'Bach Fugue 16 in G Minor, BWV 861 Analysis Essay\r'

'Johann Sebastian bach’s Fugue 16 in G Minor is an example of a conventional psychogenic fugue. What is arouse about this piece is that the body of the fugue is comprised of fragments of the cogitation and countersubject. The material within the episodes ar a unparalleled to this fugue. Also, inversions are found in signalize floating policy within the piece, and similarly create a simile between the answer and countersubject.\r\nWithin the first 3 measures, you find live brilliantly transcripts the first come out of the answer and positions it at the end of the countersubject in an inversion. You also find that there is an inversion between the root system of the countersubject and the end of the answer. Something similar, using this technique, arises at M. 24 in the alto and soprano voice. The ascending D, E-natural, F-sharp, and G ordinal none figure is found in an inversion, a descending D, C, B-flat, and A figure, leading into an episode.\r\nNormally, episode s do not contain any subject matter, but live cleverly placed fragments of the subject and countersubject to aid in modulating to the next closely related key. Measures 8-11, episode one, the fragment(s) are heard throughout every count in different voices, modulating to the relative major of B-flat.; this, as well, occurs in episode both. Episode three, occurring in mm. 24-27, is, to some extent, inappropriate to the rest of the piece. Here, tonicization back to the home key takes place, fleck the bass voice begins to mimic a strain of augmentation. The first note of every eighth two sixteenth figure, in order, outlines the subject of the fugue. Together, these two compositional techniques successfully modulated back to the home key of G Minor.\r\nIn essence, whether it be the episodes modulating to a overbold key, or tonicizing back to G Minor, the entire fugue comes solely from the subject. Bach achieves this by using fragments of the subject, inversions, tonicization, and augmentation. With these techniques, J.S. Bach had successfully composed his Fugue 16 in G Minor.\r\n'