Abhandlung von der Fuge - Marpurg, Friedrich Wilhelm 1718-1795 (Berlin Haude und Spener, 1753)
The first volume is divided into eight chapters and begins with a definition of three music-theoretical terms: Repetition of the same note values in the same voice; transposition of a sequence of notes by a certain interval; and imitation, i.e. processing a sequence of notes by means of repetition or transposition. Marpurg goes on to discuss the various possibilities of setting dux and comes, the fugue theme and its response, which are here called Führer and Gefährte.In terms of content, the second volume deals with more complex forms of counterpoint. At numerous points in the treatise, excerpts from Bach's fugues are given as examples, especially from the Art of Fugue, the Musikalisches Opfer also comes up, as well as his two-part inventions.
vol. 1 has engravings on the title-page and at pages 30, 37, and 146
Ex libris Johann Christoph Friedrich Bach (manuscript)
Keywords: Bach, Johann Christoph Friedrich -- 1732-1795; 18th Century (1701-1800); Counterpoint; Fugue; Germany; artikulatie; artikulatie; Bach, C.P.E.; Bach, C.P.E.; Bach, J.S.; Bach, J.S.; Bach, J.S._canons; Bach, J.S._Kunst der Fuge; Bach, J.S._Musikalisches Opfer; Bach, J.S._Musikalisches Opfer; Bach, J.S._orgelwerken; Bach, J.S._WTC; Bach, W.F.; Bach, W.F.; blokfluit; blokfluit; Bononcini; Bononcini; Berardi; Berardi; Berardi; Brossard; Buxtehude, D; Buxtehude, D; canon; notatieproblemen; notatieproblemen; Ockeghem; contrapunt; orgel_pedaalspel; D'Anglebert; Dandrieu; orgelregistratie; orgelregistratie; orgelregistratie; oude muziek vroeger; Pachelbel, J; Palestrina; drukfout; drukfout; Pepusch; Pepusch; dwarsfluit; dwarsfluit; Porpora; prima vista; falsobordone; Fasch; Quantz, J.J.; Fischer, J.C.F.; Spieß, M; Spieß, M; Steffani; Stölzel; Stölzel