My journey through the Baroque master’s Fugue no. 12 has been a labor of love though the form enshrined by J.S. Bach can be intimidating by its structural nit-pickings. Wikipedia, for example, cites BWV 847 in C minor, (the Fugue) as a model of internal order, with a carefully marked out Subject; Answer (a fifth above the subject Key), and Counter-subject, all amounting to a well-defined Exposition. And as Episodes branch off (without the full Subject) though pieces of it, or motifs, (including that of the Counter-subject) will be included in so-called Subject departures, the learning process can eaily slip in Cognitive directions, bereft of soul and spirit.
Naturally, my teacher psyche has always had a significant influence on how I map out a NEW composition to alleviate, in this case, fugual anxiety. For one thing, I’m interested in finger choices, ways of grouping notes, and how to deal with finger switches or substitutions in order to be true to the score, or notation. If Bach wants a tenor voice to be held over another, and the only way to do this is by finger shuffling, then those key decisions have to be made early in the game. Yet these choices are considered in the context of three independent and co-dependent voices weaving in and around each other. (Fortunately, my individual study of Two and Three Part Inventions and four Fugues from the Well-Tempered Clavier, Book 1 had provided a bedrock of contrapuntal exposure)
Therefore, in my early fugue-learning process, I meticulously studied each of three voices, so I could sing every one of them as a personal solo. I then nudged myself to learn every line by heart, so at any given point in the music, I could focus on a particular voice and flesh it out.
I will admit that this particular fugue was a hill to climb on the basis alone of having to devise a fingering for each voice that needed occasional carryover or division between hands, while in some measures the requirement to hold down notes with awkward finger switches might guarantee a crash in tempo. Therefore, I juggled fingering possibilities and eventually drew a few compromises.
As I traced the paths of Subject and Countersubject with interspersed episodes, etc. my cognitive examination fueled the affective dimension of Bach’s composition. An examination of tonal shifts, modulations, a deceptive cadence, and sequences struck a good balance with aspects of form.
Rather than drape my learning process in wordiness, I’ve created a video that demonstrates slow motion assimilation of the F minor Fugue.
The first video is an IN TEMPO reading of Fugue No. 12, BWV 881, followed by the tutorial.
In summary, I recommend VERY slow parceled voice practice when embarking upon learning the Fugue.