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The Art of FugueBach Fugues for Keyboard, 1715-1750$
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Joseph Kerman

Print publication date: 2005

Print ISBN-13: 9780520243583

Published to California Scholarship Online: May 2012

DOI: 10.1525/california/9780520243583.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 16 September 2019

Gigue

Gigue

English Suite no. 3 in G Minor

Chapter:
(p.103) Chapter 12 Gigue
Source:
The Art of Fugue
Author(s):

Joseph Kerman

Publisher:
University of California Press
DOI:10.1525/california/9780520243583.003.0012

The characteristic Bach gigue can be considered as a special type of fugue in a strictly prescribed, hypersymmetrical binary form—hypersymmetrical because these fugues come to a dead stop in the middle, allowing for an exact repetition of each of the two sections, or strains. All but one of the fugal gigues is written for three voices. These are dance-music pieces, the last and fastest members of the suites they belong to—too fast to allow for much maneuvering with three contrapuntal voices. The subject of the gigue from English Suite no. 3 stands out for its élan, even among the high-spirited company of gigues in Bach's suites and those of his contemporaries. The second strain presents the subject in inversion. English Suite no. 3 counts among its movements a brilliant concerto paraphrase calling for a two-manual harpsichord.

Keywords:   Bach gigue, hypersymmetrical, dance-music pieces, English Suite no. 3, two-manual harpsichord

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