Analysis of a Bach Fugue, Bach imitiation, Baroque music, blog, blogger, blogging, counterpoint, imitative counterpoint, J.S. Bach, J.S. Bach Fugue in C minor BWV847, J.S. Bach Well Tempered Clavier, music theory, New York City High School of Performing Arts, New York University, Oberlin Conservatory, phrasing at the piano, pianist, piano, piano instruction, piano lessons, piano practicing, piano technique, piano tutorial, Piano World,,, playing piano, Shirley Kirsten, Shirley Kirsten blog, Shirley Smith Kirsten,, Theory, Well Tempered Clavier, whole body listening, whole body music listening, word press,, you tube, you tube video

Piano Instruction: Analysis J.S. Bach Fugue in C minor, BWV847 (Videos)

This first video represents Part One of my Discussion and Analysis of the Fugue, BWV 847, inclusive of the Exposition. (I use the Palmer edition)

In the course of a fugue, the SUBJECT should always be fleshed out in whatever voice it appears, but an awareness of counter-subject one, counter-subject 2 and motivic, imitative devices cloaking the subject is always required.

Part Two: Analysis Fugue, BWV 847

Part Three: Analysis Fugue, BWV 847

The manuscript below incorporates the theoretical mapping of Jose Rodriguez Alvira

RELATED: Prelude in C minor, BWV 847 (Harmonic Analysis)


Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

This site uses Akismet to reduce spam. Learn how your comment data is processed.