Fugues
Figure 5: Excerpt from Bach’s ‘Toccata & Fugue in D minor’ (BWV565) showing fragmentation (dark grey boxes) and sequence (red dashed line) within an episode (yellow box).
In contrast, Handel’s episodes tend to be much briefer and act as transition sections as he negotiates his way from one fixed idea, e.g. subject, to another, e.g. counter-subject, suggesting a less flexible structure than in Bach’s work. They are, however, similar to Bach’s in the sense that they often rely on the fragmentation of the initial subject or answer and, from this, form sequences. A great example can be found towards the end of Handel’s ‘Fugue in E major’ (HWV612), see Figure 6.
Figure 6: An excerpt from towards the end of Handel’s ‘Fugue in E major’ (HWV612) where he transitions from one set of fixed ideas to another using a brief episode (yellow box) containing fragmentations of the subject (dark grey boxes), played in sequence (orange dashed line).
Comparing development of ideas
Bach is famous for being able to squeeze every ounce of potential out of a musical idea, 14 whether it be playing them backwards (retrograde), upside down (in inversion), at twice the speed (diminution), at
14 Reese, J. et al., 2016. Writing In Bach's Style - Discussions . [online] Bach-cantatas.com. Available at: <http://www.bach-cantatas.com/Topics/Writing-Bach-Style.htm> [Accessed 21 July 2020].
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