The Fugue: Bach, Definition & Examples

Lesson Transcript
Instructor: Liz Diamond-Manlusoc

Liz has taught music for K-12 and beyond. She holds a master's degree in Education Media and Design Technology.

A fugue is a musical composition that introduces a musical idea that is repeated throughout using different, blended melodies. Study the definition of the fugue, the parts of a fugue, how Johann Sebastian Bach became known for his fugues and examples of this musical composition. Updated: 09/20/2021

Fugue Definition

Imagine you and a few friends are in a car race. You all have to take the same approximate route, but if you try to drive in the same place at the same time, you'll probably get in a car wreck. So instead, you decide that one person starts first, then the rest follow one by one as you reach certain checkpoints. This is a lot like how a fugue works.

A fugue is a piece of music that uses interwoven melodies based on a single musical idea. Fugues were most popular during the Baroque Period, ca. 1600-1750. They were based on an earlier idea from the Renaissance Period called imitative polyphony, where multiple singers would sing the same melody at different times. This is similar to a round, like 'Row, Row, Row Your Boat' or 'Frère Jacques.' Fugues were written either as an independent piece or as part of a larger work.

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  • 0:07 Fugue Definition
  • 1:15 Subject and Answer
  • 3:35 Countersubject
  • 5:05 Episode
  • 6:36 Bach & The Fugue
  • 8:04 Lesson Summary
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Parts of a Fugue - Subject and Answer

During the Renaissance, much of the music was based on words or lyrics, and each phrase of words would have its own melody. It was popular to have the melody sung by a four-part choir in succession (please see the video at 01:24 to hear this succession). The Baroque period was more about expressive music, though, and composers wanted to write music without being tied to text. So instead of text, they sometimes used a small musical idea called a subject to rev their musical engines. In a fugue, the subject is stated by one voice and is continually introduced voice by voice, kind of like what can be heard at the beginning of this lesson. First, the subject was presented in a high-pitched range, then in a medium-pitched range, then in a low-pitched range. It was basically the same sequence of notes each time, but in a different range.

The subject is usually used throughout the fugue, played consecutively in three or four different voices. The voices are all in different ranges so that each time the subject enters, it can be clearly heard. To start the fugue, the subject is played by one of the voices. Let's say this is you, starting the race with your friends. After the subject is introduced, an answer is given. In a fugue, the answer is a repetition of the subject by another voice, usually a higher one. We could say this is when you've reached your first checkpoint and your friend who is driving the smaller car takes off from the start line. The answer is usually the same sequence of notes, but starting on a different pitch, so it sounds like this (please see the video at 03:15). Because the answer is played on a different starting note, and is therefore in a different key, it adds contrast and expression, just what the composers wanted.

Parts of a Fugue - Countersubject

Then, the magic starts to happen, and we kick it up into second gear. While the subject is being played in a second voice, the first voice often continues into new melodic music called the countersubject. This is like you reaching a new section of the course while your friend in the small car, the answer, is driving the first section of the course. You don't stop driving just because they've started, and now you're onto another section of the course. But, there's a catch: because the subject and the countersubject are being played at the same time, they have to be written in a way that they will go together without creating musical havoc.

You may recall that when multiple independent melodic lines are woven together to create harmony, it's called counterpoint. Counterpoint, or contrapuntal composing, is key to a fugue. It's the interweaving melodies that make the fugue complex and interesting. The trick is finding a way to entwine the melodies in a pleasing harmonic arrangement. In each entrance of the subject and subsequent countersubjects, the composer is challenged to find new ways to develop the melodies into something fresh. The entrances continue until all voices have added their own touch to the subject.

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