of Th. (24), Tenor.

1(23), Bass.
Bars
:-
63-64
Cod. X.
(Close in
64-67
I
67-70
Sthetto
D minor'
TY ^^^'^^^ I^tj
( 1
Th.(2'5),Tenor.l
). f
Th. (25), Bass.
^ X-
Th. (27), invd. Treble. 1 ^h. (28), invd Alto.

|
Bars
70-73
Ep. IIL
73-75
Th. (30),
76-78
Stretto XIITh. (33), direct Treble. Th. (32), direct Alto. Th. (31), invd. Tenor.
Stretto XI
invd. Treble.
,Th. (29), Bass.
Bars;
79-80
Cod. XI.
80-82
Stretto XIII
82-83
)
(Th. 35), Treble. { Th. (34), Alto.
Cod. XII.
Bars
83-87
Stretto
XIV
Th. (38), Treble. Th. (39), 2nd Treble. Th. (37), invd. part Alto. Th. (36), invd. Tenor. (Over Tonic Pedal).

Inverted.
Theme,
j
Keys.
A mi.
13-14
E mL
15-16
mi.
E mi
G
G
A
C,
D mi. D mi., C A mi. A mi.

I I
9-10
11-12
mi.
Inverted,
Inverted.
Theme.
Keys.
17-18
I
19-20
21-22
mi.
23-24
25-26
27-28
29-30
A mi
C
Keys.
D mi., C
31-33
Dmi.
A mi.
36-39
Dmi.
to
G mi.
Theme.
34-35
G mi. to D mi.
mi.
A mi
on Tonic Pedal.
Bars 1-4.
Subject.
Bars 21-24, also Bars 49-52 with ending
altered,
Theme
inverted.
^^^m^^^^sm^^s^s^^^m
Bars 14-18.
i---*|tjt:
rbSsSrtLitdrttr
The Subject
in
of this fugue
is
which the Theme
This is one of the twelve fiigues is one of the longest in the 48. used by inverse movement. There axe fourteen Stretti.
DETAILS IN THE DIGEST. Exposition, pp. 84, 85; Theme inveited, pp. 180, 181; Stretti, pp. 340-343; Codette and Episodes, pp. 231, 279, 280, 303-305; Plans, pp. 370-373; Tables of Keys, pp. 194, 195 Table XLVId, p. 372.
;

16
OUTLINE ANALYSIS OF BACH's FORTY-EIGHT FUGUES.
FUGUE
Bars 1-13, )._ Exposition)" Sub.
Bars;
21^
flat
major.
OUTLINE ANALYSIS.
^'^
(1), Treble.
5-9
Tonal Ans.
(2), Alto.
9-13
Sub.
(3),
13-17
Ba
i
Ans.
(4),
Treble
(extra entry).
17-22
Ep.
I.
22-26
Th.
(5),
26-30
Th.
(6),
Alto.
Bass.
Bars:
Ep.
30-35 IL
35-37
Th.
(7),
37-41
Th.
(8),
41-45
Sub.
(9), Alto.
45-48
Coda.
Alto (part only).
Treble.

Theme. Keys.
1
Bt?
Gmi.
6 mi.
7
I
!
8
if
C mi., E
Eif
9 Btr
Answer.
te^ I*
IS!
DETAILS IN THE DIGEST Exposition, p. 38; Theme and two Counter-Subjects, pp. 149, 150; Episodes, pp. 202, 208; Plans, pp. 870-373; Tables of Keys, pp. 194, 195; Table XLVa, p. 371; Table XXX, Group IV, p. 140; Episodes classified in Ten Groups, Table XXXVII, pp. 198-200.
FUGUE
1-3
3-5
22,
flat
minor.
OUTLINE ANALYSIS.
5-10
00..
I.
10-12
12-14
14r-15
15-17
is:ilI1-(S!j;<^,)T5sby.)
Bars
:
j'tf
(8),
l*M-"-l'ti^>'
29
Tenor.
17-25
Ep.
I.
25
Th.
(6), 1st Treble.
(7),
27
2nd Treble.
46
32
(9), Bass.
34^37
Cod. IV.
Bars
37-39
Th. (10), Alto.
39-46
Ep. II.
48
50
Ans. (11), Tenor;
(12), Bass.
Bars :
5055
Th. (13), 1st Treble. Th. (14), 2nd Treble. Th. (15), Alto. \ ^ Th. (i7), Tenor. \ Th. (16), Bass.
55-57
St.
I.
Th. (18), 2nd Treble Th. (19), Alto.
^''g^the
,,
Bars
57-67
/
67-72
St. II,
72-75
Ep. III.
in
five parts
Th. (20), Ist Treble. Th. (21), 2nd Treble. Th. (22), Alto. Th. (23), Tenor. Th. (24), Bass.
Coda.

S
FORTY-EIGHT FUGUES.
17
KEYS OP ENTEIES OF THE THEME.

Theme.
Kets.
1
2
mi.,
4
mi.
BPmi. BP
mi.
BP
B?mi.
12 Bl?mi.
Btfml
Stbktto 13-17
Dt?
I.
Ef
mi. to
i>
mi.
to
1?
mi.
Theme.
Keys.
to
10
I^
11
18-19
I i
mi.
toDl?
Bt>mi.
EC
mi.
1?
mi.,
Stbbtto II, 20-24 Bt^mi. Bl? mi.
Subject.
M m^
:
^
p.
This fugue and No. 4 are the two fugues in five parts. Codetta I, bars 5-10, is longer than is usual in an Exposition it is a panon in two parts, the First Treble starting the phrase in bar 5, and answered by the Second Treble a fourth below at a minim distance.

p. 372.
92;
Codette and Episodes, pp. 257, 280, 218; Plans, pp. 370-373
other single entries, p. 182; Stretti, p. 363; Tables of Keys, pp. 194-195; Table XLTLb,
;
FUGUE
Bars 1-9,
)
23*,
B major.
5-7
Sub.
(3),
OUTLINE ANALYSIS.
._
'
1-3
Sub.
(1),
3-5
Tonal Ans.
(2), Alto.
7-9
Ans.
(4), Bass.
Exposition)
Tenor.
Treble.
Bars
9-11
Ep.
I..
11-13
Sub.
(5),
13-16
Ep. II.
-
16-18
Real Ans.
(6), Alto.
18-20
Th.
(7), invd., Treble.
Tenor.
Bars
:;
20-21
Til. (8), invd., Alto.
21-23 e>a'
(9), Treble.
23-24
Cod.
I.
24-26
Th. (10), Tenor.
Sub.
Bars
2fi-29 Ep. III.
29-31
Sub. (11), Alto.
31-33
Ans. (12), Treble.
33-34
Coda.
Theme.
Keys.

18
OUILIiNE ANALYSIS OF BACH'S FORTY-BIGltT FtJGUES.
FUGUE
.
24*,
B minor.
OUTLINE ANALYSIS.
Bars 1-16,
Exposition
1-4
4-7
1
J
7-9
(2),
]
9-12
12-13
Co.. II.
13-16
:
'
Sub.
(1),
Tonal Ans.
Tenor.
Alto.
Cod.
I.
s.>f.)
Tenor.
j*W.
38-41
Th.
(7), Bass.
Bars
16-21
Ep.
I.
21-24.
Sub.
(5),
24-30
Ep. II.
30-33
Th.
(6),
33-38
Ep. III.
Alto
Bars
41-44
?
44-47
IV.
Th.
(8),
47
Cod. III. Th.
47-50
(9), Bass.
St. or Ep,
Tenor.
Bars
50-58
Ep. V.
53-56
Ans. (10), Tenor.
56-57
Cod. IV.
57-60
Th. (11), BasB.
Bars
63-70
Ep. VI.
69-70
Part
of
70-73
(
73-76
Coda,
part of Th. in Alto.
J
Th. (12), Tenor.
Real Subdom. Ans. (13),]

Theme. Kbys.
B mi., Ff mi. P#mi., Emi., Bmi.

8
}
j
Bmi., Ftmi. F|;mi., Bmi. Bmi., F#mi.

11
I
E mi., B mi.
13
Theme.; 7 Keys. Bmi., F#mi.

|
D,
10 F#mi,, C#nii.
12
mi.
E, B
mi.,
Pj
mi.
mi.,
mi.
subject.
p||3J^
=q=q=::1:
1-
'I
therefore,
is one of the few Subjects which has modulation here, to the Dominant key; the Answer tonal has important alterations it starts as a Tonal Dominant Answer but changes after the fourth note into a Snbdominant Answer modulating back to Tonic. Compare with the real Dominant Awnser, bars 53-56, and the real Snbdominant Answer, bars 70-78.
This
DETAILS IN THE DIGEST.Exposition, pp. 80, 81 Entries of the Theme and Counter-Subject, pp. 114-116; Codette and Episodes, pp. 241, 246-249; Plans, pp. 370-373; Tables of Keys, pp. 194, 195; Table XLVIb, p. 372; Table XXX, Group I, p. 105.
;
FUGUE
(No. 1 of
25^
major.
of 24).
Second Book
OUTLINE ANALYSIS.
Barp 1-18,
Exposition
)
J
._
Sub.
1-5
(1), Alto.
59
Tonal Ans.
(2), Treble.
9-13
Sub.
(3),
Bass.
Bars
18-21
Ep.
I.
21-25
Th.
(4), Alto.
25-29
Th.
(5),
29-39
Ep. IL
Ans.
89-48
(6), Bass.
Treble.
Bars;
43-47
Ep. III.
47-51
Sub.
(7), Alto.
5155
Ans.
(8), Treble.
Bars
55-68
Ep. IV, part of Th. in Treble and Alto.
68-88
Ct)DA, part of Th. in Bass, Alto,
and Treble.

OtiTLINl? ANALYSIS
OF BACh's FORTY-EIGHT TDGTTES
19
B.^YS OF ENTEIES OF
Theme. Keys.
subject.
THE THEME.
I^g^
;

and 232
;
^
Alto.
(4),
D mi.
D mi. to A mi.
16
0,
to
p. 47;
;
Plans, pp. 370-373
Tables of Keys, pp. 194-195
other entries, pp. 189-191; Episodes, pp. 203 Table XLVa, p. 371.
FUGUE
Bars 1-5,
1
263*^
Book
C
II).
minor.
(So. 2 in
OUTLINE ANALYSIS.
._
Snb,
1-2
(1),
2-3
Tonal
An.S. (2), Treble,
3-4
Cod.
I.
4-5
Sub.
(3),
Exposition f
Bass or Tenor.
Bars
5-7
Cod.
7-8
Th.
Bass or Tenor. Sub.
8-9
(5), Treble.
9-10
Cod. IIL
10-11
Th.
(6), Alto.
IL
Bars
11
Cod. IV. Th.
(7),
11-12
Bass or Tenor.
12-13
Th.
(8),
13-14
Cod. V, close in
Bass or Tenor.
G mi.
Bars
14-16
St. I-
16-19
Th. (13), Treble.
St.
__
Th. (16).
Sub. (9),'Treble. Th. (10), augmented, Alto. Th. (11), invd., Tenor or Bass.
II
Ans. (12), Alto. Th. (16). Th. (14), Tenor.
Bars
19-21
,Th. (17), augd., Bass,
21-22
Th.
(18), invd., Bass.
22-23
Th. (19),
direct, Bass.
I
23
doêl^
o^;j,i
Bars
23-2*
^^-
2327
a t^t S^- I^Th. (22), Treble. Th. (23), Alto. Th. (24), Tenor. ( Th. (25), invd. Bass, j
27-28
Coda.
TTT
Th. (21), Treble.!

(20), Alto.
f
"I-iSub.

Theme, Keys.
1
j
4
I |
6
I |
6
I |
9-11
12-14
mi.
G mi.
mi.
mi.
C
fc
mi.
mi.
mi.
G mL
mi.
Omi.
Gmi.
Theme.
Keys.
Snblect.
15-16
17-21
22-25
F mi. to B
Omi.
mi.,
^^^^^-^
J J J
^-j^^^
Bars 26, 27.
fl
Bars 15, 16, also bars 21, 22.
Theme
inverted.
i^ rP
=\
Bars 14-16, also octave lower, bars 19-21.
Theme
in
augmentation.
y^"P],
~^
^
! '
=1=
^=^:
The Theme
of this fugue
is
used not only by inverse movement but also in augmentation.
DETAILS EST THE DIGEST. Exposition, p. 63; other entries of the Theme, p. 183; Stretti, pp. 344, 345; Codetta, pp. 203, 280, 281, 305; Coda, p. 345; Plans, pp. 370-373; Tables of Keys, pp. 194, ' VIb, p. .872. 195; Table
XL

So
OtjTLiNE ANALYSIS OF BACh's FORTY-EIGHT FUGUES.
FUGUE
27^
C sharp
Book
II).
major.
(No. 3 in
OUTLINE ANALYSIS.
1-3
3-4
(2),
4-6
St. II-
Bars 1-9,
._
'
Exposition)
St.
Tonal Ans.
Th.
Treble.
)
(3), inverted, Alto.
OoD.
I.
.Sub. (1), Bass.
fSub. (4), Treble. Ans. (5), Alto. Th. (6), Bass.
Bars
6-7
f
7-9
St.
9-10
|.
Cod. II.
Ill
Th. (9), Treble, Ans. (8), Alto
St
IV
Th. (12), Treble. Th. (11), Alto.

(Th. (10), Bass.
,Ans. (7), Bass.
Bars :
10-14
Episode I and Stretto V.
(13-15)
)
14-16
St.
16-25
Episode
II.
VI
Th. (18-19), 4 notes invtd., Treble^ Th. (17), Alto. Th. (16), Bass.
Bars
:
St.
25-26
26-36
Episode and Coda.
(reference to preceding figures).
VII
-I
Th. (20), Treble. Th. (21), Augmentation, Alto, Th. (22), Bass.
Ans.
iAms^
Sub.
33E
Th. Inverted.
1*^=F^t^ tji:
ss:^"-'^^^^^
î|Ji=JiB=^^^^ÊÊrEgj^^^^r-^^=g^s W^'^^
The Subject of this fugue is clsssed as being one of those " which consist merely of short figure," and are usually called " attacco." The " attacco " seldom forms the subject of complete fugue; there is, hovrever, an example in Bach's " Wohltemperirtes Clavier, "No. 27 (Groves' Dictionary of Music). The Theme is used in the inverted form, also by augmentation and diminution.
;
"
p.
DETAILS IN THE DIGEST. Exposition (bars 1-9), p. 64 Length of Subject, &c., p. 65; Streti. 334; Oodette and Episodes, pp. 265, 266, 305 bars 26-36, p. 866.
;
FUGUE
Bars 1-6, 1 ._ Exposition)' Bars
:-
28^
C sharp
Book
II).
minor.
(No. 4 in
OUTLINE ANALYSIS.
1-2
Sub.
(1), Bass.
2-4
Real Ans.
(2),
4-5
Treble.
5-6
Snb.
(3),
Cod.
I.
Alto
6-16
Ep.
I.
16-17
Sub.
(4), Treble.
17-19
Ans.
(5),
19-20
Cod. II.
Th.
20-21
(6),
Alto.
Baas
Bars
21-24
Ep. II.
j
24-25
Th.
(7),
I
25-27
Th. (8), inverted, Alto.
(
28-29
Th.(9),
inverted, Bass.
I
1
30-31
Sub. (10),
Alto.
inverted, Treble
Bars Bars
:-
31-48
Ep. III.
48-49
Sub. (11), Treble.
49-53
Ep. IV.
53-54
Th. (12), invd., Alto.
55-56
Sub. (13), Bas.
56-61
Ep. V.
61-62
Ans. (14), Alto.
62-66
Ep. VI.
66-67
Sub. (15), Alto.
67-69
Ans. (16), Bass.
69-71
Coda.
^
21
OUTLINE ANALYSIS OP BAOh's FORTY-BIGHT FUGUES.

Theme.
Kets.
1
3
I I
4
I
0#mi.
9
G $ mi.
10
1 mi.
11
Of mi. IGjmi.
12
E
14
B
I
# mi.,
P#
mi.
Theme. Keys.
Otmi.
Bars
0#mi.
13
Otmi.
G # mi.
16 1 mi.
16
Ojmi.
1, 2.
Bars 24, 25.
Theme
Inverted.
jL
uars ZD, Bars 26,
-ii. 27.
r--t
E^Ê^d
^11
i^-pz
Bars 28-30.
^
Bars 53-55.
p.
61;
Theme and
Counter-Subject, pp.
117,
118;
Codette and Episodes, pp. 203-206, 218, 281, 867; Plans, pp. 370-373; Tables of Keys, pp. 194, 196; Table XLVIb, p. 372. Classified in Table XXVIII, Group I, One-note motion figurei incessant from first note of Subject to the last note of the Fugue. Table XXX, Group I, p. 105.
FUGUE
29^
major.
II).
(No. 6 in
Book
OUTLINE ANALYSIS.
Exposition)
1-2
"
2-4
Real Ans.
(2), Alto.
4r-5
5-6
I.
6-7
Ans.
I.
Bars 1-7,
Sub.
(1),
Tenor.
Cod.
Sub.
(3), Treble.
(4), Bass.
Stbbtto
Bars
:-
7-10
Ep.
I.
10-13
Th.
(5), Alto.
13-14
Cod. II.
14-16
a
^^-
"TT
Sub.
(8), Treble.
JAns.
(7), Alto.
Bars;
16-21
Ep. II.
St.
21-24
24r-25
25-26
Th. (12), Bass.
Ill
Th. (10), Treble. Th. (11), Alto. [Th. (9), Tenor.
Cod. III.
Bars
26-27
Cod. IV.
St.
27-29
29-83
j,
33-85
St.
IV-
^ns. (14), Treble. | Bass. j I Ans. (13),

,
jjj_
Th. (17), Treble. Th. (16), Alto. Sub. (16), Tenor.
Bars
36-40
T5, TV ^''IV-
40-41
(Sub. (18),) Tenor. ^1
41-43
C'"''
43-44
(Th. (19),1 Bass, f
S^-
44-46
46-50
I
^^
VI-
(Ans. (20), Treble. \ Th. (21), Alto. Sub. (22), Tenor. \ Th. (23), Bass. )
ôda.
Stbetto Maestbalb,
22
OUTLINE ANALYSIS OP BACH
F0ET1-EIGHT FUGUES.
KEYS OF ENTEIES OF THE THEME.

1
Keys.
OtITLtNE ANAlYStS OF BACH's FOETY-EtGHT PTIGUES.

Bars 1-3.
Subject.
23
j^
^Se^ê^^^
1
]
1'
il!is
Bars 17-18.
Theme
inverted.
*> J ~ Jj-*a ^
I
ir^J--ti3='=^5--^
five fugues in minor keys in which there is not an entry of the Theme Major key, the Subdominant key being used instead. It is also one of the twelve fugues in which the Theme is used by inverse movement.
This
is
one of the
in the Relative
DETAILS TN THE DIGBST.-Exposition and extra entries, p. 54; Stretti, p. 336; Codette, pp. 267, 250; Episodes, pp. 207, 233, 298; Plans, pp. 370-373; Tables of Keys, pp. 194, 196 Table XLVIa,
;
p. 372
Table
XXX, Oroup
II, p. 129.
FUGUE
31*,
(No. 7 of
flat
II).
major.
Book
OUTLINE ANALYSIS.
r,
1
97
1-7
7-13
13-14
14-20
20-21
21-27
Bars
27-30
Ep.i.
30-37
37-44
.
St.
)
s,.i-{*-<=)J|53-59
Th.
(9),
n-l Ans.
Sub.
(8),
Treble.
(7), Alto.
Bars
44-53
Ep. II.
59-66
St.
66-70
Coda.
Tenor.
Ill
Ans. (10), Treble. | Sub. (11), Bass.
KEYS OF ENTEIES OP THE THEME.

Themb.

24
OtJTLIKE ANALYSIS OP BACH's FOBTT-EIQHT PUGUES.
FUGUE
(No. 8 in
32*,
II
;
D sharp minor.
E
flat
Book
sometimes printed in
minor),
OUTLINE ANALYSIS.
Bars 1-11
Exposition N
)
1-3
Sub.
(1), Alto.
8-5
Real Ans.
(2),
5-7
Tenor.
7-9
Sub.
(), Bass,
9-11
Ans.
(4), Treble.
Cod.
I.
Bars
Bars Bars
Bars
11-15
Ep.
I.
15-17
Th.
(5), Bass.
17-18
Th. (6), Alto.
19-21
Th.
(7),
2123
Sub.
(8),
Tenor
Treble.
23
Cod.
II.
23-25
Th.
(9), Alto.
25-27
Sub. (10), Bass.
27
Cod. III.
27-29
Th. (11), Treble.
29-80
Cod. IV.
30-32
Th. (12), Alto.
32-34
Th. (13), Tenor.
34-35
Cod., Cadence,
A # mi,
35-40
Ep. II.
40-42
Snb. (.4). Bass.
42-43
Cod. V.
43-45
{^jI'-.fefJ.ttTenor.} iTh. (16), invtd., Tenor
together.
45-46
^--

Theme,
Keys.
i
DI
mi.
# mi.
DI
3|4I G A
mi.
1
I
# mi.
5 f mi.
13
;6|7i8| G D F
!
10
# mi.
t mi.
D | mi.
Theme.
Keys.
11
12
14
15-16
Cf
mi.
B,
G# mi., Df mi.
Dfmi.
Dtmi.
Bars 1-3, also 43-45.

Subject.
Bars 43-46.
Theme
inverted.
î|j|=ft=^=g=g=t:::j=tep
*
|
^-
g^^=^g
This is one of the twelve fugues in which the Theme is used by inverse movement, but only once, and then simultaneously with the Subject (bars 4345).
DETAILS IN THE DIGEST.Exposition,

pp. 133-135; Codette, pp. 234, 306; pp. 194, 195 Table XLVIc, p. 372.
;
p. 79; Theme, with and without Counter-Subject, Episodes, pp. 281, 282; Plans, pp. 370-373; Tables of Keys,
FUGUE
Bars 1-7,
Exposition
I
]
33^
E major.
II).
(No. 9 in
Book
OUTLINE ANALYSIS.
_
Sub.
1-2
(1), Bass.
2-4
Ans.
(2),
4-5
Sub.
(3), Alto.
5-7
Ans.
(4),
7-9
Ep.
I.
Tenor.
Treble.
Bars :
(
9-12
Sub.(8),Treble.')
r
12-16
16-18
18-19
19-21
Ans. (5), Alto. Ans. (6), Tenor \ Ans. (7), Bass.
23-26
Bars
(Th. slightly altered).
26-30
(Th. in diminution).
: 21-23
ooD.u. &T.iV| Cod II STlV|fh-(13),Treble.
(a),Treble. Th.(16),Tenor.l (c)Tenor. g yj (Th. |^-^^| Th.(6)Alto. VII.(d)Bass. Th.(14),Alto. V.Th.(15),Bas8.
Bars
: 29-30
I
30-32
(c/),inv.
33-35
Treble.
I
35-39
\
& dim.
Cod.
I
' St. jSub. (17), Alto r. f V. VII1 1 (/, A), Th. inv. & dim. Tenor.
Ep.
III.
i(e)
Th. in dim. Baas.
/(i)Th.invd.&dim. Treble. [also Sub. (21)] Cadence, then St. Ans.(22),Bass; IX Ans. (18), Alto. Sub. (19), Tenor. &Coda(4l-43)
lAns. (20),
39-43
OUTLINE ANALYSIS OF BAOH'S FOETY-BIGHT FUGUES.
25

Theme.
Keys.
1
St.
I.
St. II.
St. III.
St. IV.
E
Theme. Keys.
E
St.
B
VI.
E
St. VII.
C|mi.,
St.
E,
B,
Ft
mi.
F#mi.
Cf
St. V, mi.
VIII.
to
St. IX.
22
toB
toE
B toE
Subject.
îi||'#=^
:t
Bars. 26-29.
Theme
la
^t^ o i^l^3 ^
Stbeito Vi.
S
I
r
Stbbtto VII. J
I
diminution.
*fS
Bars 30-32.
Subject, with
J-
Subject in Alto.
l#l
-^
Theme
in
I
SiRETIO VIII.
y^
T"
.*i^
-r
:t=
Diminution,
together.
The Theme
is
used in diminution, direct and inverted; also with the Subject, Stretto VIII.
DETAILS IN THE DIGEST. Exposition and Counter-Exposition, pp. 69 and 349; Stretti, pp. 349, 350; last entry and Coda, p. 367; Godette, p., 306: Episodes, pp. 259 and 807; Plans, pp. 370-373; Tables of 'Keys, pp. 194, 195; Table XLVa, p. 371; Table XXX, Group V, p. 152; Episodes, classified in Ten Groups, pp. 198-200.
FUGUE
Bars 1-18,
Exposition
)
34^
E minor.
II).
(No. 10 in
Book
OUTLINE ANALYSIS.
._
'
1-6
Sub.
(1),
6-12
Real Ans.
(2),
12-18
Alto.
Treble.
Sub.
(3), Bass.
Bars
18-23
Ep.
I.
24-29
Til. (4), Treble.
29-30
Cod. Ill
30-35
Th.
(5),
Alto.
Bars
Bars
35-41
Ep. II.
42-47
Ans.
(6), Bass.
47-49
Ep. III.
50-55
Sub.
(7),
Alto.
65-59
Ep. IV.
I t
60-65
Th.
(8),
I
65-71
Ep. V.
j
(
72-77
Sub.
(9),
f
Coda
Treble,
Bass,
Dominant Pedal. Cadenza Tierce di Picardie.
77-86
Theme.
Keys.

26
S
FORTY-EIGHT FUGUES.
FUGUE
35^ F major.
Book
II).
(No. 11 in
OUTLINE ANALYSIS.
Bars 1-18,1
Exposition
)
._
'
15
Snb.
(1), Treble.
59
Tonal Ans.
(2), Alto.
914
Cod.
I.
14-18
Sub.
(3), Bass.
Bars
18-21
OOD.
II.
21-25
Ans.
(i), Bass.
25-52
Ep. I (exceptionally long).
52-56
Sub.
(5), Alto.
Bars
56-66
Ep. II.
66-70
Th.
(6), Bass.
70-85
Ep. III.
85-89
Sub.
(7),
89-95
Sub.
(8), Bass.
95-99
Coda.
Treble.

Theme.
Keys.
I

OUTLINE ANALYSIS OP BAOH
S
FORTY-BIGHT FUGUES.
27
FUGUE
37^
F sharp major.
Book
II).
(No. 13 in
OUTLINE ANALYSIS.
Bars 1-13,
Exposition
1-5
I13-20
Ep.
I.
5-9
Real Ans.
(2),
9-13
Treble.
Sub.
(1), Alto.
Sub.
(3), Bass.
Bars
20-24
Sub.
(4), Treble.
Ep.
24-32 IL
32-36
Sub.
(5), Bass.
36-40
Sub.
(6), Alto.
40-44
Th.
(7), Treble.
Bars
44-52
Ep. III.
52-56
Th.
(8), Alto.
56-64
Ep. IV.
64-68
Sub.
(9), Bass.
Bars;
68-70
OOD.
I.
70-74
Ans. (10), Alto.
74-76
Cod.
II.
76-80
Sub. (11), Treble.
80-84
Coda.

Thkug. Keys.
28-
OUTLINE ANALYSIS OF BAOH'S FORTY-BIGHT FUGUES-

New Theme
Theme.
Keys.
I
I.
iii
j
3
:t
i
I
F#mi.
Of mi. F
mi.
Of mi. OiFtrai. F# mi.

II.
B mi. E mi. & ma. A

I
ii
IV
Bmi.
New Theme
Theme.
Keys.
6 mi.
7
I I
a
t mi.
d
I I
# mi.
Fi
8
mi.
B mi.
9
0#
mi.
0? mi.
i
f
jp
mi.
A A
i,
invd.
Bmi.
Theme.
Keys,
mi.
Ft
-(-
mi.
10 # mi.
F#
11 mi.
Subject.
rjs^sE^^
^ttfE
r^
^S
=^?FiS=
(iii)
-p---i
=P2=
m
*
First
New Theme. New Th.

(il)
Bars 20-25.
tet
l^î^^g^QgE^
New New
Th.
(i)
Th,
-^^-
.t?;i
^tr^t
3=eS irn III'

-
-aQ
i=i:
New
Th.
(iy).
Bars 36-37.
FOUETH PORTION OF THE FUGUEBARS

THE THREE PHRASES TOGETHER.
Treble.
54-70.
OUTLINJi:
ANALYSIS OP BACH's FORTY-EIGHT FUGUES.
29
FUGUE
39^ G major.
Book
II).
(No. 15 in
OUTLINE ANALYSIS.
Bars 1-20,)
Exposition
J

30
OUTLINE ANALYSIS OF BACHS FOETT-EIGHT FUGUES.
;;

Theme. 1 2 3 4 Keys. Gmi. Dmi. Gmi. Dmi.
It will be seen
5
I
I
7
I
8 |9-10|11-12|13-14|15-16
!
17
G mi. D mi. BpI F BP
Cmi.
EP
Gmi. Gmi.,Cmi.,Gmi.
by tbia
list
that the outside keys (7-14) follow each other without an
entry in Tonic or
Dominant between them.
Subject.
J^feiSrp
(twice)
In this fugue the Theme is taken on three occasions in two parts together, in thirds and in sixths. A melodic figure is used about eighty times
:
a^^^^' ^
Episodes, pp. 259-261
DETAILS IN THE DIGEST.Exposition, p. 74; other entries Table XXX, Group I, p. 105; Table XLVIa, p.
;
with Counter-Subject, pp. 121-124

372.
FUGUE
Bars 1-10,
Exposition
41*,
(No. 17 in
flat
II).
major.
Book
OUTLINE ANALYSIS.
1
"
_
Sub.
1-3
(1), Alto.
3-5
Tonal Ans.
(2),
5-6
Odd.
1.
6-8
Sub.
(3),
8-10
Ans.
(4), Bass.
Treble.
Tenor.
Bars
10-13
Ep.
I.
13-15
Sub.
(5), Bass.
15-16
Cod. II.
Ans.
16-18
(6), Alto.
18-20
Sub.
(7),
Tenor.
Bars
Bars
:-
21-22
OOD. III.
Sub.
22-24
(8), Treble.
24-26
Th.
(9), Alto.
26-32
32-84
Th. (10), Tenor.
Ep.il
37
Cod. V.
34-35
Cod. IV.
3537
Th. (11), Treble.
37-39
Th, (12), Bass.
Bars
:-
39-41
Cod. VI.
I
41-44
(Sub. (13), Tenor Ans. (14), Bass.
1
44-48"
Stbetto
?
I.
48-50
Sub. (15), 1st Tenor.
Coda.

2 Theme. I Key. At> El7
3
I
7
I
8
I
10
I
11
I
12
St.
I.
(13-14)
15
apifJ
AJ>|A!',E>
AP Ab Fmi.
Ab, Di^mi.
Ab
Subject.
This is one of the six fugues in four parts which have complete Counter-Expositiops. There are only 12 bars in four parts, and 2 in five parts, out of the 50 bars in the fugue.
DETAILS IN THE DIGEST. Exposition, p.

Codelte, pp. 213, 221
82
other entries with Counter-Subject, pp. 125, 126

p. 371;
Episodes, p. 287 classified in Ten Groups, pp. 198-200.

;
Table
XLVa,
Table
XXX, Group
I,
p. 105.
Episodes
OUTLINE ANALYSIS OP BACH's FORTY-BIGHT FUGUES.
SI
FUGUE 42^ G
(No. 18 in
sharp minor.
Book
II).
OUTLINE ANALYSIS.
Bars 1-17,1
Exposition
)
OtJ'i'LINE
ANALYSIS OP BAOh's FORTY-EIGHT FUGUES.
FUGUE 43^ A
(No. 19 in
major.
II).
Book
OUTLINE ANALYSIS.
Bars 1-6,
ExPOSITIOh
OUTLINE ANALYSIS OF BAOH's FORTY-EIGHT FUGUES.
33

Theme,
j
Keys.
A mi.

34
OUTLINE ANALYSIS OF BACh's FORTY-EIGHT FUGUES.
FUGUE
46*,
(No. 22 in
flat
II).
minor.
Book
OUTLINE ANALYSIS.
Bars 1-21,)
EXPOSITIO Exposition'!
1-5
5-9
RealAns.(2),
Treble.
I J
=~
j
^"î^J^^'
^^^
|
9-11
^ ^
1
11-15
15-17
)
17-21
Ans. (4), Tenor.
^V!^'
,
St.
- ""
33-37
Bars
21-27
27-31
T
J
31-33
(6),
Th.
Altai
Rp.
I.
^Î-|sub.(5),Tenor.
0- "I-
II\
(Th.
|
(7),
Vh.
Treble. (8), Bass.
Bars
37-42
42-45
(
46-50
1
50-52
\
52-55
Th. (11), inverted,
Bars
:
Tr
Th.
(9), inverted,
Th. (10), inverted,
r-xr
55-58
Cod.
58-62
Th. (12), inverted,
Bass.
62-67
67-71
Bars
71-73
OOD. VI.
y-y bT.
73-77
77-80
1
IV
Th. (15), inverted Alto. Th. (16), inverted Bass,
Cod. VII.
j
Biirs
80-84
^ ^^-
84-89
89-93
St VI ^"-^^ Uns.
I '
'"'*'
V jTh. (17), invd., Treble. \ ^\ Th. (18), direct, Tenor.
^^- ^^^
(20)>vd.,
Alto.
(19), Bass.
Bars
93-96
Cod. VIII.
St.
96-100
MSub.(21),Treblel
100-101
['"Sixths.
VII
i
iTh. (22), Alto (Th. (24), invd.. Tenor). JTh. (23), invd., Bass j^'^
Cadence.
,,
.
thirds.
KEYS OF ENTRIES OF THE THEME,

Theme.
Keys.
1
2
rai.
St. I. 5-6
St. II. 7-8
10
Et* mi.
St. VII. 21-J4 Bf mi.
Bt^
mi.
Bt'mi.
12
mi.
B:>mi.
St. IV.
15-lC)
OP
I
Bl7mi.
St. VI 19-20 Bl7 mi.
Theme.
Keys.
11
Bt'mi.,
G?
At? mi.
St. III. 13-14 Bf mi.
mi.
St. 17-18 P ma.
Subject.
Bars 1-5.
'.r2~r: -^
i=
Theme
3^?^^
Bars 42-46.
-g--
-^-0~
=t^
inverted.
^feg :?S
^&=&
Bars 46-50.
n-
-_-
.^-
EEE
OUTLINE ANALYSIS OF BACH 8 FORTY-EIGHT FUGUES.
35
This fugue has seven Stretti in wliich the second voice to enter in canonic imitation is not at the ordinary interval of a fourtli, or fifth, or octave, but at such intervals as seventh or ninth above, or by Theme inverted, &c.
DETAILS IN THE DIGEST.Exposition,

Subject,
p.
p.
372
p. 86; Theme, direct and inverted with Counter129; Stretti, pp. 351, 852; Codette, pp.215, 292; Episodes, pp. 268, 292,293; Table XLVIc, Table XXX, Group I, p. 105.
FUGUE
47*,
B major.
II).
(No. 23 of
Book
OUTLINE ANALYSIS.
Barsl-17,|._
Exposition
'
1
Sub.

36
OULUNB ANALYSIS OF
BACH'S FOETY-EIGffr FUGDES.
FUGUE 48^ B
(No. 24 in
minor.
II).
Book
OUTLINE ANALYSIS.
Bars 1-21,1
Exposition
J
._
'
1-6
Sub.
(1), Alto.
fi-12
12-15
Cod.
I.
15-21
Sub.
(3), Bass.
Tonal Ans.
(2), Treble.
Bars
:-
21-26
Ep.
26-32
Real Ans.
(4),
32-85
Alto.
35-41
Th.
(6), Treble.
Ep.
II.
Bars
41-14
Ep. III.
44-50
Th.
(6), Bass.
50-54
Ep. IV.
54-60
Real Ans.
(7), Alto.
Bars
60-69
Ep. V.
.^,
69-76
f
76-81
Alto.
(it),
1
81-87
Sub. (10), Treble.
(Sub.
(S),
'="-^~l
Th.
Bass.
Er. VI.
)
Bars
:-
87-96
Ep.
96-100
First phri\se of Sub. in Alto.
Vn.
St. II-
First phrase of Sub. in Bass. First phrase of Sub.) varied, in Treble.

Theme.
PEW OPINIONS UPON

J. S.
A DIGEST OF THE ANALYSES OF
BACH'S
FORTY-EIGHT FUGUES.
I
am
simply amazed at the vast amount of labour, trouble, and care you must have
taken in order to produce such a monumental work.
(E.
who
F.)
Here we seem
,
to be presented with the life-long appreciation, observation,

really loves the " 48."
and know-
ledge- imparting skill of a patient and capable teacher
(C.W.P.)
I consider that
all
musicians owe yon a deep debt of gratitude
for^
supplying students
with the means whereby they can gain a clear insight into the immortal works of J. S.
Bach.
Whenever
take up your
"Analyses" I always learn something which had
hitherto escaped
my
notice.^
(H. A. H.)
It
seems excellent and,
wjiat is more, exhckustive.
I shall certainly use
it.
(J.
C. B.)
Very useful
to
all, (F.B.)
* * *
Until I have had time to avail myself of
its store
of learning.
(W. P.)
magnitude or
it
No
minutisB.
description of the
work
could,
we
fear,
convey any idea of
its
its
The one
fact easily
grasped in connection with the work

(D. T.)
is
that
stands as a
monument
of industry, patience, and mgenuity.

\.
The book
is
brimful of suggestive thoughts, which cannot
fail
to prove of great service
to the student in musical composition.
(M.
0.)
Your prodigious work

breathless dbndition.
your energy and industry amaze me, and leave
me
in a
somewhat
You
are to be' congratulated upon the completion of a herculean
task. (S.M.)
most complete and exhaustive book that I know on
It is
,
by
far the
this subject,
and I
feel sure it will
be of iinmense value to both students and teachers.-^(W. B- E.)
The
entire
work
is
most admirable;
its
careful and coniplete classification a boon to

S.)
".
students, and I think the book as a whole,
unique. (Gi
'
''
'
I thxnk it will be of
immense value t& students
.especially,
and certainly of absorbing
interest to lovers of Bach.
(H. W. H.)
A DIGEST OF THE ANALYSES

OF'
J.
S.
BACH'S
FROM.
FORTY-EIGHT FUGUES
the: vkrE:r4U-TE:iv(P;RE3D ciâ^vter
(DAS -WOLHTEMPEiRIRTK KLAVIER),
COMPILED BY
QtiOOK SRCriPSOJi,
MUS. BAG. OXpN.,
F.R.C.O.
... ... ...
...
Section
',
(pp. 1-26)
...
1/-
Subjects Classified
Theme
Answers
compass, part of scale, with, and Classified -r Real, Tonal, &c. inverted, aagtneqted,^ dimiputed, &c.
'
without modulation, &c.
Table showing
how many
(pp.
times lised
in
each
Fugue, &c.
...
SeotioM, II
27-100)
2/-
Order of entry of 5ub, and Ans. in each of the 48 Fugues. Exposition and extra entry or entries from each Fugue. This also in Skeleton.
Plan of Construction,
&c.
,
Section
;
HI
(pp. 101-196)
..
...
...
...
...
2/-
Subject and Counter Subject, Motion Figures. Fugue^ arranged in groups, and entries with the C.S., or without, details of the same, S^c. Inversion of Th. and C.S. Table showing, the Keys, &c.
II/"'
Section
Section
(pp.
197-325)
,
...
...
...
...
...
2/-
Codette and Episodes. Analysis of each one.
Cli^sSification
in
Ten Groups.
...
...
Observations.
...
'V (ppi 326-404) STRETTI Fugues without Fugues with one
a/
or more.
Analysis of each, pp. 328-353. Table XLII, Analysis of the Intervals of Entry, &c. Table XLIII, Classification of the Stretti according to the combination of thp different Forms of the Theme. Table XLIV, Remarks upon the concluding bars of each Fugue. Fugues Classified under the Plans of Construction. SUMMARY of INTERESTINQ FACTS, pp. 374-396. General Index, pp. 397-403.
'
Outline
Analysis
wliere. details
of each Fugue, with can be obtained.
references
to
pages
The Flue Sections
in
One
l/olume,
bound
in cloth,
404
If 6-
pp., 10\6.
OUTLINE ANALYSIS, SEPARATELY, PRICE

THE VINCENT MUSIC
CO. LTD.. 60.
BERNERS STREET. LONDON. W.
'^:
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M*-
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i.
^^^L.
a^

Bach S Fugues Brook Sampson

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Ml

Cornell University Library

3 1924 022 461

Cornell University Library

the Cornell University Library.

There are no known copyright

the United States on the use of the

(IN 'THE ''DAS

Price ( Paper cov/er ) lf6'net.

(Cloth cover) 21-

THE VINCENT MUSIC COMPANY, LIMITED,

THE "DAS WOHLTEMPERIRTE CLAVIER")

Price (Paper cover) lj6 net.

(Cloth cover) 2j-

THE VINCENT MUSIC COMPANY,

following outline analysis of each fugue is intended to provide the

analysis, according to the requirements of each

can he worked out hy referring to "

Digest of the Analyses of J.

These fugues form part of the

Fugues so well known as

"the 48," and named Das Wohltemperirte Klavier

(the Well- Tempered Clavier).

The term " Well Tempered,"

system of tuning the clavier and other keyed

that time (eighteenth century) began to feel that changes of key

must be more extended,

they wished to have

claviers tuned on the " equal

which allowed a performer to play

Bach thoroughly believed

and composed a Prelude and Fugue

major and minor key, forming the

was completed in 1722, and a second

twenty-four about the year 1744.

most interesting book

"The Personality," says:

name 'Das Wohltemperirte

by Bach, was a public and deliberate recognition of a radical

change in the construction of European

such pre-eminent importance, that

would have been absolutely

following extract from the periodical

The Organist and Choirmaster

columns some years ago, describing a

the (then) three Editors (with several other

That lady had

Bach's own autograph of the

Second Volume (with the exception of a few

Samuel Wesley, one

Miss Wesley's death,

can now be seen."

of the degrees of the scale are

the dominant of the

example from Fugue 2

the Fugue; example from

ised 111 times

the Italian for a

the diminutive of Coda, and

also variable in length

difference is, that

between different entries, &c.