Answer:
The fugue begins with an exposure. After the exhibition the alternative composer between episodes and presentations of the subject. In each fugue this scheme is developed in a varied way according to the invention and the needs of the composer.
Step-by-step explanation:
The elements that make up a musical fugue are:
The exhibition: It begins with one of the voices presenting the subject (name given to the theme on which a fugue is based). A second voice continues with the answer. The other voices continue alternately between subjects and responses. The exhibition concludes once all the voices have presented the subject or the answer.
While the second voice presents the answer the first voice makes a counterpoint to this answer. Similarly, when the third voice enters, the first two accompany it with other counterpoints. This counterpoint can be called counterpoint or free counterpoint. It is called a countersubject when it appears next to the answer. When the counterpoint is different in each presentation it is known as a free counterpoint.
The final section of the fugue begins when the subject returns to the initial hue of the fugue and from here to the end of the work. This ending is usually formed in several measures added to the main structure. This conclusion is the coda.
In the first place, he must remember that Bach was a self-taught, he was trained alone and specifically by the study of music itself, by the observation and analysis of other people's compositions, very often of poor significance in front of his own and that he copied, however, of his handwriting. The pedagogical activity of Bach and what he taught: "We must make the fugue of the subject", this means that each subject requires his fugue. Bach added another teaching, "voices must not enter without having something to say, or call before they have said everything they have to say," which means that they have voices should not speak for speaking and that they have no obligation to be always present.
In conclusion, Bach did not give any norm about the fugue, not least in terms of the genre of procedures for cases where this kind of compositions could be applied, leaving subjects free to perform this type of music.
