C Minor Fugue Analysis

Bach’s C minor Fugue from the Well-Tempered Clavier Book I: Discuss how the main motif (the first few notes) is transformed and developed throughout the work.

At the beginning of Bach’s C minor Fugue from the Well-Tempered Clavier Book I the main motif is introduced: a five-note motif consisting of two semiquavers leading into three quavers. It is part of a bigger theme, which consists of semiquaver and quaver movement. Although the motif itself is simple in comparison to Bach’s more complex pieces, it is significant and effective as it transforms and develops throughout the piece. From beginning to end the catchy motif varies and a certain complexity is added but the memorable touch is still quite evident.

The motif is introduced in the

The crotchet accompaniment remains throughout bar 4 as the remainder of the theme is played. From bar 5 to 6 the motif repeats itself, each time a tone higher. It is accompanied by a rising semiquaver scalic-like motif that goes up a tone, then a semitone. This accompaniment acts as a response to the motif, which, in turn, forms a dialogue. The rising accompaniment therefore transforms the motif, making it sound more complex. The motif is then introduced in the bass clef at bar 7, beginning on the middle C. It repeats the main theme in bars 1 to 2, however, it is accompanied by a descending passage in the treble clef. Bars 9 to 12 begin to expose the listener to variations of the motif: it ascends, then descends, then ascends etc. (e.g. the motif begins on the G-note, the next time it is played, it sounds on the C-note). Ascending and descending scalic passages accompany it. When the motif ascends so does the scalic passage and vice versa. This series of variations reappears in bars 22 and 23. From bar 12 onwards the motif does not seem to be prominent. Instead the bass clef

A short ascending semiquaver scalic passage connects them. The bass accompaniment repeats the motif, each time a tone higher (it actually begins on the C-note halfway through bar 16) until the middle of bar 18. From bar 18 onwards the motif is again varied – it repeats the same form as bar 17 but instead is played in mostly major thirds, although some minor thirds do appear. The bass accompaniment returns to a rising semiquaver figure. In bar 20, the treble clef continues playing the motif whilst the bass accompaniment plays a descending passage. Bar 21 features the motif in the treble and quaver accompaniment (a hint of the motif is sounded – two semiquavers and two quavers). In bars 22 to 23, there seems to be a repeat of bar 9, the motif ascends, then descends, then ascends etc. The bass accompaniment features ascending and descending scalic passages. Bar 24 shows no prominence to the motif itself, instead it features mostly semiquaver movement in the treble and the bass continues playing the ascending and descending passages. In bar 25, there is a similarity to bar 4 onwards: the motif rises, each time by a tone. This variation