Exercise: Bach’s Fugue

Below is my brief analysis of Bach’s Fugue No. 2 BWV 847 (1722).  In this, I have tried to identify occurrences of the ‘main theme or subject’, contrasting subjects and countersubjects.  In addition, I will be looking for instances of augmentations, diminution and other ‘treatments’ that Bach may have applied. 

Whilst studying the score, I was able to instantly notice that this piece is composed for three voices.  For the purposes of this analysis, I will call them the soprano voice, the alto voice and the tenor voice.  This is due to their placement on the grand staff and their ranges, which loosely match those of the vocal parts listed above. 

I initially noticed the ‘main subject’, introduced by the alto voice in bars 1-3 and repeated numerous times throughout the composition.  However, what I found interesting was that the subject was not necessarily presented as an exact ‘note-for-note replica’, but instead imitated the tonal movement of the subject, at times transposing and augmenting, but always keeping the same rhythmic pattern. 

In addition, I noticed five or six countersubjects which appeared throughout the piece, once again respecting the rhythmic patterns of the countersubject, but not necessarily the tonal.  A good example of one of these ‘countersubjects’ begins in the third bar in the alto voice.  This begins directly after the alto has stated the original ‘subject’ and whilst the soprano line is giving an ‘answer’, the countersubject begins, almost as an accompaniment. 

Although I have studied Bach’s fugues, looking specifically at his use of counterpoint, I am always struck by the sheer genius of his fugal works.  The complexity of the fugues are not to everyone's taste, but when analysed they can be broken down in simple overlapping ‘parts’, which come together to create a deep, rich texture to the music.